STUDIO AIR 2017, SEMESTER 1, Jack Mansfield-Hung Yunqi Cai 683871
FIG.1: COVERPAGE
FIG.2: PAGE2 IMAGES
INTRODUCTION & PREVIOUS WORK
My name is Yunqi Cai.I was born in 1994, year of dog according to the Chinese Zodiac but I love cats. I love travelling, the street hotdogs in New York, the crowdedness in Tokyo, the massage in Bangkok, the breeze in Wellington, the coffee in Melbourne and everything in my hometown Beijing, but I have never been to the Forbidden City. I started learning painting since kindergarten on weekends. I loved acrylic colour-painting and whenever there was the quick sketch class I would find the 3-hour session like a 3-month torture. Painting teaches me to seek for the abstract beauty in the world. I love architecture. I think appreciating nicelooking buildings is an inherent pleasurement for anyone. But by actually studying architecture, I am able to see through its skin; read its historical background; understand its structure and learn about its architect... Gradually, I start to realise that an architect is not the literal “building designer� but someone who sees a better way to live and wants to share this with others.
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partA
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A1. DESIGN FUTURING A2 DESIGN COMPUTATION A3 COMPOSITION/ GENERATION A4 CONCLUSION A5 LEARNING OUTCOMR A6 APPENDIX A7 REFERENCE
CONCEPTUALISATION 7
FIG.3: PAGE 6 IMAGE
A1.
DESIGN FUTURING
Human beings are talented at creating and building things, and today we have successfully built our anthropocentric world with our wisdom and bravery. We dare to explore everything in the nature, but little did we think the potential consequences of our uncurbed exploration, or exploitation. We are using up natural resources, making unsustain-able creations and modifying the natural world into a collection of built structures. We are de-futuring ourselves.1 Architecture is a multidisciplinary design practice, which at large is a direct physical form of our human culture. Different buildings represent different ideas, time and social factors. Sustainable architecture has been crucial in our way towards a sustainable future.
1. Tony Fry, Design Futuring (London: Bloomsbury Academic, 2014), pp. 37-38.
Dymaxion House
FIG.4: BUCKMINSTER WITH DYMAXION HOUSE MODEL
Dymaxion House was designed by architectural inventor Buckminster Fuller through his revolutionary ideas of changing people’s life patterns and addressing the drawbacks with existing homebuilding methods. With the design intention of making an affordable, mass-producible, suitable for various sites and resources-efficient housing prototype, Fuller carried out the design based on a round plan, paying key consideration into easy shipment and assembly. The rationale behind this concept takes advantage of the new techniques for manufacturing and the availability of new materials during 1920s, nevertheless, Fuller’s unprecedented design faced criticisms, including the aluminium material being energy-intensive and the overall design being too speculative rather than practical. 2 In a consumer society
like ours, money exchange can be argued the reality of futuring and any unsold ideas would be regarded as rejected reality, therefore designers should avoid making radical design or positioning themselves outside or above the system. 3 Fuller’s design was revolutionary in terms of its forms and material choosing, notwithstanding the concept behind was not eccentric but actually catering for the very demand of the big environmentscheap, speedy and durable house for every family.
2. “Dymaxion House”, Architectuul.Com, 2017 <http://architectuul.com/architecture/dymaxion-house> [accessed 11 August 2017]. 3. Anthony Dunne and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014), p. 1. 4. “AD Classics: The Dymaxion House / Buckminster Fuller”, Archdaily, 2017 <http://www.archdaily.com/401528/ ad-classics-the-dymaxion-house-buckminster-fuller/> [accessed 11 August 2017]. 5. ”Buckminster Fuller: Dymaxion Deployment Unit”, Web.Archive.Org, 2017 <https://web.archive.org/web/20090416134505/ http://www.gsd.harvard.edu/studios/s97/burns/p_fullerd.html> [accessed 11 August 2017]. 10
CONCEPTUALISATION
FIG.5: DYMAXION DEPLOYMENT UNITS
Dymaxion House was completed in 1930 and two prototypes were created in 1946, namely the Barwise House and the Danbury House, however Fuller’s original intention of mass-producing remained paper architecture.4Although never built, during WWII hundreds of Dymaxion Deployment Units were commissioned by the U.S. army for field housing and these units are simplified Dymaxion House that became realised . 5 Arguably, Dymaxion House was a failed creation that has never been “sold”, but it is an excellent case of revolutionary and innovative thinking that showcases the architect’s significant idea of designing for a possible future that challenges the present dwelling norms and looks for a more sustainable housing typology. As a matter of fact, the core concept of Dymaxion House is gradually merging into people’s lives with a growing popularity of self-assembly furniture that is available in many furniture stores and MUJI has been a pioneer that is actually selling MUJI House. Meanwhile, the Tiny House Movement flourishing in recent years is another exemplification of the new Dymaxion. The “anywhere” tiny house reflects people’s changing attitudes towards what house actually should mean to us. Should one be staying home looking at his beautiful villa garden every day? Or should the house be travelling with him to explore all other beauties as far as he wants to go?
FIG.6: A MOVABLE “TINY HOUSE”
CONCEPTUALISATION 11
The Continuous Monument
FIG.7: CONTINUOUS MONUMENT IMAGE1
Continuous Monument is a speculative design project by Super Studio in response to the fact that the world is approaching towards a state of over-urbanisation and over-globalisation. Lands are getting covered in built structures, and distance between buildings is getting to an extreme. Hypothetically, there might be a day when the world is completely connected by buildings and that is what Super Studio has proposed by making these series of painted works of a megastructure connecting everywhere. The project has apparently never been built, but by exerting negative utopia with critical intent, the design employed metaphors to broaden the discussion about architecture.6 Urbanisation and globalisation was broadly believed to be the ways to development, wealth and communication but it can be the way to defuturing as well. Buildings are taking up natural landscapes. Building materials are made at an ever-speeding productivity, which means the deploying of natural resources is at an ever-growing rate. To some extent, the modern world we are living in nowadays has already formed an undemolishable ‘continuous monument’, and unrealising human-beings, driven by all kinds of desires are not aware. By proposing the extreme vision of our greedy construction process, Continuous Monument makes people consider the importance of sustainably building our world , and more importantly alerting the possible degradation of the meaning of the existence of architects.
FIG.8: CONTINUOUS MONUMENT IMAGE2
6. “THE CONTINUOUS MONUMENT: AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION”, Arch122superstudio.Blogspot.Com.Au, 2017 <http:// arch122superstudio.blogspot.com.au/2012/06/continuous-monumentarchitectural-model_15.html> [accessed 11 August 2017]. 12
CONCEPTUALISATION
FIG.9: CONTINUOUS MONUMENT IMAGE3
FIG.10: CONTINUOUS MONUMENT IMAGE4
If the white, gridded, monolithic structures were built across the world, not only was it a problem to the nature but it could also cause cultural issues. Cultural diversity emerged due to the separation of lands. The forced rebinding of lands could destroy the local culture. Additionally, architecture has always been an important representation of any type of civilisation through history. Materials, building forms or construction techniques vary dramatically in different areas. To build the world into one megastructure is a dual-threat to the culture and architecture. Although the Continuous Monument remained imaginary, a global deterioration of architectural localness, whose effect is just same as building this project, is actually happening due to the development of computer-aided design. In the past, houses were built to its unique climate, available resources, and local cultural influence, however nowadays any architect could achieve identical design outcome using the same design logic in a computer software. And with the easy access to global information, an architect in Melbourne could design a skyscraper for New York making no technical errors. Is this a really good thing? It seems architecture has progressed to another level, where architectural design is celebrated by any person with “talented ideas”, and computers are generating numerous unprecedented and fascinating design options. Admittedly, it is a broadening of human brains, but architects are not “façade designers”. Architect is a respected occupation, whose design conveys thoughts, emotions, aesthetics and cultures that do not exist in computerised design. Therefore, to preserve the significance of real architecture, we should avoid “building the Continuous Monument”, in another word, be careful with the misuse of computer-aided design.
CONCEPTUALISATION 13
FIG.11: PAGE 12 IMAGE
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A02 DESIGN COMPUTATION
Digital design opened a new era of architecture. The appearance of this new creational practice moved architects from paper-and-pencil based design to computational thinking. The quick shift from traditional design practice to nowadaysâ&#x20AC;&#x2122; arguably indispensable computer-aided design typology is not surprising. Technological formulated productions are dynamic, complex and sometimes unimaginable by human brains. The combination of science and art has defined todayâ&#x20AC;&#x2122;s architectural practice.7 Computation and Computerisation are two key concepts to the understanding of computer aided design practice. Computation is a procedure of computer-based calculation. It is an exploration of vague or unclear data that generates unknown outcomes. Computerisation is about automation, realisation, mechanisation and digitalisation. It generates predefined designs and visually present the preconceived outcomes. General access to digital design tools, such as parametric programs, by public would arguably blur the boundary between the professionals and the hobbyists, 8 however, there would be a related filtering system to eliminate the fake design. Computer design has brought undeniable beneficial impacts on the architectural design process.
7. Rivka Oxman and Robert Oxman, Theories Of The igital In Architecture (London: Routledge, 2014). 8. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014).
CONCEPTUALISATION 15
Spanish Pavilion of Shanghai Expo
This complex basket-like structure woven from lightweight steel and wicker is a collaborative design project by EMBT and MC2 Structural Engineers for the Spanish Pavilion in 2010 Shanghai Expo. The realisation of this project is an intense dialogue between architectural design and computational optimisation.Both Formfinding technique and the development of the underlying structural system were crucial to the design process. 9
The highly irregular and strongly curved building is characterised by a sophisticated curvature interweaving system, which problematised design as a traditional structure form. Designers identified that the main variables that configure the building were considered in finding the structural system that best merged into the desired form to achieve a coherent structure. To investigate the optimal structure, the role of computer software is irreplaceable. Designers have described how they achieved the final form from CAD to geometric NURBS surfaces in Rhino, to FEM model then to ANSYS. The engineering of this free form pavilion starts from a deep understanding of its geometry and the inherent structural behaviour of its shape, in which the use of computational simulation is the very, or possible only, way that enabled the designers to find the best form for this extremely complex structure.
9. Julio Martínez Calzón and Carlos Castañón Jiménez, “Weaving Architecture: Structuring The Spanish Pavilion, Expo 2010, Shanghai”, Architectural Design, 80.4 (2010), 52-59 <https://doi.org/10.1002/ad.1106>. 16
CONCEPTUALISATION
FIG.12: DETAILED WOVEN SYSTEM
FIG.13: SPANISH PAVILION
FIG.14: SPANISH PAVILION INTERIOR CONCEPTUALISATION 17
ICD/ITKE Research Pavilion 2012
FIG.15: 2012 ICD/ITKE PAVILION
The 2012 ICD/ITKE Research Pavilion is another full-scale experimentational architectural project designed for the investigation of computational materials behaviour, following from the 2010 pavilion by the ICD and ITKE. The 2012 pavilion investigates fibrous composites by employing computational method in studying the complicated fibrous behaviour under pre-stressed condition.10 Through robotic filament-winding process, fibre interacting into a composite shell, onto which blackglass-carbon fibre was then roving, to form the self-supportive pavilion.
Materiality is crucial to architectural design, which restricts or provides opportunities of form, geometries, size or constructability of a design. By doing computational simulation of material behaviour, architects can understand and test the properties, performance and potentials of different materials and decide or avoid any proposed materials to be used. This is a great benefit of computation for the architectural researchers. It helps to pre-eliminate any possible fails in the design, meanwhile pushing the boundary of real-life experimentation limitations and seek for any unpredictable potentials.
10. Achim Menges, â&#x20AC;&#x153;Computational Material Cultureâ&#x20AC;?, Architectural Design, 86.2 (2016), 76-83 <https://doi.org/10.1002/ad.2027>. 18
CONCEPTUALISATION
FIG.16: DETAILS OF 2012 ICD/ITKE PAVILION CONCEPTUALISATION 19
A03 COMPOSITION/GENERATION
Architectural creation is endless possibilities. With the integration of computational approach these endless possibilities become even unimaginable. New technological form-finding, performance-testing approaches facilitate us to explore optimal outcomes. There is another significant design concept, the generative design, a logic-based instead of visual-based design practice, which is fulfilled by algorithmic modelling in computer.11 Algorithm is generally a set of numeric and logical rules or operations that is definite and effective. ‘The operations correspond to state transitions where the states are the configuration of the tokens, which changes as operations are applied to them.’ Algorithm is defined by mathematicians and computer scientists, to tell the computer what to do. It is purely mission-admitting without justifying or rationalising the outcome, therefore restrictions and precisions are needed. Generative design is an accelerator to the architectural design process, especially to the geometrically complex and compositionally interconnected forms. Instantaneous outcome can be realised when any wanted adjustment is applied, and designers find themselves free from the unpleasant form-refining procedures.
However, thoughtful use of generative design is important rather than misusing. Designers should aware that computational design and architectural thinking should be an integrated art form: there is a danger of algorithmic modelling being a script writing exercise. Other than that, parametric-based algorithmic scripts can be treated as merchandise to sell and be easily used by anyone, with a little change on the parametric, to make their own ‘original’ design. As is argued by John Pfeiffer, “Man is a slow, sloppy and brilliant thinker; computers are fast, accurate and stupid.”, we, as designers should understand that generative design is a facilitative tool in our exploration of innovation rather than an excuse to deteriorate architectural practice from designing to selecting, and mostly important remember computers can never limit our creations.
11. ”What Is Generative Design”, Generative Design, 2017 <https://generativedesign.wordpress.com/2011/01/29/ what-is-generative-design/ (accessed 10/August/2017).> [accessed 11 August 2017]. 20
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FIG.17:PAGE 19 IMAGE
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Heydar Aliyev Centre Heydar Aliyev Centre in Azerbaijan is one of the great generative design examples. It was appointed to Zaha Hadid Architects with a design intend to break from the prevalent rigid and often monumental Soviet architecture in Baku. The building establishes a continuous, harmonious visual relationship with its surroundings and this is mostly achieved by the fluidity of its generated form.12 The undulating landscape of the site is a natural innovative initiative to the design of the centre. Responding to the topographic sheer drops, uneven landforms and avoiding additional excavation and landfill, the fluidity of the building is a complex generative form that is achieved by digital design and optimisation of coherence between building and the landscape.13
FIG.18: HEYDAR ALIYEV IMAGE1
FIG.20: HEYDAR ALIYEV INTERIOR 22
CONCEPTUALISATION
FIG.19: HEYDAR ALIYEV IMAGE2
FIG.21: FLUIDITY OF HEYDAR ALIYEV
As was claimed by the designers, one of the most critical yet challenging elements of the project was to develop the optimal architectural form of the building’s skin. Utilising a broad range of different functions, construction logics and computational methods, the architects were trying to create a homogenous continuity of the surface and advanced computing greatly aided the process of a continuous control and adjustment process. Traditional sketching and physical model-making techniques are not sufficient for generating such a complex form that requires ultra-precise numerical control in the process of developing a rational and efficient building skin.14 However, solely relying on geological data, and algorithmic logics would be a huge design restriction to the architects. Thoughtfully, Zaha Hadid Architects combined both sketching and computational approaches and finally generated this dynamic and scientific building skin.
12. “Heydar Aliyev Center / Zaha Hadid Architects”, Archdaily, 2017 <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 11 August 2017]. 13. ”Heydar Aliyev Center / Zaha Hadid Architects”, Archdaily, 2017 <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 11 August 2017]. 14. ”Heydar Liyer Centre-Information”, Zaha Hadid Architects, 2013 <http://www.zaha-hadid.com/archietcture/heydar-aliyer-centre/> [accessed 11 August 2017]. .
CONCEPTUALISATION 23
Foundation of Louis Vuitton Museum
G.2
FIG.24: ORIGINAL DESIGN SKETCH OF LOUIS VUITTON MUSEUM 24
CONCEPTUALISATION
FIG.22: LOUIS VUITTON MUSEUM IMAGE1
FIG.23:LOUIS VUITTON MUSEUM IMAGE2
Form-fining has always been a tedious process in conventional architectural design practices. It begins with conceptual sketches, compositing possible forms and selecting best suitable ones. However, without certain mathematical precision, architects found themselves limited in conceptualising very complex forms and hard to “totally” free their imaginations. Computational approaches have allowed designers to greatly go bold in shape conceptualisation. They help to simulate forms, calculate complex geometrics and provide much greater potentials to architectural design.15 Foundation of Louis Vuitton Museum was a project proposed to illustrate the exuberance of this luxury brand, therefore the architects were to push the boundaries to create an exaggerated and unique form for the building. Starting from a series of almost insane curves, the designers employed high-precision simulative intelligence for form-finding and computational generation for parametrical optimisation and material decision.16 The assistance of generative design has enabled an accelerated design process and bolder design conceptualisation. However, from the original insane sketch, it can be sensed that there was a lot of compromise to the very initial bold concept, which perhaps was restriction exerted by the computation in achieving logic and scientific geometric results. Therefore, generative and compositional design tools could enable us in achieving and being able to build complex geometry, whereas its “stubborn” generative logics always make “scientific compromise” to our designers’ expectations.
15. Brady Peters, “Computation Works: The Building Of Algorithmic Thought”,Architectural Design, 83.2 (2013), 8-15 <https://doi.org/10.1002/ad.1545>. 16. Tobias Nolte and Andrew Witt, “Gehry Partners’ Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence”, Architectural Design, 84.1 (2014), 85 <https://doi.org/10.1002/ad.1705>. CONCEPTUALISATION 25
A04 CONCLUSION
We are living in a world where the rational and the rebellious co-exist. A conversation between these two parties has never stopped and computer designing tools are like a medium person who satisfies both by either implementing constraints in parameters or generating numerous forms as the output. However, the futuring of our world is not simply an agreement with either groups. Future could be now and the present, in other word, using technological approaches to promote innovative design to make a better solution for the current affairs, to sustain the time we are living now, to keep the nature natural for good. The excitement about digital creation is when there is the unforeseeable bit in the envisioned outcomes. As we shifted from compositional computation to generative computerisation, computers that we human beings created have been creating unexpected results for us that is hard to envision. Nonetheless, computers are assistance to architects, testers to possibilities and generators of inputs. They shall never be thought as the makers of futuring. Architects as one of the few responsible groups who generate the future. Culture, ideas, adventurous spirit, sense of protection and human emotions are never parametric that can be put into computers. We as architects need to know that software like Rhino or Grasshopper is a platform for us to better perform our imagination and ambition, but it would not make options of future for us to choose.
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A05 LEARNING OUTCOMES
Through the first three weeks, I have learnt that architects are not simply about designing fancy-looking buildings and architecture is not solely a concept of the collection of built structures. A wide range of knowledge is crucial for an architectural designer to be able to design and build our future. Thinking algorithmically at the very beginning of the semester was challenging. But as we kept exploring, it is actually a very interesting and different way of looking at the world. With the utilisation of Grasshopper, we could visualise some unimaginably complex geometric compositions and save our time doing tedious repetitive operations. Knowledge of maths and logical thinking is essential to be able to master these programs, and I would like to keep deepening my understanding of parametric design through exploring Grasshopper in the following weeks. Had I learnt parametric design in my Water Studio, I could have created more dynamic geometric composition to the faรงade of my monumental building, which was inspired by Louis Khan. It could have added another exiting dimension to my design, and I would like to try this idea on my later projects.
CONCEPTUALISATION 27
A06 APPENDIX
A lofted geometry from four curves, which looks like a fish from the top view.
Maze-like Structure, generated from a peculiar mesh and delaunay triangulaton. Sense of monumentality.
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CONCEPTUALISATION
Self-supporting object that is generated in grasshopper,using vorinoi triangulation. Circles are drawn using centriods of the generated Vorinoi geometrics. Can be used as a prototype of a pavilion.
Additional Structure to the Cabanon for a thoughtful design of a canopy. Achieved from a number of Grasshopper coommands and took consideration of possible ventilation assisance to the outside fireplace (reference from Southern Cross station).
CONCEPTUALISATION 29
A07 REFERENCE “AD Classics: The Dymaxion House / Buckminster Fuller”, Archdaily, 2017 <http://www.archdaily. com/401528/ad-classics-the-dymaxion-house-buckminster-fuller/> [accessed 11 August 2017] Assignment, arch122, arch122 assignment, and Profilimin görüntüle, “THE CONTINUOUS MONUMENT: AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION”, Arch122superstudio.Blogspot.Com.Au, 2017 <http://arch122superstudio. blogspot.com.au/2012/06/continuous-monument-architectural-model_15.html> [accessed 11 August 2017] “Buckminster Fuller: Dymaxion Deployment Unit”, Web.Archive.Org, 2017 <https://web.archive.org/ web/20090416134505/http://www.gsd.harvard.edu/studios/s97/burns/p_fullerd.html> [accessed 11 August 2017] Dunne, Anthony, and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014), p. 1 “Dymaxion House”, Architectuul.Com, 2017 <http://architectuul.com/architecture/dymaxion-house> [accessed 11 August 2017] Fry, Tony, Design Futuring (London: Bloomsbury Academic, 2014), pp. 37-38 “Heydar Aliyev Center / Zaha Hadid Architects”, Archdaily, 2017 <http://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 11 August 2017] “Heydar Liyer Centre-Information”, Zaha Hadid Architects, 2013 <http://www.zaha-hadid. com/archietcture/heydar-aliyer-centre/> [accessed 11 August 2017] Martens, Bob, and Andre Brown, Computer Aided Architectural Design Futures 2005 00 (Dordrecht: Springer, 2005) Martínez Calzón, Julio, and Carlos Castañón Jiménez, “Weaving Architecture: Structuring The Spanish Pavilion, Expo 2010, Shanghai”, Architectural Design, 80 (2010), 52-59 <https://doi.org/10.1002/ad.1106> Menges, Achim, “Computational Material Culture”, Architectural Design, 86 (2016), 76-83 <https://doi.org/10.1002/ad.2027> Nolte, Tobias, and Andrew Witt, “Gehry Partners’ Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence”, Architectural Design, 84 (2014), 85 <https://doi.org/10.1002/ad.1705> Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014) Peters, Brady, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83 (2013), 8-15 <https://doi.org/10.1002/ad.1545> “What Is Generative Design”, Generative Design, 2017 <https://generativedesign.wordpress.com/2011/01/29/ what-is-generative-design/ (accessed 10/August/2017).> [accessed 11 August 2017]
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IMAGE REFERENCE FIG1. <http://donrelyea.com/front_img/Big_Hairy_Marilyn.jpg> [accessed 11 August 2017] FIG2. <http://donrelyea.com/hairy_kunst/tri_marilyn_big.jpg> [accessed 11 August 2017] FIG3. <https://flavorwire.files.wordpress.com/2011/01/nextgeneration.jpg> [accessed 11 August 2017] FIG4.<http://images.adsttc.com/media/images/51de/e10e/e8e4/4e68/7300/0005/newsletter/13759004-26924FE7_(1).jpg?1417704295)> [accessed 11 August 2017] FIG5. <https://alastairgordonwalltowall.files.wordpress.com/2014/04/ddus-in-northafrica-c-1943-shorpy_8d30119u.jpg> [accessed 11 August 2017] FIG6.<https://cdn.voxcdn.com/uploads/chorus_image/image/55282011/Trav_XL_w_cedar_siding.0.jpg> [accessed 11 August 2017] FIG7. <http://2014-2015.nclurbandesign.org/wp-content/uploads/2014/11/superstudio1.jpg> [accessed 11 August 2017] FIG8. <https://s-media-cache ak0.pinimg.com/originals/a3/d4/61/a3d46145ab4a5ff56c45fb1589a1e59c.jpg> [accessed 11 August 2017] FIG9. <https://s-media-cache-ak0.pinimg.com/originals/a3/d4/61/a3d46145ab4a5ff56c45fb1589a1e59c.jpg> [accessed 11 August 2017] FIG10. <https://moodmoods.files.wordpress.com/2014/02/playa.jpg> [accessed 11 August 2017] FIG11. <https://3c1703fe8d.site.internapcdn.net/newman/gfx/news/hires/2016/computationa.jpg> [accessed 11 August 2017] FIG12. <https://www.google.com.au/imgres?imgurl=http%3A%2F%2Fcdn.archinect.net%2Fimages%2F1200x%2Fse%2Fsenanw0xqsdzyp0d. jpg&imgrefurl=http%3A%2F%2Farchinect.com%2Fembt%2Fproject%2Fspanish-pavilion-for-exposhanghai-2010&docid=r1GjEe04NGTUHM&tbnid=EAsnPjoITCNAHM%3A&vet=10ahUKEwig8OHx_ svVAhVBTLwKHV1IBacQMwg3KA4wDg..i&w=1200&h=800&bih=858&biw=1920&q=THE%20SPANISHPAVILION%2C%20EXPO%20 2010%2C%20SHANGHAI&ved=0ahUKEwig8OHx_svVAhVBTLwKHV1IBacQMwg3KA4wDg&iact=mrc&uact=8> [accessed 11 August 2017] FIG13. <https://lovethatmoment.files.wordpress.com/2012/04/mg_1212.jpg> [accessed 11 August 2017] FIG14. <https://www.google.com.au/ url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=0ahUKEwj5offl7c7VAhWGmJQKHYtgDu4QjBwIBA&url=http%3A%2F%2Fimages. adsttc.com%2Fmedia%2Fimages%2F5641%2F4cee%2Fe58e%2Fcedc%2F5d00%2F0055%2Flarge_jpg%2FSPANISH_P_Shen_Zhonghai_ KDE_(3).jpg%3F1447120088&psig=AFQjCNGWruNxrZmySfOQ8mTfGLZXI99JnQ&ust=1502529760687106> [accessed 11 August 2017] FIG15. <http://www.trr141.de/wp-content/uploads/2014/12/RH2115-0026.jpg> [accessed 11 August 2017] FIG16.<http://images.adsttc.com/media/images/5136/a9bc/b3fc/4b82/8e00/0232/large_jpg/ ICD-ITKE_RP12_Image16.jpg?1362536873> [accessed 11 August 2017] FIG17. <https://flavorwire.files.wordpress.com/2011/01/nextgeneration.jpg> [accessed 11 August 2017] FIG18. <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/528520dee8e44e 8e7200015e-heydar-aliyev-center-zaha-hadid-architects-photo> [accessed 11 August 2017] FIG19. <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/528523cce8e44e 8e72000165-heydar-aliyev-center-zaha-hadid-architects-photo> [accessed 11 August 2017] FIG20. <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/5285244ae8e44e 8e72000166-heydar-aliyev-center-zaha-hadid-architects-photo> [accessed 11 August 2017] FIG21. <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/528520aae8e4 4e2225000148-heydar-aliyev-center-zaha-hadid-architects-photo> [accessed 11 August 2017] FIG22. <http://eu.louisvuitton.com/images/is/image/lv/1/VE_DI3_L/louis-vuitton--Louis_ Vuitton_345_FONDATION_OPENING_DI3.jpg> [accessed 11 August 2017] FIG23. <https://ivanbellanovablog.files.wordpress.com/2014/10/louis-vuitton-lv_wolv_lf_push_fondation_di3.jpg> [accessed 11 August 2017] FIG24. <https://i.pinimg.com/originals/fb/17/ae/fb17ae1db2fbf819f26c0682168fa473.jpg> [accessed 11 August 2017]
CONCEPTUALISATION 31
partB
CRITERIA DESIGN
N
B1. RESEARCH FIELD B2. CASE STUDY 1.0 B3. CASE STUDY 2.0 B4. TECHNIQUE: DEVELOPMENT B5. TECHNIQUE: PROTOTYPES B6. TECHNIQUE: PROPOSAL B7. LEARNING OBJECTIVES AND OUTCOMES B8. APPENDIX
B01 RESEARCH FIELD
Strip and Folding & Seroussi Pavilion
Multi-disciplinary working has gradually become a key approach to achieving comprehensive design conceptualisations, exploring new possibilities and addressing various design issues. Strip and folding is an aesthetic outcome derived from physical and mathematical design solutions. It has two important qualities: flexibility and repetitiveness, which allows huge design opportunities that can generate and form a number of organic spaces.
Seroussi Pavilion was designed by Biothing in Paris in 2007 and the designing of it incorporated the idea of strip and folding. The “shapes are diagrams of forces” because the strips in this design are all generated based on electromagnetic fields. Its initial computations were done in plane then lifted via microarching sections through frequencies of the sine function. The use of physics and maths created this dynamic structure, and the architects described it as having musical notion from its organic nature, parametric relationship and deep ecology of algorithms. Interiorly, lighting/shading and programming of views is achieved according to the “sine-wave” functions driving parametric differentiation angle, orientation and the size of the aperture, relationship of metal and glass components within each cell. 1 The significant idea of this project is that its functional parts, like windows and doors, the structure and the ornamental are merged into one combination of this cocoon-like special fabric.
1. “Seroussi Pavilion |Biothing - Arch2o.Com”, Arch2o.Com, 2017 <http://www.arch2o.com/seroussi-pavilion-biothing/> [accessed 15 September 2017].
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B01 RESEARCH FIELD
Implications/opportunities and concerns
Ornaments separated from structure Towards the end of 19th century, architects began to rethink the relationship between structure and ornamentation. Architecture was thought to be a coated with unnecessarily luxurious imagery, which also engaged unethical large labouring. The heavy ornament would take over the essence of architecture and Adolf Loos even believed that culture does not evolves through the excessive ornament but is associated with the deletion of it. 2
Ornaments merged into structure With the availability of digital design tools, architects could construct more and more complex ideas. And they also started to think the relationship between algorithmic design and structure. The Composite Swarm installation by designer Roland Snooks is an example of this exploration. In his design, the decorative texture flows along the surface of the structure in accordance to its complex geometric shape. Ornamentation here is tightly and logically designed upon the skin of the structure without being isolated from it. The fact these texture is not only for decorative purpose but they could visually emphasis the structural complexity of the design and provide connections and stability for the structure makes it even more significant than the previous unthought ornamentation. 3
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Ornaments and structure unified In the case of Seroussi Pavilion, as was mentioned before, electromagnetic forces were used to generate the vector fields of the pavilion, not only giving it a physical achievability but a mathematical aestheticism. Therefore, ornamentation and structure are merged into one unit in this design thanks to parametric designing approaches. It breaks the traditional concepts that structure doesn’t always have to be rigid, solid and stubborn but it can be dynamic and ornamental. Strip and folding is one of the potential ways to achieving this combination of structural and ornamental requirements in architectural design. There are concerns such as the requirement of high computer skills, errors in calculation and the tendency to overrelying on unemotional physics and maths generations. However, we should take good use of the advantages of this important technique, especially when we want to achieve a simultaneous harmony of the structure and ornamentation in our design.
2. ”Spotlight: Adolf Loos”, Archdaily, 2017 <http://www.archdaily.com/576187/spotlight-adolf-loos> [accessed 15 September 2017]. 3. ”Composite Swarm - Kokkugia”, Kokkugia.Com, 2017 <http://www.kokkugia.com/Composite-Swarm> [accessed 15 September 2017]. CONCEPTUALISATION 37
B02 CASE STUDY 1.0
Biothing Seroussi Pavilion Selection Criteria for Iterations & Species -ATTRACTIVENESS How visually appealing the outcome looks that can attract visitors, assessed by the form, compleity of geometry or surprisingness. -INTERACTIVITY How can visitors meaningfully engage with the design outcome in order to convey key architectural concepts. Think of the potential visitors and what and how can they interact with different parts of the design. -PRIVACY Exposed in public area, does and how can it provide certain privacy to the users? -STRUCTURAL STABILITY The sturctural safety of the outcome, would it withstand weather and human impacts? How well can it stand stability on itself and is there any applicable fixing techniques at the joints? -ADAPTABILITY How flexible can the design outcome adapt to different scenarios. Or if and design changes need to be applied, are they realisable within reasonable effort? -CONSTRUCTABILITY The fabricatability and buildability of the design outcome. Are the skills, equipments or material available? How easy can it be constructed?
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CONCEPTUALISATION 39
B02 CASE STUDY 1.0 Biothing Seroussi Pavilion Iterations & Species MATRIX
SPECIES1
ITERATION1 Divide Count 2
ITERATION2 Circle Radius
0.1
ITERATION3 Circle Divide Count
10
ITERATION4 Field Line Steps
50 40
CONCEPTUALISATION
SPECIES2
5
SPECIES3
SPECIES4
10
25 SELECTION 1
0.5
1.5
15
20
5.0
50 SELECTION 2
100
200
400 CONCEPTUALISATION 41
SPECIES1
ITERATION5 Object Height
-2.5
ITERATION6 Graph Mapper
ITERATION7 Introduce Pt Charge
ITERATION8 Introduce Crv Charge
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SPECIES2
-5
SPECIES3
-10
SPECIES4
-20
SELECTION 3
SELECTION 4 CONCEPTUALISATION 43
B02 CASE STUDY 1.0
Biothing Seroussi Pavilion Extrapolation of the Successful Iterations & Sp SELECTION 1
The most successful index for this iteration is its high privacy. Because of the high number of the Curve Divide Count much more sturctural columns are created that leaves fewer gaps. People inside the structure can feel the privacy from not being easily exposed to the public, and this is the opportunity for this iteration if the design intend is to create a kind of private or separated space for the visiotors Although this is a quite dense structure, each structural bit is easily fabricatable. The lower index is the adaptability because this is a solid structure that may not be adaptable to every surroungding conditions, furthermore the idea for â&#x20AC;&#x153;privacyâ&#x20AC;? may not be a major consideration for some public pavilion in which case this outcome may not be favourable.
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pecies
SELECTION 2 This iteration features reasonable input of the Curve Divide Count and Circle Divide Count indexs that greatly facilitates the adaptability of the outcome. The structure looks clear, logical and consturctable, which makes it adaptable for a range of designing intents and consturction environments, and it is easily fabricatable. The lower indexs are attractiveness and privacy because not much changes were actually put into the original Grasshopper definition. However the rational structure gives it good chances to be actually realised.
CONCEPTUALISATION 45
SELECTION 3 This is a iteration result from the manipulation of Graph Mapper, and the outcome comes out very stable and consturcturble. The highest structual stability index was given to this one becasue it feature the “S” shape of the structural curves that can keep it stably rest on the ground. Given the nature of these “S” curved structural parts, it looks elegant and attractive to people, as well as having good adaptability and constructability. The drawbacks may be the lack of private zone and fabrication complixity in bending the S shapes.
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SELECTION 4
This iteration pushed the boundary of the original Grasshopper definition by introducing a charged curve. The trick when manipulating this command was that the curve needed to be differentiated into small segments of straight lines first and use them as a collective line charge field. The outcome looks dynamic, attractive and very interactive for the visitors because it has this created curvy path to walk the people in this route and this could be an architectural potential if the designer wants to create some kind of story by making people walk in this way. It also creates good privacy by not only having dense structural areas, which works like selecton 1, but also creating different zones. However, in contrary to the very high indexes, the lower indexes are very low ratings. It has poor structural stablity, low adaptability and low constructabilty.
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B03 CASE STUDY 2.0
A
rchipelago
P
avilion
Archipelago Pavilion was a collaboration design project between Chalmers University of Technology and Rohsska Museum of Design in Copenhagen. The structure inhabits the courtyard in front of the museum and was intended to provide shaded seating inside its created space to replace existing chairs and tables. It was a parametrically designed project in Grasshopper and Rhino and was but on site by 33 architecture students. 4Construction of the building did not require skilful techniques because all the parts had been computationally designed and fabricated using laser-cut precision. The students only needed to move the parts in place and then provide simple bolts, but the outcome is phenomenal. The curvature of the interior space was designed by studying the comport index when lying on it, the use of steel makes it a cool space when shaded and the perforation on the roof spreads out and organic pattern that resembles a tree shade. All these design considerations have contributed to a maximised interaction experience when a person comes to engage with the project and most essentially it is an amazing place to sit down and a secluded getaway from the hectic city life of central Gothenburg that’s right outside the courtyard. 5
4.“FORMAKERS - The Archipelago Pavilion / Marcus Abrahamsson & Benoit Croo”, Formakers.Eu, 2017 <http://www. formakers.eu/project-775-marcus-abrahamsson-benoit-croo-the-archipelago-pavilion> [accessed 15 September 2017]. 5. Lidija Grozdanic, “Archipelago Parametrically Designed Pavilion - Evolo | Architecture Magazine”, Evolo.Us, 2017 <http://www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/> [accessed 15 September 2017]. 48
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B03 CASE STUDY 2.0
Reverse Engineering
Step 1
Step 2
Step 3
Draw two curves as the top and bottom
Draw three small curves in between the top and bottom
Divide the top and bottom curved by three draw lines connecting centroids and the dividing points divide the top and bottom parts in five dvide middle smaller curved in fifteen
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Step 4
Step 5
Step 6
Draw 3PtArc though the created points
Loft the arcs
Rebuild curves Move the curves Change the loft option to “straight” Change the form of the geometry in Rhino to achieve the desiered shape that resembles the Archipelago Pavilion
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B03 CASE STUDY 2.0
Grasshopper Process Matrix
DEAD END 1
DEAD END 3
Dead End 2: The divide
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Dead End 3:
DEAD END 2
Dead End 1: The divide point count was wrong, and the data tree was wrong, so it is never possible to create successful arcs.
e count was right but the date tree was wrong and the data strcuture was extremely complex that it is never possible to create successful arcs.
: The loft should be made individually the joint together, by lofting the three parts simutaneously it is never possible to create successful loft.
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B03 CASE STUDY 2.0
Final Outcome top
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front
left
The outcome well presents the complex geometrical space of the original project . And by choosing the loft option as “straight and closed”, it visually demonstrates the key idea of “strip and folding” through the model. However there are some difference from the original built project. First is that the connection joints were not made in the outcome. It is an important part for the realisation of this design as the fabrication of it would be in parts, which would be assembled later by simple bolting. Although not shown in the outcome, it should not be neglected when actually constructing it. Second is that the treeshadow effect was not created. It could have been done by projecting a set of the desired triangularlike geometries onto the top of the model. It was not primary for the demonstrating model but very important for the real project to meet the design intent of creating an experience of “city-escape”.
perspective
The last would be the curvature on the interior space, it was abritrarily made on grasshopper but in reality it should be created by studying the comfortable surface curvature for lying. The technique of “Strip and Folding” is very helpful for architectural design. By creating simple strips, folding them and then connecting them via possibly very simple methods, architects can achieve some quite complex and construction-wise difficult designs. I would like to take the idea of a“recreated space” within real space of the Archipelado Pavilion, alongwith using “Strip and Folding” technique to further develop a visually complex-shaped but fabricatable project that could give the user a feeling of “juming into another space with a refreshing experience” by simply entering it.
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Gâ&#x20AC;&#x2122;DAY...
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CONCEPTUALISATION 57
B04 TECHNIQUE: DEVELOPMENT Iterations of Case Study 2.0
DIVIDE POINT
ROTATE MIDDLE GEOMETRY 2D
Following the unique quales of the Archipelago Pavilion and the Desire side of the Versace thorn chair that we were told to source inspiration from for our next design stage, here are the new Selection Criteria. -SPATIAL COMPLEXITY
MOVE+ROTATE MIDDLE GEOMETRY 3D
Does the outcome generate a sophisticated spatial arrange like the Archipelago Pavilion does? -EXPERIENTIAL Does the outcome follow the idea of “ capable of changing experience momentarily” , just like how Archipelago Pavilion could make people escape from the chaotic city life just by simplily entering its space.
SCALE MIDDLE GEOMETRY
-LAVISHNESS Is the outcome lavish enough to appeal to the rich people? -PRIVACY Does the outcome provide certain privacy, which is a growing consideration for people. -FABRICATABILITY How easy or realistic can it be fabricated? 58
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SHIFT LISTS
T
SELECTION 1
CONCEPTUALISATION 59
ROTATE AND MOVE TOP AND BOTTOM CURVES
MANIPULATE CENTROID TO TRISACTION LINES
3D STRUCTURE
MANIPULATE TOP AND BOTTOM CURVES
GO ARTISTIC
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SELECTION 2
SELECTION 3
SELECTION 4 CONCEPTUALISATION 61
B04 Technique Development Extrapolation of the Successful Iterations
spatial complexity experiential lavishness privacy fabricatability
This iteration was selected for its high spacial complexity, experiential and lavishness. The form of this outcome resembles the logo of CHANEL, which could be useful if the design team plans to design a project to be inspired by a CHANEL product.
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CONCEPTUALISATION
spatial complexity experiential lavishness privacy fabricatability
This outcome features high spatial complexity and experiential. It has an elegantly flowing form that is inviting and visually appealing to the visitors. The space is fun to explore and engages people with various activities.
t
spatial complexity experiential lavishness privacy fabricatability
This outcome is highly inspired by the bead elements from Versace thorn chair and it looks lavish and the space generated is highly experiential. People would have the feeling of “being in a lux space” by simply waking into it. Although the space complexity is very high, it is reasonably fabricatable.
spatial complexity experiential lavishness privacy fabricatability
This outcome is an experimental trial, where the entire structure was made of one continuous curve. Aided by computation, “one single curve” could actually create this absolutely sophisticated spatial arrangement. By simplying putting the model into CNC, the robot would do the entire job of fabricating it.
CONCEPTUALISATION 63
B05: TECHNIQUE: PROTOTYPES The Container Prototype/The Artefact
PROTOTYPE 1
TESSELATION
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The first prototype was based on Tessellation, which is an arrangement of shapes closely fitted together, especially of polygons in a repeated pattern without gaps or overlapping to generate a complicated 3D space. As for the connection, we were inspired by the stitching in our Versace thorn chair product, and wanted to use similar idea to connect the bits. In this specific trial, thin wires were used to tie the joints, but we encountered some problems later on. First problem was that the wires would keep breaking the fragile edges of our laser cut material. Second problem was that the final product does not look neat since we had to do each tie by hands and it was hard to achieve aesthetic accuracy for each.
CONCEPTUALISATION 65
thin wires
+
STEP2 keep using the same technique to make one five-piece unit
STEP3 Tie the unit o board with a
twist and tie
STEP1 use thin wire to make the joint by twisting and tying
Although the wire is thin enough, it was still too hard for the mountboard material and little breakage kept happening between the first and second pieces. Here is the vulerable part of this prototype.
Use masking tape t
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ALL LASER CUT PARTS
onto the base thicker wire
STEP4 Keep repeating the previous process and join the adjacent two units with the same “twist and tie” technique, while keep fixing the breakages
STEP5 Close the units and adjust the overall shape
STEP6 Insert gold pins into the gaps to create the “Bling” effect inspired by the beads of Versace thron chair
to fix the breakage
CONCEPTUALISATION 67
PROTOTYPE 2
STRIP AND FOLDING
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CONCEPTUALISATION
Our design team continued to explore another prototype, which would perform better in creating “thoughtful joints” in the research field of Strip and Folding. “Thoughtful joints” refer to the ones that do not require additional connection component, such as the wires we used in the previous one. This new propotype requires more thoughtful designing logic and techniques in the computer design stage, but takes much less time in the assembling stage since all we need to do is simply slide the notch into each other, and the outcome has been more stable and neat.
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KEY ASSEMBLING PROCEDURE
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STEP1 Slide the strip’s bottom notch into the notch of the 4th plate
STEP2 Slide notch of the 3th plate into the strip’s middle notch
STEP3 Slide the strip’s top notch into the notch of the 2nd plate
STEP4 Repeat the Process 20 times constantly adjust the tightness and looseness of the whole model CONCEPTUALISATION 71
ALL LASER CUT PARTS
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CONCEPTUALISATION
DETAIL : TOP NOTCH AREA
DETAIL : BOTTOM NOTCH AREA
CONCEPTUALISATION 73
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REFLECTION
The major difference between these two prototypes is that the first one used “secondary” joining material( the wires) to fit the joints, while the second one is “self-connectable” . This difference had decided that when we were designing the model, more consideration needed to be put into the first prototype, as it involve using different materials and manually making the joints, and this was where the failure actually happened. The second prototype avoided this possible failure, but it needed more logic when we were designing it in computer, the size of the notches, the thickness of the laser cut material, the possibility of actually being able to assemble it. And with the successful designing and modelling for the second prototype, we were able to time-efficiently and more accurately make the final model for “the container”. Another fundamental difference is the research field, “Tessellation” and “Strip and Folding”. The definition of these two has essentially differed
the designing directions. Tessellation is an arrangement of many shapes to create an effect of a collection of polygons, so we would not be able to avoid the fact of joing many small pieces to create the effect. Whereas Strip and Folding does not have this restriction, and we could achieve similarly complex spacial arrangement with fewer pieces, which helped in avoiding errors and physical breakages. The two prototypes were both designed selfstanding and centrally symmetrical, so that they don’t need extra supports and would not collapse as well. The potential for the first one is to use Butt Hinges for joints and more durable material such as MDF next time, and we believe the mode would be more stable and neat by doing that. Thanks to the perfect assembling technique we developed, the potential for the second prototype is to design more organic and assymtrical shapes in computer, and we could adjust the thickness of material from 6mm to 3mm to accomodate more parts to achiving more complex design intention.
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B06: TECHNIQUE: PROPOSAL An accessory to the Cabanon
SITE PLAN
#WATER#TREES#BIRDS #BREEZE#VIEW#ACCESS#PRIVACY#ISOLATION #OWNERSHIP#EXPRIENTIAL#HEDONISM#LUXLIFE 76
CONCEPTUALISATION
LE COURVOISIERâ&#x20AC;&#x2122;S x VERSACE BY HAAS BROTHERS x STRIP AND FOLDING
CONCEPTUALISATION 77
I am rich I love art
INSPIRATION FROM “HAPPINESS MACHINES” Making people want things they didn’t need is evil and tricky. But it is arguably a vital knowledge we designers need to study to be able to actually sell our products. Consumers’ unconscious desire is the utmost weakness. In the documentary “ Happiness Machines”, Bernays was one of the main architects of the modern techniques of mass-consumer persuasion. He introduced a range of tricks from celebrity endorsement and outrageous PR stunts, to eroticising the motorcar to successfully and systematially sell his products. Barnays believed that by satisfying the inner irrational desires of people, they could be made happy and thus docile. This saying in very inspirational to us. We want to sell our product by satisfying the passions for art of our rich self-claimed artist clients...
Envisioned customer
Create a
Partner
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CONCEPTUALISATION
“A
I am furniture I am an art-pi
h; t.
“Ownership” “Possessive”
Artpiecify” space, where things put inside become an art-
e; iece
Lussospazio CONCEPTUALISATION 79
Lussospazio is a project we worked in collaboration with the art house Versace. It is exclusively designed for the rich people who indulge in art and who desire if there is a way to change the everyday life into art. The reason we collaborated with Versace is because they have ths special Haas Brother line that turns furniture into art-pieces. We love their ideas of dulfunctionalising the everyday product. This special product line analysed is a throne chair that appeals to consumer desire, we wished to reflect the architectural qualities into our accessory. And celebrate the idea of bringing art pieces into the Cabanon. And that’s why we literally coined this word” ARTPIECIFY”, to create a place where things put inside become an artpiece. When things become artworks, their value grows and people tend to have stronger feeling of ownership and possessiveness over them. They want to secure them from the outside world ,but meanwhile enjoy their high life, enjoy the admiration by others.
PROPOSAL: CREATE A SECURE SPACE WHERE ANYTHING PUT INSIDE COULD BECOME AN ARTPIECE FOR EXHIBITION 80
CONCEPTUALISATION
VEICOLO
ALBERO
UCCELLO
PERSONA
You are in the cage; the whole world is in the cage NOT us...
CONCEPTUALISATION 81
Le Courvonisier x Versace
A space to artpiecify your goods
A space to artpiecify your environment A space to artpiecify your companion A space to artpiecify your
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catalogue
veicolo
albero
uccello
persona
Le Courvoisier presents its newest hit accessory for our signature Cabanon model. We present its newest hit accessory for first our signature Cabanon the Lussiospazio Le- aCourvoisier space to presents artpiecify your life. Enjoy the new look at the Le Courvoisiers model. We present the Lussiospazio a space to artpiecify your life. Enjoy the x Versaceâ&#x20AC;&#x2122;s Lussiospazio line - with its security and exhibitie dual function storage purpose, first new look at the Le Courvoisiers x Versaceâ&#x20AC;&#x2122;s Lussiospazio line - with its sestart owning it today! curity and exhibitive dual function storage purpose, start owning it today! CONCEPTUALISATION 83
B07: LEARNING OBJECTIVES AND OUTCOMES
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OBJECTIVE 1 “INTERROGATING A BRIEF”
OBJECTIVE 5 “ABILITY TO MAKE A CASE FOR PROPOSALS
Through analysing the Versace product, the “desire” and “dark side” of our envisioned customer, and the site of Merri Creek. We captured potentials in each and derived to a proposal that will utilise the best opportunities around these backgrounds as well as the restrictions from design brief and technical and fabricating limitations. The final proposal has endeavoured to meet the requirements from all these factors but was still not eccentric from making a meaningful and creative architectural space.
Our Studio was quite a tough one as we were asked to incorporate a range of ideas, from conceptual to actual…Through the process, I found the best way in doing this is to first analyse the common factors, and the most desirable ideas. We must stick on some very strong ideas (things we don’t want to change), and compromise some others to accommodate to it. I am confident in dealing with complicated restrictive briefs now.
OBJECTIVE2 “ABILITY TO GENERATE A VARIETY OF DESIGN POSSIBILITIES FOR A GIVEN SITUATION” Part B02 and B04 have both enabled me to generate multiple iterations from their original forms to an unrecognisable limit. The process of constantly change parameters and baking was fun, especially for the Seroussi Pavilion iteration, as I was able to see many surprising results Grasshopper generated and record the unexpected moments. The part of Reverse Engineering was the most challenging as I would literally start from nothing to finishing a fairly complex structure. In this process, I found the endless potential in Grasshopper as well as myself. I didn’t get a chance to use Kangaroo for my research field, but will definitely try in my future parametric designs. OBJECTIVE 3 “SKILLS IN VARIOUS THREEDIMENSIONAL MEDIA” With finish Part B I was able to use Rhino model and laser cut prototypes to investigate scale, material effects, geometry, and issues of fabrication and assembly. The process of translating digital 3D to physical 3D was fun yet challenging. And I have once again learnt that architecture is really a multi-disciplinary subject. OBJECTIVE 4 “UNDERSTANDING RELATIONSHIPS BETWEEN ARCHITECTURE AND AIR” By interrogating with the design proposal and making the container’s physical model in atmosphere, I have learnt that our exposure to the physical nature could hugely steer us away from the virtual designs in computer. The site is extremely important in determining the material selection, structure and form, while the considerations of fabricatability, accuracy of hand crafting and material behaviour would be vital in making the model.
OBJECTIVE 6 “CAPABILITIES FOR CONCEPTUAL, TECHNICAL AND DESIGN ANALYSIS OF CONTEMPORARY ARCHITECTURAL PROJECTS By analysing the two precedents: the Seroussi Pavilion and the Archipelago Pavilion, i now understand the approaches to analysing these contemporary architetcural projects. Making a kpi matrix is very helpful as there are numerous ways we could assess a successfully built project and by doing so I could focus on some particular areas of interest or concern to make the final comment. OBJECTIVE 7 “DEVELOP FOUNDATIONAL UNDERSTANDINGS OF PROGRAMMING” Weekly videos have helped me in knowing the vast potentials in digital designing programs. in Seroussi Pavilion, I was to manipulate with electro-magnetic fields to generate the structural elements, which was totally new to me. I have learnt that one same model coule be both curated in Rhino and Grasshopper but the modelling logic behind is greatly different. I am now able to look at a project in both visual way ( the massing as it is) and parametric way (the possible exisiting parametrical logic of it), and would be interetsed in reverse-engineering it. OBJECTIVE 8 “BEING DEVELOPING A PERSONALISED REPERTORIE” In the reverse-engineering part and the mid-sem presentation, i made the algorithms myself throught previous knowledges and obtained help from technical help sessions. One single program is far from enough to translate an idea into a final product, I had to use a range of programs such as rhino, grasshopper, photoshop, keyshot and fablab template to get to my final design intent. The final outcome of part b for me was satisfactory.
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B08: APPENDIX
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CONCEPTUALISATION 87
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References “Composite Swarm - Kokkugia”, Kokkugia.Com, 2017 <http://www. kokkugia.com/Composite-Swarm> [accessed 15 September 2017] “FORMAKERS - The Archipelago Pavilion / Marcus Abrahamsson & Benoit Croo”, Formakers.Eu, 2017 <http://www.formakers.eu/project-775-marcus-abrahamssonbenoit-croo-the-archipelago-pavilion> [accessed 15 September 2017] Grozdanic, Lidija, “Archipelago Parametrically Designed Pavilion - Evolo | Architecture Magazine”, Evolo.Us, 2017 <http://www.evolo.us/architecture/ archipelago-parametrically-designed-pavilion/> [accessed 15 September 2017] “Seroussi Pavilion |Biothing - Arch2o.Com”, Arch2o.Com, 2017 <http://www. arch2o.com/seroussi-pavilion-biothing/> [accessed 15 September 2017] “Spotlight: Adolf Loos”, Archdaily, 2017 <http://www.archdaily. com/576187/spotlight-adolf-loos> [accessed 15 September 2017]
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partC
DETAILED DESIGN
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C1. DESIGN CONCEPT c1.1 interim feedback c1.2 idea development c1.3 trip to the site c1.4 finalised concept
C2. TECTONIC ELEMENTS & PROTOTYPES c2.1 strip and folding + tessellation c2.2 prototype 1 c2.3 prototype 2 c2.4 prototype 3 c2.5 prototypes: style
C3. FINAL DESIGN MODEL
c3.1 physical model c3.2 after-presentation new model c3.3 plan sections and elevations c3.4 digital model animation c3.5 atmosphere images c3.6 lussospazio detailed guide
C4. LEARNING OUTCOME
CONCEPTUALISATION 91
C1. C1.1 INTERIM FEEDBAC DESIGN CONCEPT
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CK During the interim, our team designed and pitched LUSSOSPAZIO representing “Le Courvosier”. The cageformed outdoor accessorsing architecture to the signature Le Cabanon was inspired by a throne chair from Haas Brothers x Versace furniture line collection. We studied the desires of our envisioned clients, who would love to be exhibited and showcased of their lavish lifestyle to the public. Our project focused on the idea of “Artpiecify Yourself”, which literally means to visually turn things into art-piece. And we had incorporated qualities from our product, as well as following the technique of Strip and Folding to come up with our final proposal...
what they loved... The panel was interested in the idea of “creating a barrier, which defines a social hierarchy that our envisaged clients would pay to own”, and the final subversive idea of “ by caging yourself, you are actually caging the whole world” was much interesting to them. They understood how we traveled all the way from analysing our product, studying the idea of “ownership”, to our final proposal of creating a “artpiecifying space”. They especially liked “Persona”, our fourth product that is tailored for a human user. And they liked the collage images that I made.
what they disliked... Except for the Persona, the other three were criticized as being less successful. And our approach to form-finding was not satisfactory. The panel also said we seemed restrained by our Grasshopper algorithm, and we could have used other digital simulation tools, such as Kangaroo, to create the puffy quality of the throne chair. They also disliked the fact that our designed project was not well associated with the host ( The Cabanon).
where to improve... 1. Focus on the Persona category to a consolidated design proposal. 2. Visit the site, choose the venue for the host and location of our designed project. Therefore find the possible spacial or communicative relations of the three. 3. Further develop and enhance our digital design ability, incorporating Kangaroo and algorithms for fabrication
CONCEPTUALISATION 93
C1.2 IDEA DEVELOPMENT #THE THRONE CHAIR
As in the brief of the studio, We aimed to reflect the qualities of the chair into architectural qualities and represent them through our design. The throne chair is made of lavish and expensive materials that evoke a sense of exclusivity and luxurious comfort. Beyond that, patterns, accessory elements and physical qualities such as the puffiness are evident in the product. WE “DISMEMBERED” THE CHAIR AND DECIDED ON THREE MOST INSPIRATIONAL QUALITIES... 1. honeycomb patterned solid golden base 2. iconic Versace accessory beads 3.luxurious puffiness of the leather
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#THE CLIENT
We also went back to our envisaged clients--- young affluent professionals. We assume that media exposure is a way for fulfilling their mind of superiority and they actually enjoy their lifestyles being watched and admired by the public. Paparazzi is welcomed, but they will only see the glamorous aspects of our clientâ&#x20AC;&#x2122;s living. Our clients purely love art and their ultimate wish is that they could be appreciated like an art-piece... WE CAPTURED THESE QUALITIES OF OUR CLIENTS, WHICH WOULD INTERVENE OUR PROJECT IN A WAY THAT THEIR WISHES COULD BE REALISED AND THEIR STATE OF MIND COULD BE ENHANCED. 1.exhibitionism 2.peacockery 3.narcissism
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C1.3 TRIP TO THE SITE
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TRIANGLE ISLAND -isolated -centred -seen from everywhere -restricted access The island is in a perfect triangular shape , which has a naturally artistic form. Extending towards the middle of Merri Creek, its isolation from road paths suggests a metaphor for our extraordinary clients and it also restricts access to this â&#x20AC;&#x153;private territoryâ&#x20AC;?. Located in the center of the surroundings and aided by the Dight Fall that attracts innocent visitors, the chosen site is perfect for an exhibitive purpose.
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#SEEN FROM EVERYWHERE
#FROM THE WALING PATHS #FROM THE VIEWING PLATFORMS #FROM THE CLIFF #FROM THE ON THE CREEK BY BOAT
We want to exhibit but not expose. In another word, the site can be seen from many locations, but we would create our openings agenda based on these different viewing locations, just showing moments of what’s going on inside to the public... Meanwhile, what’s going on outside (people are trying hard to find the idea of the inside living) is clear to our clients, by which their narcissism is greatly satisfied.
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C1.4 FINALISED CONCEPT We are designing in a fantastical world where consumer desire and trends becomes feed for architects. To depict the cultural influenza through architectural qualities, our design team “Le Courvoisier” collaborated with Versace furniture line to propose Lussospazio, a complimentary architectural accessory to the signature Le Cabanon, the host for our project, to create a semioutdoor living area for the exhibitionist young affluent professionals who are always ready to showcase their lavish lifestyle and indulge in admirations from the public. We want to celebrate the ironic side of our celebrity clients—their narcissism and arrogance for superiority, and therefore stylised Lussospazio with exuberant Versace theme. The idea is to “artpiecify” our clients, where the person in the space would visually become an art piece for an exhibition of luxury.
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#WINDOW AGENDA 1
2 3
By introducing reference area given by the site in Grasshopper, we were able to provide these four window agendas. The form of the openings are of diamond shapes, morphed in according to the dynamic of the strips. The diamond shape was sourced from the chair...
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1. for the walking path: revealing the house
3. for upper cliff: showing moments for peepers
2. for the viewing platform: exhibiting lifestyle
4. for cruising boats: exclusive moments
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#SHIFTING TYPOLOGY
Our clients are the absolutists of exhibitio true life style, from simply enjoying the sun to even outdoor bathing. By dragging the e being caged by Lussospazio, we shifted th house, where different programs are provid
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BATHROOM
LOUNGE
COURTYARD
KITCHEN/ STUDY
onism... They would like to show off their nshine, indulging in afternoon reading time existing room arrangements to the outside, he typology of Le Cabanon to a courtyard ded to fully exhibit our clientsâ&#x20AC;&#x2122; lavish living.
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tessellation
honeycomb chair base
hexagonal tessellated pattern apply boundary + site typology
criteria selection superformula
sec +p
the site
strip + folding
puffy striped cushions grasshopper formfinding + kangaroo simulation
window agenda
signature Versace beads+pattern 108
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#FORM GENERATION DIAGRAM program provision
elevating honeycomb base with leathered program
leather furniture forming
host
cured to the hostâ&#x20AC;&#x2122;s roof for stability provisioning of filtered skylight house location as shown to provide a private entrance
stylise black+gold
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C2. C2.1 STRIP AND FOLDIN
TECTONIC ELEMENTS & PROTOTY
Prototyping is a crucial process in our design. We have two techniques to test : tessellation + strip and folding. We aim to use one same (or very similar) joining logic for the two techniques, so that there is a coherency in the envisioned construction process. We would hope to showcase the best aesthetics of the two --- the elegance of strips when they bend, and the powerfulness of patterning from tessellation, meanwhile guarantee their structural performance --- the bending wouldnâ&#x20AC;&#x2122;t collapse and the patterning is quality and correct . Material selection, joining methods selection and visual quality are our main focuses. Here, four prototypes will be shown, justified for their pros and cons before we deciding on the one to be used for the final fabrication.
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YPES
NG + TESSELLATION
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C2.2 PROTOTYPE 1
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The first prototype explores the possibility of combining the aestheticism of tessellation and strips-and-folding into one unit. Polypropylene used to illustrate structural behavior of any flexible materials, and bolts were used for joining at the tabs that we created.
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PROS: -aesthetics -handiness in assembling -a smart juxtaposition of the two techniques CONS: -the openings created do not vary in terms of different â&#x20AC;&#x153;momentsâ&#x20AC;? -strips do not bend as desire -whole structure looks wobbling -computational rather than algorithmic
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C2.3 PROTOTYPE 2
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The second prototype challenges the potential of a rigid material. Bamboo is used for the test and for this prototype we used split pin for joining at the tabs. Split pin gives a little flexibility as it is not super secure, which is necessary for this material, as too much pressure on the joining point could cause breakage.
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PROS -good stability -neatness -style -stay unchanged after connected -ease of joining CONS -limited bending -when large amount of strips connected, the structure starts to resist bending -costly to make
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C2.4 PROTOTYPE 3
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The third prototype used flexible material polypropylene for strips, semi-felxible material boxboard for tessellation and revet for both joining logics. Revet is a very secure joining method, it gives rigid joint, holds the shape but requires the material soft enough to withstand the very high tension at the joints.
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PROS -great bending performance -realisable for a finished whole model -modular quality allows mass production -one technique applicable to both strips and base CONS -time-consuming to make -need to cater for tension equilibrium, otherwise the sturcture performes uneven
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C2.5 PROTOTYPES: STYLE
Except for the structural stability, and good bending performance. In prototype 3, the use of revet resembles the beads element of the throne chair, which when painted gold, with the black polypropylene strips could beautifully reflect the signature Versace black-and-gold style. As for the studio and real architectural industry, â&#x20AC;&#x153;Styleâ&#x20AC;? has been increasingly important for architects to take consideration into, so this is one of the determinative reason we chose prototype 3 for our final model proposal.
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C3.C3.1 PH
FINAL DESI
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IGN MODEL
HYSICAL MODEL
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C3.2 AFTER
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R-PRESENTATION NEW MODEL Our final presentation model could well display the design idea, joining logics and atmosphere, but I personally found it was not good enough for exhibition. The whole model looked unstable and unpolished. The reasons I identified are 1. the strips were assembled from 1 to 35 in a clockwise fashion consecutively ,which made the formerly connected bits stronger in tension, the latte weaker, therefore the force distribution of the whole structure is uneven which led to a unstable model 2. the stimulation on kangaroo does not cater for material error in reality( ductility of the material and bending due to gravity) 3. The size of the model was too big that led to magnified error from hand-making. I redid the model on my own and hoped to address the issues by 1. bringing down the model to a 1:50 scale ( from 1:20) 2. dividing the strips into 3 groups (1-12;13-25;26-35); assembling each group then connected thew three parts so that the force distribution are much evened. 3. use thick revet at the connect between groups for added withholding of the shape 4. constantly bend the model to keep the desire shape Iâ&#x20AC;&#x2122;m much happier with the refined new model.
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C3.3 PLAN SECTIONS AND ELEV
SITE PLAN
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VATIONS NORTH ELEVATION
moments of the host
WEST ELEVATION
lifestyle exhibition
SOUTH ELEVATION
for the rowers
EAST ELEVATION
the secrete entrance
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A
A
SECTION AA paparazzi welcomed
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C3.4 DIGITAL MODEL ANIMATION
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Seen from the cliff. The curious visitor is trying to zoom into the courtyard with her camera to capture some moments.
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Located at the centre of the site, the luxurious golden illumination attracts people to gather together,watching and gossiping what is going on inside.
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Platforms are crowded with visitors, who are watching the envious lifestyle.
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Paparazzi would hide in the bush , ready to sneak any explosive media images. Normal people might just watch in distance, not daring to trespass or interrupt.
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C3.5 ATMOSPHERE IMAGES
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Rays of fame
The “rays of fame” coincides with the collection of views’ sight-lines path. However, it is in the opposite direction, starting from the center of Lussospazio. It suggests a strong power or influence our design exert on the surrounding. We want to celebrate the “passivity of watchers ”, that is wherever the rays reach, there would be people watching...
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C3.6 LUSSOSPAZIO DETAILED GUIDE
A detailed guide to how to assemble Lussospazio, your personal servant could easily do the job, an would be able to start artpiecifying yourself in a 158
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so that nd you a day! CONCEPTUALISATION 159
C4.
LEARNING OUTCOME
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Architecture has long been a servicing existence to human being. We build shelter so that we won’t get drenched in rain; we build rooms to get warmth in winter… With the basic comfort demand being met, like a person has had three meals, two showers, one good sleep in a day, he would start to care about his lifestyle, what he wears, what car he drives, flying business class rather than a super-deal economy ticket. Architecture similarly is not simply just somewhere for people to stay anymore, with the fashion culture, celebrity style and all the advocation on the importance of quality lifestyle on the Internet, architecture has become a representation of people’s lives, or maybe a showcasing or disguise of people’s lives. Our design project celebrates the idea of architecture being a camouflage to our clients. It enhances the glamorousness of them and simply makes people admire. The Versace thorn chair was a great inspiration to our design. We thought of the reason why people won’t just buy a super comfortable fabric sofa from MUJI, which is apparently very trending for urban furnishing. And I think if I would spend 10 times of the price for that, the only trigger is that I wouldn’t have treated it as a piece of furniture, its attribute must have been something whose expected price is way higher than a chair, which maybe a piece of artwork, priceless! And this is where we got the idea of “artpiecify”. And after the interim, we are confident with presenting Lussospazio on “artpiecifying the people”. We have a clear Versace style in terms of colour, patterning and materiality. But I have to be honest that our research field( Strip and Folding + Tessellation) and our limited capability on computational design did lay much restriction on achieving our desired form. And translating a designer chair into an architecture accessory, while we still needed to cope with the host, site, envisaged client, fabricability and the pretty tight time frame, was not easy. Luckily, I think we landed on a solid idea, and everything just pulled out nice in the end. During the final presentation panel critique, one of the guests did ask a tricky question: what is this different from a building with windows? I remembered the quietness in the air … I didn’t know what to say. I tried to explain the illuminating golden effect, and the provision for the windows. Maybe a little farfetched as I know, but he seemed happy with my response. The window has surely been the biggest problematic. We could have used reference points generated on the original reference area to create more complicated arrangement, rather than simply leaving big openings. Back to the design, it’s very conceptual and somewhat funny. Is there really someone who will buy? As the designer, I don’t give answer. But I know the inherent value of the humour does suggest a current phenomenon. Including architecture, everything seems to be becoming more and more “on-the-surface”. People would care what moisturiser they put on their face, but don’t eat enough fruits. We can’t say this is an absolute degeneration of humanbeing, but architecture, being an omnipresent advertisement in our lives should be responsible for revealing some very current social problems, needless to slogan anything, but simply leave them to reflect on what they feel when seeing the architecture. Architecture is for everyone, the users and the viewers. To me, the eye contact between the inside and outside is beautiful, and this beauty could only be achieved by architects through creating openings, spatial shifting, colour and atmospheres. In my future design, I would always remember that I am designing something emotional rather than a collection of concrete and steel. Finally, thanks Jack, thanks my team.
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THE END
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