Air Journal_Ka Fai Chan by KFChan

AIR

2017, Semester 2 Tutor: Finn Warnock Student: Ka Fai Chan 823463

STUDIO AIR JOURNAL

KA FAI CHAN 823463

Journal

Studio Air

INTRODUCTION

My name is Ka Fai Chan, I am currently a third-year architecture student in university of Melbourne. My enthusiasm towards architectural design motivated me to achieve the best in every course. I really enjoyed every moment in studying and exploring those building knowledge and design ideas during the course.

Moreover, I have also developed the understanding of the importance of site analysis and usersâ&#x20AC;&#x2122; requirement after looking into architectural design. A good building design should be fully integrated to the site with great harmony and be able to fulfil all usersâ&#x20AC;&#x2122; requirements with an interesting spatial arrangement. And it as has been my design initial approach.

In the past two years learning architecture, I have developed a strong penchant in Architectural Studies. The skills I honed such as architectural drawings or exploring ideas though massing models by hand, or using SketchUp, Revit, AutoCAD, Rhino to construct my design were really helpful to pursue my own design.

Through the Studio Airâ&#x20AC;&#x2122;s parametric modelling, I hope I can develop new ways of thinking and understanding in parametric and topological designs, so as to be able to deal with more complex geometries in design process. I aim at exploring more design possibilities though Grasshopper and create a wonderful design that I could never achieve it.

Past Projects

Studio Earth

Digital Design and Fabrication

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Journal

CONTENT

A.1 DESIGN FUTURING Binb House Jean Moulin High School

A.2 DESIGN COMOUTATION Dondaemun Design Plaza Cellular Tessellation pavilion

A.3 COMPOSITION AND GENERATION Cirriform Faรงade The air Flow(er). Faรงade

A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX Algorithmic Sketches

Part A. CONCEPTUALSATION

03 Journal Studio Air

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‘Conceptualization Begins to determine WHAT is to be built and HOW it will be built.’ CF. AIA National AIA and AIA California Council, Intergrated Project Delievery: A Guide, p. 24

A1 Design Futuring

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A1. Design Futuring Both readings raise a discussion why and how people should jump out of the innate and radical design styles and methods to provide alternatives for designing, creating or defining a brighter and better future for human being, so as to escape from the nemesis of a defuturing condition of unsustainability that people are confronting. However, the problem is if people still choose to stick with the attitude of treating our planet simply as an infinite resource, the future would be sacrificed to sustain the excesses of the present. Therefore, it should be fully noticed that human beings have reached a critical moment in our existence.1 Changes of temperatures, weather patterns, the rate of the melting polar ice are the observations to provide a clear scenario of increasing global warming and thus speeding climate change. Hence, the actual damage has been done to biodiversity, human settlement patterns, agricultural systems, human health and so on.2 Therefore, in order to find ways to curb the currently auto-destructive, world-destroying nature and conduct, it is obviously taken people to the question of how a future can actually be secured by design.3 The answer should only be design futuring. Basically, design futuring has to confront two tasks. The first one is slowing the rate of defuturing, and the second one is redirecting people towards far more sustainable modes of planetary habitation.4 In other words, these two tasks are suggesting to treat design as a pathfinding means to sustain action countering the unsustainable while also creating

more viable futures as a development of sustainment, as so to slow down the rate of defuturing.5 Moreover, taking redirection as a process of establishing new signposting system that first indicate the error of following those existing pathways of thought and action as they serve to defuture. And second, point to new form of knowledge and action that have sustainability.6 On the other hand, it is also suggested that getting involved in the critical design would be a perfect means to counter the unsustainable design. The existing defuturing condition reveals a concern with the uncritical drive behind technological progress, when technology is always assumed to be good and capable to solve any problem.7 However, the increasing global warming denies all of these assumptions. The critical designs can, therefore, offer alternatives that highlight weakness within existing normality. Regarding the critical design, it is not literally as negative design or interested only in posting out short comings and limitations, but to offers an alternative to how things are.8 Critical design offers an alternative way of design and how we think of normal by providing new ideas to replace the existing normal. It does not encourage staying in inherent ideology of design but to jump out of the comfort zone to challenge and change the values, ideas and beliefs. To conclude, the problems of defuturing would be a main concern of design futuring. However, taking redirection and critical design could be the main directions to establish a signposting system to strive for providing counterpoints to the world around us to foster a different, better world.

1. Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), p.1 2. Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), p.4 3. Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), p.2 4. Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), p.6 5. Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), p.7 6. Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), p.11 7. Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (USA: MIT Press, 2013), p.34 8. Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (USA: MIT Press, 2013), p.35

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A1 Design Futuring

“We exist in the medium of times as finite beings in a finite world; how long we now exist is determined by either an unexpected cataclysmic event or by our finding ways to curb our currently autodestructive, world-destroying nature and conduct.” – Tony Fry

Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), p.2

Binh House

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Precedent Project 1 Project: Binh House Architects: Vo Trong Nghia Architects Project Year: 2016 Location: Ho Chi Ming City, Vietnam Sketch (Fig.5)

Design futuring is not only about slowing down the rate of defuturing, but also redirecting people towards far more sustainable modes of planetary habitation. The Binh House in Ho Chi Ming City would be one of a valuable precedent to be studied. ROOF PLAN (Fig.1)

2/F PLAN (Fig.2)

1/F PLAN (Fig.3)

G/F PLAN (Fig.4)

Background: In the far south of Vietnam, the once lush and green Ho Chi Ming City has succumbed to the strains of the population growth and urban density. The local Park and Greenery Office estimates the city’s green space a little over a single square metre per capita, which is far from the World Health Organization’s recommended guideline of 8 square metre. Therefore, the local firm Vo Trong Nghia Architects responded to the need with Binh House, which strives to address the city’s shocking low green area. The Contribution to The Field of Ideas: The design is very revolutionary and instigating change of the normal, basic and radical design. Under the urban environment of HO Chi Ming City, instead of compromising on the restriction of land and development, the architects provided an alternative way of house design, which is to provide a better quality of life with residential designs that invite families to live among trees. The way they expand the future was to help to grow the consensus of people occupying a wide range of positions including design professions, academy and the corporate sector too see the possibilities of using such sustainable way to satisfy the demand from the clients. In an urban environment where green space is a major concern, it is believed that this kind of sustainable design would continue being appreciated and finally form a design trend among the corporate sector.

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Binh House

Elevation View (Fig.6)

The Contribution to The Site and The Inhabitants:

Interior View (Fig.7)

The design also satisfies the basic requirement for a residential house. This house was designed for three generations of the same family, a balanced combination of communal and private spaces should be provided to the inhabitants. The architects used the different orientation of greenery to separate these spaces in a way that the inhabitants could have a feeling of embracing the nature with the tropical vegetation. It is very appreciated that the design was not only to meet functional and aesthetic concerns, but also to create a means for people to connect with nature by composing of a collection of independent concrete volumes that act as pots for trees and other plant life interspersed throughout the dwellingâ&#x20AC;&#x2122;s inhabitable spaces. (Fig.6)

Interior View (Fig.8)

Jean Moulin High School

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Precedent Project 2 Project: Jean Moulin High School Architects: Duncan Lewis and OFF architecture Project Year: 2016 Location: 08500 Revin, France

G/F PLAN (Fig.9)

Background: This is the Jean Moulin High School project conducted by Duncan Lewis and OFF architecture. The location of school is on a verdant site in Revin, France, overlooking the River Meuse. It was a reconstructed project since the original structure was erected in 1966, the high levels of asbestos and the incongruity between the buildingâ&#x20AC;&#x2122;s morphologic and the landscape prompted a competition for an overhaul. Moreover, the factories in the city are closing, the school wanted to attract more young people to study in the region. The Contribution to The Field of Ideas: The design of the building is very revolutionary as it is totally different from normal radical school. Normal modern school would be probably combined by different blocks sitting on the site to provide basic functions, while this school was built to be blending into the terraces of the site. The design style is actually providing an alternative way of design a school which encouraging a more sustainable design style among the corporate sector.

ROOF PLAN (Fig.10)

SITE PLAN (Fig.11)

The idea of designing the school was inspired by the terraced rice fields of Chinaâ&#x20AC;&#x2122;s Yangshuo district. The architect, Duncan Lewis, has focused on the relationship between architecture and landscape. As a result, the design team took the agriculture practice of terrain cut into mountains terrain as a model for this design. The concept was then to transform the building into an iconic, ecological school that would be elegantly interpreted into the landscape.

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Jean Moulin High School

Aerial View (Fig.12)

The Contribution to The Site and The Inhabitants:

Overview (Fig.13)

Regrading the site contribution, the architects strived to maintain both the harmony and the balance between the construction system and the environmental system. As a result, the school was designed to follow the contours of the site. There were totally nine levels built to follow the slope of the land. Furthermore, vegetation on the roof improves ventilation and further integrates the project into the environment. Meanwhile, concerning the inhabitants, the architect tried to create something that would encourage reverie. As a result, the design gives all classroom views of the surroundings. With ramps and short-cuts to classrooms, the requirement of handicap access was also fulfilled.

Interior View (Fig.14)

A2 Design Computation

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A2. Design Computation Evolution of design processes:

From Craftsmanship to Design Computation

Regarding the evolution of architectural design processes, from the ages of craftsmanship to the ages of scale drawing and model, the design process of architecture has already been evolved into an even more incredible age, which is the design computation. The architectural design becomes the thinking of architectural generation through the logic of topological and parametric algorithm thinking.

also reluctant to the actual building site.3 The advantage of using drawings to express the design of building is to convey the message in an unambiguous way by providing plans, elevations and sections. However, when the drawings were being more abstract for client to understand and interpret, the advent of 3D model becomes the tool to test and show the visual effect and structural support of the design.

When the emerging of digital design and technology form the edge of producing architectural design in response to the conditions of the environment, this is an age where digital informed design can actually produce a new generation of design process. In the light of this, the evolution of the design process will be discussed and see how the evolution supports the technology and digital design in a way that to be a more efficient and incredible design process.

Nevertheless, the innovative technologies for computation have been well developed to encourage designers or architects to use them as a design method to extend their abilities to deal with the increasingly complex situation.

When it was the craftsmanship ages, buildings were constructed by a master mason with an extraordinary and well-trained army of craftsmen, who were entrusted with every detail of the buildings. Since there were the buildings were unplanned, or undersigned, there were no drawings or models to follow. As a result, the construction process was very slow and not easy to adapt the new technologies and styles.1 Since the architects wanted to facilitate the design process, which would allow them to plan the entire building before construction started and to communicate with builders, the craftsmen ages were then renounced and came to the scale drawings and models ages. Regarding the scale drawings and models ages, architects ceased to be technicians supervising the construction project on-site and become designers who expressed their professional skills through drawings.2 Therefore, training in painting, drafting, and theory became more important than practical experience in construction. Leon Alberti was the architect representative at that time as not only did he lack practical building experience, but he was

The fascination behind design computation is that it gives a potential to provide inspiration which can go beyond the intellect of the designer, through the generation of parametric or topological design, giving unexpected design outcomes. Performance analysis software such as Rhino together with the integrated parametric modelors such as grasshopper allows a multiplicity of variable instances to be created by changing the values of parameters within a schema of relationships.4 As a result, they can help to produce digital linkage of form generation and performative form finding, exploring more possibilities of the aesthetic aspect, the tectonic material aspect and so on. At the same time, communication between building professionals can be greatly improved through computation. It is because the performance feedback of the digital model and the architectural design environment can be given by computation, increasing the working efficiency between architects, engineers and clients. With the assistance of computation, it is believed that digital morphogenesis will emerge as a prominent model of informed performative architecture design which encouraging infinite creativities to create a more creative and unexpected world for people.

1. Kalay, Yehuda E. (2004). Architectureâ&#x20AC;&#x2122;s New media: Principles, Theories, and Methods of Computer-aided Design (Cambridge, Ma: MIT Press), p.7 2 Kalay, Yehuda E. (2004). Architectureâ&#x20AC;&#x2122;s New media: Principles, Theories, and Methods of Computer-aided Design (Cambridge, Ma: MIT Press), p. 8 3. Kalay, Yehuda E. (2004). Architectureâ&#x20AC;&#x2122;s New media: Principles, Theories, and Methods of Computer-aided Design (Cambridge, Ma: MIT Press), p.8 4. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecturue (London; New York: Routledge), p.3

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A2 Design Computation

“When Architect have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” – Brady Peters

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, p.15

Dongdaemun Design Plaza

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Precedent Project 1 Project: Dongdaemun Design Plaza Architects: Zaha Hadid Architects Project Year: 2014 Location: Soul, South Korea The Dongdaemun Design Plaza is a cultural and exhibition centre dedicated to design, technology and art, which construction has changed an entire city block in the Dongdaemun commercial district of Seoul. The computation skills used by Zaha Hadid Architects designed can not only widen architecture studentsâ&#x20AC;&#x2122; horizons, but also show a wonderful example for students to see what parametric design can achieve.

Interior View (Fig.15)

The design process, as mentioned in the reading, is formalized in 1960s and consists of four intertwined phases: problem analysis, solution synthesis, evaluation and communication.1 Regarding how computation affects the design process in this project, it enables a continually test of ideas and abide the constraints, together with expanding the access to inform and open up the design process for more professionals to become involved. In regards of the solution synthesis part, the parametric modelling techniques enabled to continually test and adapt the design to an ever-evolving clientâ&#x20AC;&#x2122;s brief as well as to accommodate unforeseen site conditions and local legal and regulatory requirements. Moreover, regarding the evaluation and communication part. Affected by using Building Information Modelling, a more effective way is allowed for architects and engineers to generate and exchange collaborative digital models. As a result, the design can be refined more efficiently.

Interior View (Fig.16)

Exterior View (Fig.17)

Architecture students, therefore, can imitate the way they have done to the design studio project, using the parametric design methods to explore the possibilities for their own design project as many as possible by controlling the parameters to certain extent. Meanwhile, students can also keep on checking the structurally stability for their design by using computation digital techniques. As a result, students can consolidate the whole design approaches to their design projects by computation.

1. Kalay, Yehuda E. (2004). Architectureâ&#x20AC;&#x2122;s New media: Principles, Theories, and Methods of Computer-aided Design(Cambridge, Ma: MIT Press), p. 10

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Dongdaemun Design Plaza

Overall View (Fig.18)

Furthermore, the computation technologies also enable a wide range of conceivable and achievable geometries to articulate the façade of Dongdaemun Design Plaza. The Dongdaemun Design Plaza is especially striking for its exterior envelope, clad with over 45,000 mosaic-like perforated metal panels.2 The surface that Aluminium panels created with different dimension and curvature was inspired by decorative patterns of Korean tradition. By using the parametric and topological design software, such tectonic richness was easily manipulated by changing the values of parameters within a schema of relationships.

night, when the micro-holes of the facade allow light to emerge from inside the building, somehow “dematerializing” it.3 Student, as a result, can take this as reference to think of their future designs with an alternative that involving a changing or non-stable skin. And the most importantly, it is not impossible by manipulating the parametric design methods. 2-3: Francois-Luc Giraldeau, (2014), Mark Magazine, Dongdaemun Design Plaza by ZHA- Zaha Hadid Architects. Retrieve from: http://www.mark-magazine.com/news/dongdaemun-design-plaza-by-zaha-hadid-architects

To student, this is the most inspirational part as the precedent has shown that how parametric and topological design can preciously achieve those incredible and interesting geometries. The density and the overall logic of the perforation patterns of the plaza façade are precisely defined by parametric controls, creating visual effects depending on the lighting conditions and seasonal changes. During the daytime, the building looks solid and metallic; while at night, when the micro-holes of the facade allow light to Facade Composition (Fig.19)

Cellular Tessellation pavilion

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Precedent Project 2 Project: Cellular Tessellation Pavilion Architects: Chris Knapp,Abedian Architecrure Project Year: 2014 Location: Sydney, Australia Cellular Tessellation Pavilion is located in coordination with Sydney Harbour Bridge and the Sydney Opera House. The innovative computation technologies they used here can exist as paradigm for architecture students to take as a reference to help their future design project by using similar computation digital design methods.

Plan (Fig.20)

Section (Fig.21)

Regarding the tectonic richness, the geometry and componentry of the Cellular Tessellation pavilion were created and resolved by the innovative computation and generation technologies. There are 380 unique cells were design by the parametric algorithmic design to be comprised as Aluminium sandwich panels to ensure the primary pavilion structure, each cell is infilled with acrylic sheet and clad with HDPE skin to house 200 lineal metres of LED diodes.1 The way they designed and constructed the compositions can inspire architecture students to manipulate those incredible and complicated geometries to be even more achievable for their own design studio project. Moreover, the computation technology not only contributed to creating geometric expression, but also the performanceoriented designing, which could be consistently checking and fixing the possible errors during the parametric design process. The algorithm has various error checking and correction methods for dealing with edge collapse, non-planar frame faces, and cell collisions, which were rare in actual practice, so as to manage the complexity of these operations.2 The computing technology here can help students, as designers, to control and refine the accuracy of digital fabrication of the design models in the later stage of the design studio project. Last but not least, the algorithm also provides various useful quantitative outputs such as overall structure dimensions, total area and volume calculations for the various materials, total cutting perimeters, and the total quantity of bolts, spacers, and LED lighting strips required to procure the project.3 These benefits could help to improve the efficiency of not only the workflow between architects and engineers, but also the design studio projects for students within the design process, so as to make the most informed design decisions within a compressed working period.

Composition (Fig.22) 1-3: Amelia Taylor-Hocheberg, (2014), Architect Features, Student Works: Cellular Tessellation pavilion lights the way in Sydney. Retrieve from: http://archinect.com/ features/article/117185429/student-works-cellular-tessellation-pavilion-lights-theway-in-sydney

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Cellular Tessellation pavilion

Exterior (Fig.23)

Interior (Fig.24)

A3 Composition and Generation

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A3. Composition and Generation Conceptual changes instigated by computing Architectural designs are now experiencing a shift from drawing to the algorithm as the method of capturing and communicating designs. In the past, ideas are most likely inspired by abstract sketches or conceptacle model, but they are now tending to be inspired by manipulating a multitude of parameters. Without doubt, by manipulating the parameters within a certain schema, digital computation can provide a bunch of alternatives to construct figurative compositions or abstract things which could finally be transfer into architecture. As a result, computation has earned a recognisable reputation in creating parametric and topological design compositions as they can provide inspiration and go beyond the intellect of designer through the unexpected results as generations.

Critical reflection on digital generation in architectural process However, as students participating in the discussion of digital design process from composition to generation, it should be aware of as an architect, they should be a “lone gun” or a “integrated designer”.1 In other words, a computational designer should either stay at the stage of creating complex-3D composition only, or paying attention to apply the conceiving of composition with the whole integration of particular project and practice as generation when creating the composition. Such discourse is arousing the reflection on what the ultimate goal is for the computation design. Obviously, they were designed to achieve better design for human being. Therefore, a computation manipulating project should not be an isolated craft which only strived for the complexity of how a composition or even a project can be captured. Instead, it should be an integrated form of generation with certain environment and functions. More importantly, the result must be communicated and reflected upon. The following projects Cirriform façade & Air Flower façade have incorporated both constructing complex composition and applying particular practice and giving performance feedback during the design process. As a result, satisfactory generations were achieved.

1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, p.15

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A3 Composition and Generation

“There is the danger that if the celebration of skills is allowed to obscure and divert from the real design objects, then scripting degenerates to become an isolated craft rather than developing into an integreted art form.” – Brady Peters

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, p.15

Cirriform responsive faรงade

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Precedent Project 1 Project: Cirriform responsive faรงade Architects: Jason Kelly Johnson Project Year: 2012 Location: Seattle, Washington Cirriform faรงade is a precedent project showing how can a composition be achieved by complex geometry, together with the overall integration with practice to the final generation. Regarding the synthesis of ideas and composition, they were inspired by the cirriform from the sky. However, cirriform is such an abstract thing that it is transparent cloud formation and hard to predict the vivid form of it. By design computation, the most ideal composition can be crafted and refined by grasshopper. Meanwhile, the complexity of the composition had been conquered. Plan & Elavation (Fig.25)

Composition (Fig.26)

Further than that, during the process of stepping from composition to generation, the design team took the interaction between the design and human being into account, which pursuing not only a formation of complexity, but also to explore the possibilities of interactive architecture. Hence, digital computation act as a transitional design tool to apply the consideration of interaction into the composition. The conceiving idea was that, as visitors walk towards, the faรงade, their proximity triggers the rotation of hundreds of small illuminated crystalline components. Within the design process, the prototpyes used Firefly and Grasshopper to iterate through many design possibilities, fluidly working back and forth between the digital and the physical realms with ease. 1

In this regard, the composition and the generation controlling by the parametric modelling and scripting can be both dealing with complexity of geometry as composition and integration of the whole practice for generation.

Facade detail (Fig.27)

1. Andrew O Payne, Jason Kelly Johnson, (2013), Firefly: interactive Prototypes for Architectural Design, Achitectural Design, p146

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Cirriform responsive faรงade

Facade outlook (Fig.28)

Interaction with people (Fig.29)

Interaction with people (Fig.30)

Air Flow(er) façade

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Precedent Project 2 Project: Air Flow(er) façade Architects: Andrew O Payne/LIFT architects Project Year: 2009 Location: /

Here is other precedent showing the achievement of generation, which acted as an integrated part with the actual practice from the complex composition. Different from the last precedent, the idea here is not as abstract as that in the Cirriform façade. The synthesis of idea is from the yellow crocus as its petals will open wide when exposed to warmer temperature. Which means the design team took the most significant feature of a particular flower, which will respond to a temperature shift from cold to warm, as their conceptual way to develop the composition. Similar to the last precedent, during the progression from composition to generation, the design team here took a further step to consider how the configuration of the composition can help to integrate the actual practice with the generation so as to achieve the goal of regulating the airflow and interior temperature of the building.

During the design process, from composition to generation, the computation and parametric design allowed the designer to explore multitudes of design possibilities. They used Firefly as a plug-in for grasshopper to quickly test various configurations and designs using real-world data to drive interactive, or ‘live’, digital models.1 As a result, they can make the prototypes to test the capacity of the air flower façade to respond to the exterior stimuli, such as light, movement and wind. Finally, the generation of the design form a double skin façade. In the summer, the cavity between the inner and outer skin could be vented out of the building through an automatic response to rising temperatures, decreasing the cooling load on the building’s mechanical equipment. In the winter, a double-skin facade can act as a passive solar heater by using the Air Flow-er to seal the cavity and using the absorbed radiation to minimize the façade heat loss. 2 In this regard, the final generation can form as an integrated part of practice which could provide sustainable function as a building façade but only decorated as a complex formation of geometry.

behavior of facade under different temperature (Fig.31)

1-2: Andrew O Payne, Jason Kelly Johnson, (2013), Firefly: interactive Prototypes for Architectural Design, Achitectural Design, p144

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Air Flow(er) faรงade

Elevation of facade (Fig.32)

Synthesis of facade in parametric interphase. (Fig.33)

Behavior of yellow crocus in different temperature (Fig.34)

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A4. Conclusion

The design approach I intended to achieve is creating a sustainable design by providing alternative and critical design. Since we are all confronting the problem of defuring and the way to escape from that is only by design futuring by creating more sustainable design and redirect a new path of design approach for human being. I would like to strive for a sustainable design approach through problem solving paradigm. To begin with, I should set the goals and constraints. After that, in order to find out the solution of design sustainably, I should generate successive solutions and tests them against the stated goals and constrains, until one is found to meet them. From what I learnt in the past weeks, design computation would be a perfect way to help me to achieve such plan as it could provide inspiration for me and go beyond my intellect through the generation of unexpected results by parametrical and topological design. It can also give me the abilities to deal with the highly complex situations. The significant of designing sustainably is apparently to design a better future for the future generations as the situation of defuring is crucial now. What we should do, as a future architect, is to concern more about the future but not just focusing on now. What I hope is I can come up with a design which is not to consume their resources previous but to retain as much as possible for them.

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A5. Learning Outcome What I have taken away from these few weeks studies is that I fully recognised the crisis of defuturing and what we must pursue to do in the future is to design furing. Which means we should all offer alternative ways for our design and provide new ideas to replace the existing normal. Most importantly, design computation is exactly providing the opportunities for us to strive for alternatives and critical designs as it can go beyond the intellect of us through the generation of unexpected results. The new knowledge such parametric design through grasshopper will alter a lot of my past design products. It is because design parametrically in architecture requires a considerable shift in thinking. Rather than abstract sketches and massing model exploration, algorithmic thinking requires the understanding of the results of the generation codes, learning how to modify the codes and explore new options. Therefore, what I have design in the past would be totally different from ordinary composition of grid and combination of boxes to the generation of complex geometries with incredible streamline. As a result, the tectonic richness would be greatly enhanced. One should be aware of is rather than pursue the complexity of our formation or the parametric manipulation results only, we should all think about the generation as an integrated part of practice to provide sustainable function of design. Since the significance of design is to create a better future, making the world to stay in a more desirable situation, but not only showing off our computation skills. Approaching the next phrase of our design project, it will be important keep on learning the design computation method to discover new creative alternatives of design. However, it is more important to remember parametric and topological design are not tools to show off computation skills, but to achieve a more sustainable design in a more alternative way. And that is design futuring.

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A.6 Appendix 1. Fig.1-8: Hiroyuki Qki, Quang Dam, Binh House, Achidaily. Retrieve from: http://www.archdaily.com/868963/binh-house-vo-trong-nhia-architects 2. Fig.9-14: Mattieu Tregoat, Cyrille Weiner, Jean Moulin High School. Retrieve from: http://www.archdaily.com/804930/jean-moulin-high-school-duncan-lewis-scape-architecture 3. Fig.15-19: Virgile Simon Bertrand, Dondaemun Design Plaza, Mark Magazine. Retrieve from: http://www.mark-magazine.com/news/dongdaemun-design-plaza-by-zaha-hadid-architects 4. Fig.20-24: Patrick Boland photography, Cellular Tessellation pavilion, Architect Features. Retrieve From: http://archinect.com/features/article/117185429/student-works-cellular-tessellation-pavilion- lightsthe-way-in-sydney 5. Fig.25-30: Future Cities Lab, Cirriform Faรงade. Restrieve from: www.future-cities-lab.net/cirriform/ 6. Fig.31-34: Lift Architect, The air Flow(er). Retrieve from: www.lifearchitects.com/air-flower/

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Algorithmic Sketch (1) Twisting - Forms of Transition

The original prism was constructed by three poly-curves vertically. With the greater angle or different direction rotated with the curves, the original prism will distort in a greater extent. It is inspiring as the original prism will transit to another interesting form after adjusting the rotation direction and angles. The skills here can help me to explore more possibilities of transition different complex geometries to create even more incredible composition.

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Algorithmic Sketch (2) Attractor Point

One Attractor Point

Two Attractor Points

By using attractor point, we can manipulate the size of spheres or other 2D/3D geometries in particular areas. Therefore, by applying multiples of attractor will create complex but interesting patterns on certain mesh.

Multiple Attractor Points

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Algorithmic Sketch (3) Voronoi- Exploration of Mass

This is a new knowledge that I can use to explore the massing idea of my future design project. In the past, I would usually use some physical boxed, sticks, or panels to explore the design massing idea. But the method here is more effective and efficient to generate a lot of possible massing form approaches. Moreover, the interface can not only allow me to explore the exterior form, but also the interior space and structures.

Part B. DESIGN CRITERIA

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‘Major options are Evaluated, Tested, and Selected.’ CF. AIA National AIA and AIA California Council, Intergrated Project Delievery: A Guide, p. 25

B1 Research Field

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B.1. Research Field: Sectioning Digital design methods benefit a tremendous design approach and idea exploration. Sectioning will be the one of such design methods that allowing designer to deal with increasingly complex geometric design, which is the most compelling field of parametric design. In this chapter, precedents will be discussed to figure out how the evolution of sectioning design approach contributes to the significance of design in sectioning attempt in terms of parametric design. Before sectioning is distinctly within the domain of digital techniques, it has a long history in the construction industry. Objects such as airplane bodies and boat hulls were first defined as sectionally as a series of structural ribs, then clad with a surface material as lofting in digital design software to clad a layer of surface by building curved sectional profiles.1 After that, with the arrival of the modern movement, sectioning took its first step into the reconceptualization as a new attempt to establish nonstandard forms of architecture. The reconceptualization is based on, rather than construct the surface directly, sectioning enables a series of profiles as continuity of edges to follow lines if surface geometry.2 As a result, the streamlined profiles and sections can be assembled as a way to create complex surface geometries and structure. Therefore, during the predigital era, such sectioning construction technique, which was used in crafting airplane body, was adopted by architects to produce irregular building form. Le Corbusierâ&#x20AC;&#x2122;s Chapelle Notre Dame du Haut (Ronchamp) would be a distinct example of such design approach. Similar to designing airplane bodies or boat hulls, the roof of the Chapel at Ronchamp (Fig.1) was designed and built as a series of structural concrete ribs.3 As a result, a lightweight structure but irregular form of roof was designed and constructed.

Stepped in the digital era in 21st century, digital design methods are further exploited for sectioning to flourish as a mode of design approach. Not only one part of the building, such as the roof in Ronchamp, can be designed and constructed in irregular architectural form, but also the entire space of design can be strived into irregular form with complex geometries to articulate a more interesting and efficient use of space, function and materials by sectioning design approach. Which means, by taking the advantage of sectioning, architects could use the edge profiles to describe surface through implied visual continuities to merge and perceptually elevate the relation of form and material tectonic.4 Dunescape (Fig.2), by SHoP Architects would be the wonderful example of it. Dunescape was built completely as a series of parallel, stacked lumber. Hence, the visual continuities of sections implied the various allocation of surface in different inhabitable space. Moreover, the apertures between each section allow different intersection of light from different angle. As a result, the sectioning can finally create various both spatial and visual experiences for people who move in or engage around the architectural composition. From these two precedents, it can be observed that how sectioning can provide a manifestly different experience within a particular space and create a coherent whole for people to engage. By the involvement of parametric modelling and algorithmic techniques, sectioning could be evolved from a lightweight irregular form of building part to a visual continuity which merging the relation of form and the material tectonic together. However, section still has its potential to be expanded and further explored to achieve an even more seamless design result.

1. Iwamoto, L. Digital Fabrication: Architectural and Material Techniques, (Princeton Architectural Press: New York, 2009), p10 2. Iwamoto, L. Digital Fabrication: Architectural and Material Techniques, (Princeton Architectural Press: New York, 2009), p10 3. Weber, N.F. Le Corbusier: A life, (Alfred A. Knoof: New York, 2008), p669 4. Iwamoto, L. Digital Fabrication: Architectural and Material Techniques, (Princeton Architectural Press: New York, 2009), p12

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B1 Research Field

Chapel at Ronchamp Le Corbusier, 1954

Fig.1

B1 Research Field

To take further step of sectioning design approach, the design stream should not be merely form-making attempt, meanwhile, the exploitation of space should also be considered. As a result, not only the form and the material tectonic can be merge into an entire whole, but also the contrast of light and darkness, stillness and movement within a space can be explored to offer user a complex but not messy space to experience and enjoy.

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Dunescape SHoP Architects, 2010

Fig.2

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B2 Case Study 1.0

B.2.0 Case Study 1.0

BanQ Restaurant Office dA, 2008 Fig.3

Normally, sectioning is taking cuts through a formed three-dimensional object. However, in this project, a photo sample was used as a main control parameter to manipulate the extension of sectioning cutting from the ceiling to the floor. By using edge profiles, it could describe the surface through implied visual continuities and taking advantage of merging and elevating the relationship of the extension form of tectonic materials (timber).

Fig.4

After studying this precedent, similar method of using photo sample to explore the possibilities of sectioning cutting would be a starting point. After that, further steps would be taken to move away from the original definition of a given examples, and seek for demonstrating a more innovative possibility of sectioning.

B2 Case Study 1.0

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B.2.1 Iterations The First Species Test Goal:

It assessed the visual and system continuity of a sectioning system under different extent of fluctuations in vertical or horizontal cutting profiles.

Surface Divide U: 2 V: 10 on AB & CD plane

Sur U: V: 8 on

Surface Divide U: 2 V: 10 on AB plane

Sur U: V: 8 on

Surface Divide U: 2 V: 10 on CD plane

Sur U: V: 8 on

Key Parameters:

Surface was divided on an image sample, then use bounding box to cut in both horizontal and vertical ways.

Limitation:

The fluctuations of the sectioning surface depend on the image sample, the further variations of the section surface were then restricted.

The Second Species Test Goal:

It assessed more on the arrangement of the curved section profiles which are standing on a curved surface, creating spaces that are sparse or dense.

Vector of the curve x: 5 y: 5 z: 5

Key Parameters:

Set curved lines as control lines to variate the sectioning on the curved surface, multi-direction of sectioning could be created.

Limitation:

The structure of the sectioning cannot be established when dragging the curve lines too far away from the curved surface.

Vector of the curve x: 25 y: 25 z: 5

The Last Species Test Goal:

It was focused on the sectioning system which is no longer attached on a surface, but a metaballs algorithm form finding. The vertical and the horizontal ways of cutting define a more organic form.

Key Parameters:

Populate 2D to variate the combination of the metaballs. Range was used to control the dimension of the mataballs.

Count (N): 12 Seed (S): 20 on XY plane

Co See on

Count (N): 12 Seed (S): 20 on XZ plane

Co See on

Count (N): 12 Seed (S): 20 on XY & XZ plane

Co See on

Limatations:

The form of the generation in metaballs was configurated by random combinations. As the result, the way of development in metaballs could not be controlled.

rface Divide 4 8 AB & CD plane

rface Divide 4 8 AB plane

rface Divide 4 8 CD plane

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Surface Divide U: 6 V: 8 on AB & CD plane

Surface Divide U: 6 V: 8 on AB plane

Surface Divide U: 6 V: 8 on CD plane

Vector of the curve x: 15 y: 5 z: 10

Vector of the curve x: 20 y: 5 z: 10

Vector of the curve x: 25 y: 15 z: 5

Vector of the curve x: 25 y: 10 z: 8

B2 Case Study 1.0

Surface Divide U: 8 V: 8 on AB & CD plane

Surface Divide U: 10 V: 10 on AB & CD plane

Surface Divide U: 8 V: 8 on AB plane

Surface Divide U: 10 V: 10 on AB plane

Surface Divide U: 8 V: 8 on CD plane

Surface Divide U: 10 V: 10 on CD plane

Vector of the curve x: 25 y: 5 z: 10

Vector of the curve x: 15 y: 3 z: 7

Vector of the curve x: 15 y: 5 z: 10

Vector of the curve x: 15 y: 4 z: 8

ount (N): 14 ed (S): 25 XY plane

Count (N): 14 Seed (S): 30 on XY plane

Count (N): 12 Seed (S): 35 on XY plane

Count (N): 12 Seed (S): 40 on XY plane

ount (N): 14 ed (S): 25 XZ plane

Count (N): 14 Seed (S): 30 on XZ plane

Count (N): 12 Seed (S): 35 on XZ plane

Count (N): 12 Seed (S): 40 on XZ plane

ount (N): 14 ed (S): 25 XY & XZplane

Count (N): 14 Seed (S): 30 on XY & XZ plane

Count (N): 12 Seed (S): 35 on XY & XZ plane

Count (N): 12 Seed (S): 40 on XY & XZ plane

B2 Case Study 1.0

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B.2.2 Selection Critiria The grasshopper could produce infinite iterations of different species through manipulating different parameters, iterations should be assessed and selected in critical way. In order to achieve this, a criteria list has been set up to satisfy the our tutorial brief as to design an acoustic pod for an office.

Light and Shadow Effect:

The apertures between each section profiles have allowed for a play of light, creating different experience as the user moves around the composition.

Successful visual continuity:

Visual continuity is built at the how the section profiles has been arranged in a seamless way to articulate the surface of the iteration. Such successful visual continuity can make more sense of aesthetic and harmony.

Constructability:

Not only the structural stability should be ensured, ease and efficiency should also be achieved by the exploration of iteration.

Flexibility:

Since it is an acoustic pod in an office, flexibility should be strived by the establishment of the composition to make the internal space be more flexible for people to use.

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B3 Case Study 2.0

B.2.3 Chosen Iterations

Surface Divide U: 2 V: 10 on CD plane

It was discovered that, the higher the fluctuation of the sectioning surface, the more the section profiles are required to achieve the system continuity. Therefore, the first chosen iteration has the best result of the horizontal section cutting, while the second chosen iteration has the best result of the vertical section cutting. Moreover, the constructabilities of the first two iterations are easy to achieve. The third chosen iteration has presented a hierarchy of space. The ability of playing around the density of sectioning was discovered. Unexpected effect of light and shadow would be created dramatically. The lasting chosen iteration has presented the most ideal organic form of the sectioning cutting by using meatball, creating an interesting internal space and circulation path. However, all the iterations were all unable to be regarded as a flexible structure or composition as they are restricted to its original form of geometries. Flexibilities should be regarded as a main problem in the coming tasks. â&#x20AC;&#x192;

Surface Divide U: 6 V: 8 on AB plane

Vector of the curve x: 25 y: 5 z: 10

Count (N): 12 Seed (S): 35 on XY plane

B3 Case Study 2.0

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B.3.0 Case Study 2.0

Lignum Pavilion Office dA, 2008 Fig.5

The Lignum Pavilion is good example of using edge profiles to describe surface through implied visual continuities and to merge the relationship of form with material tectonic. The design process was fully digitalized and allowed for maximum optimization in terms of form creating and material assembly. Instead of cutting the original Brep of â&#x20AC;&#x153;Figure-8 knotâ&#x20AC;? directly, it introduced a box as subtraction to the original geometry. As a result, an expected form and interior space were created. The flexibility of the model is good as, instead of using a box, different ways of subtraction can be also utilized to create another interesting form and interior space for people to experience.

Fig.6

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B3 Case Study 2.0

B.3.1 Reverse-Engineer

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B3 Case Study 2.0

Constructing Process

STEP 1

STEP 3

STEP 5

STEP 2

STEP 4

STEP 6

B4 Development

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B.4.0 Technique: Development The First Species Test Goal:

It assessed the visual and system continuity of a sectioning system under different extent of fluctuations in horizontal cutting profiles. See how the section arrangement can change the inherent solidity.

Vector of the curve x: 10 y: 0 z: -1 on XY plane

Vector of th x: 10 y: 0 z: 0 on XY plane

Vector of the curve x: 0 y: 0 z: 10 on XZ plane

Vector of th x: 1 y: 0 z: 9 on XZ plane

The Second Species Test Goal:

It assessed the visual and system continuity of a sectioning system under different extent of fluctuations in vertical cutting profiles. See how the section arrangement can change the inherent solidity.

The Third Species Test Goal:

It assessed more on the arrangement of section profiles cutting according to the streamline of the original geometry. See if it would be a better way to articulate the â&#x20AC;&#x153;Figure-8 knotâ&#x20AC;? geometry surface and internal space.

Offset from Series Offset Distance: 12 On BD line

Offset from Offset Dist On BD line

The Foruth Species Test Goal:

It assessed more on the arrangement of section profiles cutting base on random geometry outline. See how the original section cutting can be altered. Offset Distance: 5

Offset Distanc

The Fifth Species Test Goal:

It assessed more on the arrangement of section profiles cutting following the perimeter of different polygons, from triangle to square, and finally to a regular dodecagon. See how the original section cutting can be altered. Polygon Sides: 3

Polygon Sides: 4

he curve

m Series tance: 10 e

ce: 10

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Vector of the curve x: 10 y: 0 z: -3 on XY plane

Vector of the curve x: 1 y: 0 z: 8 on XZ plane

Offset from Series Offset Distance: 20 On AD & BC line

B4 Development

Vector of the curve x: 10 y: 0 z: -4 on XY plane

Vector of the curve x: 3 y: 2 z: 6 on XZ plane

Offset from Series Offset Distance: 30 On CD line

Vector of the curve x: 10 y: 2 z: -5 on XY plane

Vector of the curve x: 1 y: -2 z: 7 on XZ plane

Offset from Series Offset Distance: 40 On CD line

Offset Distance: 15

Offset Distance: 20

Offset Distance: 25

Polygon Sides: 5

Polygon Sides: 6

Polygon Sides: 7

B4 Development

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The First Species Limitation:

Even the visual continuity can be achieved, the horizontal profiles cannot withstand by themselves. The structural stability is the main concern.

Vector of the curve x: 10 y: 0 z: 2 on XY plane

Vector of th x: 10 y: -2 z: 2 on XY plane

Vector of the curve x: 0 y: -5 z: 10 on XZ plane

Vector of the x: 5 y: 0 z: 9 on XZ plane

The Second Species Limitation:

The vertical sectioning profiles can withstand by themselves. However, the over inclined vertical sectioning profiles could affect the interior space.

The Third Species Limitation:

Unexpected ways of cutting sectioning profiles were generated, flexibilities of the original composition were achieved. However, most of them were structurally dangerous.

Offset from Series Offset Distance: 12 On AD line

Offset from Se Offset Distanc On BC line

The Foruth Species Limitation:

Unexpected ways of cutting sectioning profiles were generated, flexibilities of the original composition were achieved. However, most of them were structurally dangerous.

Offset Distance: 15 Extrude: 10

Offset Distanc Extrude: 10

The Fifth Species Limitation:

Unexpected ways of cutting sectioning profiles were generated, flexibilities of the original composition were achieved. However, most of them were structurally dangerous. Polygon Sides: 8

Polygon Sides: 9

he curve

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Vector of the curve x: 10 y: -3 z: 3 on XY plane

e curve

Vector of the curve x: 5 y: 1 z: 8 on XZ plane

eries ce: 10

Offset from Series Offset Distance: 20 On BC line

ce: 10

B4 Development

Vector of the curve x: 10 y: -4 z: 4 on XY plane

Vector of the curve x: 3 y: 5 z: 3 on XZ plane

Offset from Series Offset Distance: 30 On BC line

Vector of the curve x: 10 y: 0 z: 5 on XY plane

Vector of the curve x: 1 y: 5 z: 3 on XZ plane

Offset from Series Offset Distance: 40 On BC line

Offset Distance: 15 Extrude: 8

Offset Distance: 20 Extrude: 8

Offset Distance: 25 Extrude: 10

Polygon Sides: 10

Polygon Sides: 11

Polygon Sides: 12

B4 Development

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B.4.1 Selection Critiria Instead of only finding new ways of cutting the section of Lignum Pavilion, it was attampted to maintain the original function that the precedent provided with new sectioning profiles arrangements.

Light and Shadow Effect:

The apertures between each section profiles have allowed for a play of light, creating different experience as the user moves around the composition.

Successful visual continuity:

Constructability:

Not only the structural stability should be ensured, ease and efficiency should also be achieved by the exploration of iteration.

Flexibility:

Since it is an acoustic pod in an office, flexibility should be strived by the establishment of the composition to make the internal space be more flexible for people to use.

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B4 Development

B.4.2 Chosen Iterations

Offset from Series Offset Distance: 10 On BD line

It was discovered that, by increasing the layers of section cutting, unexpected new forms would be generated. However, most of these composition could only creating complex geometry, but not a constructible or a structural stable composition. Therefore, these iterations were eliminated.

Offset from Series Offset Distance: 12 On AD line

The first and the second iterations were both regarded as successful iterations as they were both providing a structural and visual harmony to the original geometry, maintained the original function of the precedent as a pavilion. The third chosen iteration has presented a totally diferent form of surface. An extended shelter was created by sectioning.

Offset from Series Offset Distance: 40 On BC line

The lasting chosen iteration was basically the same as the first and the second iteration. However, it generated a extra channal from the side to the main circulation pathway of the original pavilion, increasing the flexibility of the original composition. It could be concluded that by exploring more ways of cutting section profile, flexibilities can be achieved feasibly. However, the constructability is still a concern, supporting to the section profiles should be consider in the coming project.

Offset from Series Offset Distance: 30 On CD line

B5 Technique: Prototypes

B.5.0 Prototypes To complete the final project of designing an acoustic pod, grouping is form in this stage. It is because teamwork can provide more potential ideas and technical support to relate the ideas and skills in different research fields to the material assembly. In our group, Georgia was focusing on the Biomimicry research field, which could generate composition in the more organic way by using algorithmic design methods. On the other hand, my approach was focusing on the sectioning, it suggested the seamless structure by playing with the planar components coming together to express another dimension. In this task, we focused on the problem of how we can combine and integrate our individual research fields, which are biomimicry and sectioning, to become as a coherent whole. Not only to consider about the form making, but also how the interior space would be addressed and how these elements can be hold in place. After that, prototypes were made for different design approaches to test the effect and the structure. Finally, reflection on the idea of approaches, including advantage and drawbacks of the approaches, would be discussed.

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B5 Technique: Prototypes

DESIGN PROCESS

HOW TO COMBINE SECTION AND BIOMIMCRY

APPROACH 1 Distinctive Two Systems interlocking

In this approach, we tried to retain the original form of the two systems. By using the idea of interlocking each other, two sides of Sectioning and two sides of Biomimicry could be both reflecting each other, echoing not only the interior, but also the exterior.

APPROACH 2 1+1=1 Two Systems working as one

In this approach, we attempted to integrate two systems working as one system. The geometries of the puzzles pieces were generated in an organic form by biomimicry, after that, connecting them together by sectioning system.

B5 Technique: Prototypes

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B.5.1 Approach One

Inspiration of Sectioning: Form of Creek

Inspiration of Biomimicry: Form of leave vein

Since biomimicry is a more organic composition design approach, hence, the form of the creek was considered to achieved by the sectioning profiles to echo to the organic form of biomimicry.

Georgia was inspired by the precedent “Airspace” in Tokyo, hence, she wanted to demonstrate a layer of dense vegetation creating a new atmosphere space of protection.

ITERATION 1

ITERATION 2

ITERATION 3

Studio Air APPROACH 1 Distinctive Two Systems interlocking The idea of this prototype is the interlocking of both sectioning and biomimicry systems. It was focused on articulating both exterior and interior spaces. The sectioning is not only defining the form, but also the space. As a result, the visual continuity goes through the faces from outside to inside and then back to outside, creating a sense of harmony and comparison. Meanwhile, the biomimicry faces create transparent and spatial effect to both inside and outside of the space. As a result, the light and shadow created from sectioning and biomimicry faces would react to each other, recalling the echo between two faces and the spaces inside and outside.

B5 Technique: Prototypes

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B.5.2 Approach Two 3 sided section peice

The puzzle pieces were generated based on the skills of biomimicry algorithmic design skills, which is a simple 2D voronoi structure. As a result, 3-sided, 4-sided, and 5-sides puzzle pieces were generated. After that, intersections were created on each side of the puzzles. These intersections allowed the puzzles to be joined together as a rigid sectioning system. The width of the intersection has to be the same as the thickness of the material board to provide a stable structural support.

4 sided section peice

5 sided section peice

Studio Air APPROACH 2 1+1=1 Two Systems that work as one Regarding approach 2, it was a more integrated system as both biomimicry and sectioning system could work as one system. Biomimicry generated the geometries of the puzzles and sectioning system provided the structural support. Different possibilities of the integrated system between sectioning and biomimicry had been explored as the compositions would result different geometries by combining different sides of the puzzles. For the composition formed by 3-sided puzzles, it presented as a spiral 3- dimensional geometry. For the composition formed by 4-sided puzzles, it presented in a manner that all puzzles were perpendicular to each other. For the composition formed by 5-sided puzzles, it presented a twisting 3-dimensional geometry.

B5 Technique: Prototypes

B.5.3 Reflection The previous two chapters had discussed about the advantages of the two design approaches. In this part, drawbacks and improving would be the main focus to discuss. Regarding the first design approach, the two parts of faces, both sectioning face and biomimicry faces, are interlocking to each other. However, they are still working as different system and not fully integrated together. Moreover, this is not a perfect design approach as it was only focused on how to combine two systems together but neglected how to satisfy the design script as we are going to design an acoustic pod. Concerning the second design approach, it was a more integrated system in terms of combining sectioning and biomimicry together. However, once again, it was only focused on how to combine two systems together but neglected how to satisfy the design script as we are going to design an acoustic pod. In other words, the compositions formed by different-sided puzzles were just composition and cannot function well as an acoustic pod. Moreover, the compositions formed by different-sided puzzles generated by 2D voronoi were too complicated to be understood and put back in grasshopper to moderate. As a result, we cannot take control over the development of the model or preview the potential approaches of the model in algorithmic design interface. We could just make them by hand to see what would be happened. To move on, we should keep the design approach of integrating sectioning and biomimicry as one functional system as it could be act as a more coherent whole. However, we should step backward to see what could be the other possible ways to develop the system so as to completely fulfilled the requirement of making an acoustic pod. â&#x20AC;&#x192;

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B.6. Proposal According to the design brief, we are going to design an acoustic pod in an office. My design proposal will focus on the functional, flexibility, aesthetic and constructible aspects. Regarding the functional aspect, an acoustic pod should provide an isolated space which is quiet enough for the officer to work. Therefore, the interior should be sound-proofed and maintained as a comfortable interior space for officer to work in. In order to achieve this, sound-insulating or sound-absorbing material such as soft timber or sound insulating foam would consider as a material tectonic. Concerning the flexibility of the acoustic pod, since it is an installation in an office, it should be flexible to adapt the internal use of a multi-functional office. Therefore, sectioning and biomimicry would work to together to explore the possibilities of creating a movable acoustic pod. In other words, it can be enclosed itself to function as an acoustic pod or open itself to serve as general office space. In regard to the aesthetic aspect, sectioning and biomimicry would be integrated as a single system to function. Biomimicry would address more organic form and sectioning would be considered as a structural supporter and seamless system to ensure the aesthetic aspect. More prototypes will be made to study the effect of the combination between sectioning and biomimicry system. Last but not least, constructability is considered. Prototypes would be constructed to consider the structural connections and how can the composition to be erect and withstood itself.

B6 Proposal

B7 Learning Outcomes

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B.7 Learning Objectives and Outcomes

In B1, through readings and precedents studies, I discovered and understand that sectioning is one of the best way to define curved surface by providing a series of planer profiles edges. The way sectioning defines the surface could also give a sense of lightness and smoothness, enabling the visual continuity. And I felt so curious and interested in how to make them in grasshopper through algorithmic design method.

When I was doing B4 (including B2), I also understood the importance of setting criteria for my iterations. Since grasshopper can generate infinite variations of different species, it was impossible to select or to understand what can a iteration can perform without having clear purpose. With a clearer criteria to explore the possibilities of different species, more successful iterations would be achieved.

When it comes B2, I learnt how to generate sectioning profiles. Further than that, I learnt how to uncover the potential of the grasshopper definitions and push them to expose its limits and design possibilities.

Finally when it comes to B5 and B6, my group mate and I encounter another difficult problem, which how to combine the two system in a more coherent whole to generate a better design of acoustic pod. However, during the process we were making the prototypes to test the systems combination, we neglected the importance of fulfilling the design request of design an acoustic pod. As a result, our design approaches and the prototypes could not be specifically fit into the design brief. Therefore, the design brief would be precisely considered in Part C.

After that in B3, the case study once again has widened my horizons, showing that the ways of cutting section should not be restricted to its original geometry. By introducing one more geometry as subtraction or addition could also generate an unexpected experience of space.

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B8 Appendix

B.8.0 Appendix Bibliography: 1. Iwamoto, L. Digital Fabrication: Architectural and Material Techniques, (Princeton Architectural Press: New York, 2009), p10 2. Iwamoto, L. Digital Fabrication: Architectural and Material Techniques, (Princeton Architectural Press: New York, 2009), p10 3. Weber, N.F. Le Corbusier: A life, (Alfred A. Knoof: New York, 2008), p669 4. Iwamoto, L. Digital Fabrication: Architectural and Material Techniques, (Princeton Architectural Press: New York, 2009), p12

Image source: Fig.1 http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier Fig.2 http://archnewsnow.com/features/F0412Images/Feature0412_03x.jpg Fig.3 https://www.yatzer.com/sites/default/files/article_images/1513/BANQ_restaurant_by_Office_dA_photos_by_ John_Horner_at_yatzer_4.jpg Fig.4 http://architizer-prod.imgix.net/media/1379515784673BNQ_AXO_001.jpg?q=60&auto=format,compress&cs =strip&w=1680

B8 Appendix

B.8.1 Algorithmic Sketches

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B8 Appendix

Part C. DESIGN CRITERIA

61 Journal Studio Air

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Journal

â&#x20AC;&#x153;The Detailed Design phase concludes the WHAT phase of the project. During this phase, all key design decisions are finalized.â&#x20AC;? CF. AIA National AIA and AIA California Council, Intergrated Project Delievery: A Guide, p. 25

Design Concept

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Design Concept

C.1.0 Design Concept

Site Analysis

C.1.1 Site Analysis

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Site Analysis

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Site Analysis

Site Strategy Circulation The Circulation in this office mainly depends on the center space. People who are working on both sides can only pass the main entrance through the center space. FORM INSPIRATION In order to optimise the space using in the office, the potential development would be the center space and the empty space on the upper right hand side concer., forming a reversed â&#x20AC;&#x2DC;Lâ&#x20AC;&#x2122; shape. As a result, the space can be activated by the further developement.

Plan

Section AA

Biomimicry idea

C.1.2 Biomimicry Idea flexibility

In order to achieve the flexible using of space in a office, a biomimicry idea was used as reference. This Lizard would open its frill when it is scared. The idea of open and close of frill inspired us to develop a idea of a foldable structure in interior.

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Biomimicry idea

AUSTRALIAN FRILLED LIZARD

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Form Exploration

C.1.3.0 Form Exploration

Definition of the points

Point as entrance: 1 Points as working spaces: 3, 4, 6 Points as connection of working space: 0, 2, 5, 7, 8

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Algorithimic Definition

C.1.3.1 Algorithimic Definition Form exploration from points

To develope the space with a reversed â&#x20AC;&#x2DC;Lâ&#x20AC;&#x2122; shape, points were located in different place and growed by grasshopper definition. Interior movement and space hierachy can be achieved by manipulating the defition of the grasshopper.

Algorithmic Form Finding

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C.1.4 Algorithmic Form Finding

pt 0: 101 pt 1: 110 pt 2: 119

pt 3: 100 pt 4: 93 pt 5: 85

pt 6: 135 pt 7: 99 pt 8:125

pt 0:104 pt 1: 126 pt 2: 96

pt 3: 1 pt 4: 1 pt 5: 8

pt 0: 133 pt 1: 161 pt 2: 128

pt 3: 164 pt 4: 85 pt 5: 161

pt 6: 161 pt 7: 77 pt 8:85

pt 0: 157 pt 1: 160 pt 2: 98

pt 3: 1 pt 4: 8 pt 5: 8

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Algorithmic Form Finding

143 139 85

pt 6: 139 pt 7: 77 pt 8: 77

pt 0: 104 pt 1: 141 pt 2: 123

pt 3: 131 pt 4: 132 pt 5: 107

pt 6: 139 pt 7: 86 pt 8: 99

172 89 84

pt 6: 178 pt 7: 152 pt 8: 143

pt 0: 127 pt 1: 164 pt 2: 111

pt 3: 158 pt 4: 129 pt 5: 124

pt 6: 179 pt 7: 167 pt 8: 164

Define by Section

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C.1.5 Define Space by Sectioning

STEP 1

STEP 3

STEP 5

STEP 2

STEP 4

STEP 6

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Define by Section

Why this iteration?

The iteration is selected based on the hierarchy. As the form generated by grasshopper can maximize the space of working and retaining smooth transformation from connection space to working space, the 4th iteration is selected. FURTHER DEVELOPEMENT In order to make it flexible in space, a foldable structure should be considered. Therefore, in the next stage, joints should be designed to be installed in every junstion of sections. As a result, the section profiles can be rotated and no longer maintaining as perpendicular for panels on x and y axis.

Tectonic Elements and Prototypes

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C.2.0 Tecto

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Tectonic Elements and Prototypes

onic Elements & Prototypes

Joint One

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C.2.1 Joint Design Attempt 1 2.0 mm 4.0 mm

50 mm

cap

clip the

Joint One

1.1 mm

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4.2 mm 10 mm

6.5 mm

4.0 mm

2.2 mm

2.0 mm

10.10 mm

dISCUSSION OF ADVENTAGES AND DISADVENTAGES Adventages 1. It allows the section panels to rotation in 2 direction 2. Easy to manipulate the rotation effect DISADVENTAGES 1. The rod is too easy to break that cannot bear tensile strength. The reason behind is that a 3D-printing material is not suitable for taking loads. 2. Technical problem encountered. The diameter of the holes on the clips should be slightly larger the the diameter to allow the poles go through and facilitate the rotation effect.

cap cENTER pOLE

clip TO connect e sectional pieces

3. In order to fix the section panels more stably on the clips, more than 1 clip should be used to hold the sectiongs in the next design attempt.

Joint Two

50.00 mm

C.2.2 Joint Design Attempt 2

17.00 mm

folding in one direction only

Studio Air

Joint Two

dISCUSSION OF ADVENTAGES AND DISADVENTAGES Adventages 1. More than one fixing are designed to connect the sectioning panels and clips together, as a result, the panels can be more stably fix with the clips

5.00 mm

DISADVENTAGES The rotation effect is not as good as the first design sttempt. Since the connections between the poles and the clip fixings are biased to one side, the rotation was slightly limited.

2.20 mm

Acoustic Material

Studio Air

C.2.3 Testing material for Acoustic fabric 1

fabric 2

stretched well only in one direction

stretch in one direction

direction

Studio Air

Acoustic Material

fabric 3 stretch in both directions

Joint 2 Prototype

Studio Air

C.2.4 Protype with Joint Attempt 2

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Joint 2 Prototype

C3 Final Detail Model

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C3 Final Detail Model

C.3.0 Final Detail Model

Joint Detail

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C.3.1 Joint Detail for Final Model

cap to seal

the BOTTOM

the BOTTOM 3.50 mm

CLIP WITH HOLE FOR

11.50 mm

SCREW TIGHTENING ROD IN THE

CAP 2 TO SEAL BOTTOM

25.00 mm

CENTRE

Attempts to seal the ends of the rod

Studio Air

Joint Detail

CLIP WITH HOLE FOR

50.00 mm

SCREW TIGHTENING

e 4.00 mm

10.00 mm

This material was selected as it allowed flexibility and it was strong enough to withstand the shearing stress derived from the connecting materials.

CARBON FIBRE 2.5mm

Fabrication Process

C.3.2 Fabrication Process

DETAIL MODEL 1:2

Studio Air

Presentation Model 1:20

Fabrication Process

Detail Model 1:2

C.3.3 Detail Model 1:2

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Detail Model 1:2

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Detail Model 1:2

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Detail Model 1:2

Floor Plan

C.3.4 Floor Plans

O Pen

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c l ose

Floor Plan

100

101

Interior

C.3.5 Interior Rendering 1

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Interior

102

103

Interor

C.3.6 Interior Rendering 2

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Interior

104

105

Presentation Model

C.3.7 Final Presentation Model

Studio Air

Presentation Model

106

107

Presentation Model

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Presentation Model

108

109

Presentation Model

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Presentation Model

110

111

Presentation Model

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Presentation Model

112

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Learning Outcome

C.4. Learning Outcome

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Learning Outcome

Before this course, I have been always thinking about if I can design a section structure to be movable or foldable. Finally, I can try to do something crazy in this part. I found it was really challenging to me as I havenâ&#x20AC;&#x2122;t imagined I can come up with a solution of making a stable sectioning structure to be movable and foldable. It is really crazy for me to design such incredible structure. The biomimicry idea really inspired me a lot on doing something similar to open and close structure. It is really enjoyable throughout the whole exploring and fabricating processes and I am looking forward to the next design studio by using the skills of algorithmic design to create an even more interesting design!

114

116

Improvement

C.5. Improvement 1. Joints:

Joints are refined to increase the surface area connecting between the section panels and the joint fixings, making the whole structure more stable. Moreover, the center support (rod) has been reinforced.

Rotation Effect

Studio Air

2. Sectioning Panels:

Improvement

Since the weight of the whole structure is quite heavy, therefore, it is quite different to move the structure when it comes to practical. Therefore, the volume of the sectioning panels is reduced in terms of the height. Moreover, only frame is retained. As a result, the weight of the whole structure can be greatly reduced, making people easier to fold the structure.

115