Ma jiayi 634072 journal

AA II RR

Jiayi Ma | 634072 | 2015 Smester 1 | Tutorial 10 1

CONTENTS PART A CONCEPTUALISATION 4 8 12 16 20

A0 A1 A2 A3 A4 A5

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INTRODUCTION DESIGN FUTURING DESIGN COMPUTATION COMPOSITION/GENERATION CONCLUSION LEARNING OUTCOMES

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A6 - ALGORITHMIC SKETCHES

PART B CRITERIA DESIGN

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B.01 - RESEARCH FIELD B.02 - CASE STUDY 1.0 B.03 - CASE STUDY 2.0 B.04 - TECHNIQUE: DEVELOPMENT B.05 - TECHNIQUE: PROTOTYPE B.06 - TECHNIQUE: PROPOSAL B.07 - LEARNING OBJECTIVES AND OUTCOMES

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B.08 - ALGORITHMIC SKETCHES

PART C DETAILED DESIGN 76 88 102 124 138

C.00 C.01 C.02 C.03 C.04

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SITE ANALYSIS DESIGN CONCEPT TECTONIC ELEMENTS & PROTOTYPES FINAL DETAIL MODEL LEARNING OBJECTIVES AND OUTCOMES

140 C.05 - ALGORITHMIC SKETCHES

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[A0]Introduction.

Jiayi Ma // About Me I am Jiayi Ma, currently a third-year student majoring in Architecture in University of Melbourne. I hope to complete my Master in Architecture shortly after I graduate. I have came to Melbourne since I was 16, at Ivanhoe Grammar School through until year 12. I was initially interested in interior design then extended to have interest in many forms of design and art.

Architecture is something that I always have a vision of, because my mother is doing it so I have been contact with it since I was a little girl. I always know that architecture is not a easy thing to learn and it will spend a lot of time. Although I doubt why did I choose this major sometimes, I still have the passion and the ambition to work on it Throughout my study, I have been exposed to more and more amazing stuffs and I develop myself for better outcomes. This semester is gonna be fun and exciting and hopefully I keep alive and survive to the end.

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Previous Work and Experience // In Year 2013 during my first year first semester, I have took Virtual Environments and this subject actually exposed me to what the real design world is. It was really hard for me at that time because I have not been learning any softwares or drawing techniques before.

Everything seems so difficult and different when I actually needed to do the design by myself.

Although it was hard at first, it became more and more interesting when the prototype of my design came out. Even though my lantern was not one of the best work of that semester, I still felt happy about what I got.

This is when I realised that design ideas are not only been interpreted using drawing but also by different media and technologies, so the ideas could be transformed and presented in a much better way.

This subject was inspiring and challenging and enabled me to see through the power of technology. Software such as Rhino provide me availability to explore unlimited potentials and possibilities in designing.

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PART A. CONCEPTUALISATION

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A. 01 DESIGN FUTURING Metropol Parasol J.Mayer H. Architects

World’s largest wooden frame structure bonded by polyurethane situated in central Seville among medieval architecture. Metropol Parasol explores the potential of Plaza become the new contemporary urban centre and transforming it into a social and cultural hub where both residents, visitors and tourists can gather under the architecturally motivating ‘crown- like waffles‘.

Wood being the ultimate renewable energy source, it also possesses outstanding acoustic and insulation properties. However, due to some limitation of wood’s properties, wood architecture were confined to project without curves. The success of this project hence contributed to the discourse of materiality and fabrication process, more specifically engaging with construction of wood architecture.

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A. 01 DESIGN FUTURING

Westcave Preserve Environmental Learning Center Jackson & Mcelhaney Architects This project won the AIA/COTE Top Ten Green Project in 2006. It is highly sustainable in following features contributed: sensitive sitting in a delicate ecosystem, rainwater harvesting, natural ventilation, energy-efficient mechanical and electrical system, a PV panel. The site also allow an interactive education with the nature.

The light-gauge steel framing with highest recycled content is specified in this project.

The open floor plan and the location of openings allow the building catches prevailing breezes and therefore provides a non-solar cooling loads.

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A. 02 DESIGN COMPUTATION Museo Soumaya Fernando Romero Enterprise

According to FREE Architects, this project adopted complex computational techniques and continues to work on a central digital 3D model throughout the construction phase, in this case it resolved many problems that traditional 2D drawing and design process cannot solved.

Not only the hexagonal panelled surface that we see need computation to calculate, but also the complex 3D structure. Such as using the digital model to ensure that 26 curving columns and horizontal steel rings lay on the design surface, as well as the design of interior ramps, structure and roof.

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A. 02 DESIGN COMPUTATION Beijing National Aquatics Center PTW Architects

The design, engineering and construction of Beijing National Aquatics Center also depend heavily on computation. The size and orientation of the cells, the structure, as well as the skin were designed and calculated by computer in order to get the most efficient result.

The complex geometric system of this building is controlled by the parametric software which can automated the drawing and analysis process. The system allowing the team to test different design configurations and receive feedback within 25 minutes.

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A. 03 COMPOSITION / GENERATION Dermoid CITA and SIAL

Dermoid is one of the ideal project to observe the inflexibility of parametric models. By analysing the project I found it will be really hard to build without parametric technology, because initially they did not know the shape of doubly curved surface, or even where the pavilion would be built. Besides,at that time no one could calculate the structural performance of a reciprocal frame, especially one constructed from a heterogeneous material like wood.

Structuring Dermoid’s parametric models undoubtedly improved the project’s flexibility, allowing various experiments with changing the structure of the models based on organisational techniques used by software engineers, as well as enabling

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A. 03 COMPOSITION / GENERATION Vague. Formation Soma

The parametric model based on Grasshopper and Karamba enable the architects and the engineers to simultaneously design and evaluate the structure. Since the architecture wants to produces an ambiguous mass to allow visitors come up with their own interpretations and associations, the parametric modelling process allows a set of frame conditions to be defined and tested, the distribution of members can be irregular while still showing a homogeneous density. The bottom-up strategy of the music pavilion is based on a repetitive linear base element and the simple reference surface. Parametric modelling allows the irregular layout of truss diagonals emerged from a genetic algorithm that optimised for structural performance and efficiency of material.

The use of this pavilion is highly flexible as the structure can be divided into individual elements. By combining these segments in different ways or by reducing their number, the pavilion can adapt to its location.

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[A4] Conclusion // We need to realise that human being have reached a critical point where change needs to appear in order to protect our future inhabitation of this planet. In this case, design has to be re-directive practice that aims to alert our society of the current defuturing situation.

Through my research, it has become obvious that with the rise and development of computational designs, designers now have a greater ability to implement this change.

Computational design has completely revolutionised the design process, increasing the opportunity

for innovative and complex design to be done. It is a negotiation between architectural aspiration, structural behaviour, build ability, logistics of assembly, and cost control. The computer has been started to use in synchronisation with the designer at the beginning of the process to assist in the generation of unexpected, interesting, complex design solutions. Then the solutions can be refined parametrically to get to the situation of adjusting single element can bring about various outcomes.

My design approach to air studio’s

project will take advantages of these new computational technologies. I will aim to analyse a acquire information of key ecological flows that are present on the site. Also, encouraging hum interaction on the site through t creation of engaging, re-directi design. My design process will to make some algorithmic that be manipulated parametrically. is necessary if an efficient, reso design process is to take place

[A5] Learning Outcomes // Part A of this exercise has allowed me to develop a number of key skills that will be beneficial in future practice, not only for design studio, but future work in the society. The most basically I developed key research and documentational skills that will be integral in the architectural profession.

More importantly, after completing

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this period of the exercise I realise that my previous view of architecture was quite shallow and limited.

I’m now able to see architecture with an open mind, assessing built works on their innovation, complexity, and whether or not the design performs in a way that is re-directive or unsustainable.

Re-directive can be evaluated i terms of whether the design us intelligent processes to recogni material and structural propertie and how these benefit the user and the environment

and n man the ive aim can . This olving e.

in ses ise es, rs

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[A7] References // Fry, Tony (2008), Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp.1-16 Wiley, John and Sons (2013), Computation works : the building of algorithmic thought (Chichester), pp.66-69 Wiley, John and Sons (2013), Computation works : the building of algorithmic thought (Chichester), pp.111-112 Wiley, John and Sons (2013), Computation works : the building of algorithmic thought (Chichester), pp.128-131 Kottas, Dimitris (2013), Digital Architecture: New Applications (Barcelona), pp.146-151

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Images // Personal Photograph - Myself Personal Photograph - Completed work from Virtual Environments 2013 J.Mayer.H Architect, ‘Metropol Parasol’<http://www.jmayerh.de/19-0-Metropol-Parasol.html> [accessed 20March] Jackson & McElhaney Architects, ‘Westcave Preserve Environmental Learning Center’<http://www. aiatopten.org/node/147> [accessed 20March] Fernando Romero EnterprisE, ‘Museo Soumaya’<http://fr-ee.org/projects/soumaya-museum-mexico-city-mexico/ > [accessed 20March] PTW Architects, ‘Beijing National Aquatics Center’<http://www.ptw.com.au/ptw_project/watercube-national-swimming-centre/> [accessed 20March] CITA and SILA, ‘Dermoid’<http://www.grasshopper3d.com/forum/topics/reciprocal-systems?commentId=2985220%3AComment%3A648138&xg_source=activity> [accessed 20March] Soma, ‘Vague Formation’<http://www.adgnews.com/pavilion-for-biennale-in-salzburg/gallery/3> [accessed 20March]

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[A6] Algorithmic Sketches.

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PART B. CRITERIA DESIGN

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B. 01 RESEARCH FIELD Tesselation

Tesselation is “a collection of pieces that fit together without gaps to form a plane or surface, it can be any shapes as long as they puzzle together in tight formation” [1]. It is commonly refers to both tiled pattern on building and digitally defined mesh patterns in architectural respect. Tesselation has been commonly used in architecture as a decorative surface expression since mosaics in ancient Rome and the Byzantine empire, it can also be seen on the screen wall in the Islamic architecture and the stained-glass window in Gothic architecture [2].

I choose tesselation as my research field because it is relatively basic and more flexible. The modular nature of it allows the creation of complex forms. The traditional way of assembling patterns of tessellation was time-consuming and laborious. However, nowadays digital technologies makes tessellation more easily to explore and integrate by allowing automate create and change patterns, as well as easing the fabrication of cutting and assembling.

In modern architecture, tesselation has gained the design world’s interest and becoming increasingly relevant to building as more and more architects pursue the large and complex form and surfaces, also because of the digital-manufacturing techniques nowadays allow people to generate countless possibilities by changing the qualities such as shape and density, and also creating the own custom panels.

Moussavi believes that modern ornament should have actual functions and purposes and not only being a decorative or symbolic segment. “It is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the object” [3]. Tessellation here as a form of ornament can promote the aesthetic design and performed as the structural element at the same time.

Tesselation generates the patterns on the surface which refer to the ornament and will affects how people feel about the design, at the same times, those patterns are forming the whole design as structure.

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In order to have a better undersanding of abilities of tesselation, I look into two precedent projects“VoltaDom” and “POLYP.lux”. These two projects are not only both classed as tessellation, but also both focused on the facade aesthetics and structural efficiency in a public spaces.

For instance, the VoltaDom by Skylar Tibbits is a doubly-curved vaulted structure which attempt to expand the notion of the architectural “surface panel”.

Digital modelling software makes this possible by “intensifying the depth of its vaulted surface, while maintaining relative ease in assembly and fabrication”, as well as “transforming complex curved vaults to developable strips, one that likens the assembly to that of simply rolling a strip of material” [4]. This allows the consummation of achieving structural design through tessellation.

Another example is the POLYP.lux by SOFTlab, which contains three funneling forms of varying depths hung downwards in the busy metropolis. This installation sculptural form was generated through a gravity driven process calculated by digital techniques, to make sure it can be perfectly hanging in the air and fluttering in the wind. The designed joints with LEDs allow the ease of assembly while remaining the aesthetic form at the same time.

The concept of tesselation over here shows that it is not only a surface condition but also related to the construction efficiency as well, when it integrated with form, structure and material, a variation of effects can be achieved.

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B. 02 CASE STUDY 1.0 Voussoir Cloud

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oussoir Cloud is an installation art that created by Iwamoto Scott and Buro Happold. It is an interesting project which using tessellation as surface expression to form a 3D structure. The main structures are vaults and five col-umns which consisting a tessellation of three dimensional wedge-shaped pieces of wood petals. In order to disrupt the structure of the logical order, each petal splices randomly to create a cloud changing dome shape, and the same time, the dome and the column base are formed by petalsâ&#x20AC;&#x2122; different levels of aggregation.

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“Voussoir Cloud’s design explores the coupling of potentially conflicting constructional logics – the pure compression of a vault with an ultra-light sheet material.” Initially, designer handmade “petals” model, and measured their geometric relationship, after repeated experiments, the designers used digital model to do the custom simulation of the relationship between the petals. These petals divided into four types based on the slightly differences according to their sizes, edge conditions and position relative to the overall form. When they are set together, the overall structure creates a unique emotional experience from inside to outside since the gaps between the petals create a shadowing effect by letting some of the light go through.

The intent of this project is to show that both bulk and permeability can be created at the same time. Using tessellation allow the vault to be made of stiff wood panel, as well as manipulating the sizes and qualities of wood. Although the wood panel is much lighter than real voussoir, it acts the same structurally in this project based on the computational design. “Computational hanging chain models refine and adjust the profile lines as pure catenaries, and form finding programs to determine the purely compressive vault shapes” [5]. Delaunay tessellation is used for capitalizing on and confounding the structural logics for each vault, greater density of smaller petals combined together at the vault edges and at the column bases forming strengthened ribs, while the upper vault petals are loosen.

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MATRIX EXPLORATION SPECIES 1: PATTERN

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SPECIES 2: OVERALL SHAPE TRIMMING

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MATRIX EXPLORATION SPECIES 3: POINT

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SPECIES 4: CURVED SURFACE

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MATRIX EXPLORATION SPECIES 5: SUBDIVISION

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The matrix exploration based on Voussoir Clooud was started from changing the pattern from the original voronoi to hexagonal, triangular, radial, rectangular and square. After experimenting the Species 1, the result did not really satisfying, so I also started the Species 2 form the original form. For this species, I trimmed the overall shape by different curves, from regular to irregular.

Species 3 is based on the result from species 2, the number of location of points was changed according to the shape of each iteration to see what kind of effect will achieve. The exploration continued in Species 4 by changing the original flat surface into different curved surfaces to make the form more dynamic. For the last species, I tried to develop different subdivision patterns for the surfaces to have a more complex and constructable form.

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MATRIX EXPLORATION : Design Possibilities

These show four of the most s tion criteria that I decided. Firstl flexible and have a sense of flo the different anchor points loc relatively interesting result. It is

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successful outcomes as they match the selectly of all, they all have curvy forms so it looks more owing. The different patterns on the surface and cation give the visual and spacial experiences a also comparatively easy to construct.

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MATRIX EXPLORATION : Design Possibilities

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B. 03 CASE STUDY 2.0 Shellstar Pavilion

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h t a

-tion benef whole each possi cell w ricatio corop

I deci faces projec see t matrix

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hellstar Pavilion is a lightweight temporary pavilion that designed by MATSYS. It aims to create maximum space by using minimum structure and materials. Using parametric modelling allows the project to have a faster process from design, fabricaand finally to assembly-it only took 6 weeks (despite the complicated patterning). More fits from advanced digital modelling techniques can be found according to the brief. The e structure is made out of nearly 1500 individual cells, â&#x20AC;&#x153;Using a custom Python script, cell is optimized so as to eliminate any interior seams and make them as planar as ible, greatly simplifying fabricationâ&#x20AC;? [6]. Moreover, the location and orientation of each was automatically labelled and analysed when it was unfolded flat and prepared for fabon. In this case, the planarity of each panel is maintained and possible to cut from a flat plast sheet. This is also better for the environment as it eliminates the wastage.

ided to reverse-engineer this project because it has the similar ideas and catenary surs with Voussoir Cloud, so I can adapt the knowledge that I learnt from it easily. Also this ct attract me by its interesting designs through patterned tessellation, which made me the potential of subdivided pattern on surfaces from what I was developed in the first x.

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REVERSE ENGINEERING

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Drawing the base shape by arraying and mirroring the basic triangular pattern.

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Creating the triangles within the triangular cu Triangle from LunchBox plug-in, and set the n sion to 3.

Using SandBox plug-in to convert triangular into hexagons. Then set the anchor points on the resultant mesh, reference it into the Kangaroo simulation engine.

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Referencing geom tion, set Connectio ulation.

urve use Subdivide number of subdivi-

metry as the mesh, set UnaryForce to z direcon to vertices of mesh faces. Then run the sim-

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Creating planar panels by connecting the generated curves to Weaverbirdâ&#x20AC;&#x2122;s Picture Frame and set up a certain dista

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B. 04 TECHNIQUE: DEVELOPMENT

1. Creating basic form from simple to complex with different patterns, set the anchor points on the edges.

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2. Changing the anchor points positions based on Species 1.

3. Using irregular curve trim the pattern, set an points on the edges.

es to nchor

MATRIX EXPLORATION

4. Changing the anchor points positions based on Species 3.

5. Randomly moving the anchor points after turning on the Kangaroo simulation.

6. Trying with the different surfaces patterns and other techniques.

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MATRIX EXPLORATION

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MATRIX EXPLORATION

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MATRIX EXPLORATION : Selected Outcomes

Achieving a resilient upside down structure which could be potentially used as a membrane to wrap around a structure or to create a frame form in design.

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Creating a patterned surface with a dynamic fo H which could be potentially used as the form of desig st the degree of distortion and the density of pattern in c be changed. a

orm Having a more dynamic form within different height of structure. gn, It means richer spacial experience and more can nteresting circulation for the users. Patterned surface is also easy to be fabricated.

Selected as Prototype

Similar to the previous form, but having more gaps between the structure which allow a better circulation. The overall form is less dynamic but smoother considered the aesthetic and construction point of view. The density and the pattern of the surface are changed to achieve a better visual effect, which has the flexibility to be further developed in the future.

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B. 05 TECHNIQUE: PROTOTYPE Physical Prototype 1

The last selection from B4 was chose for the first prototype. In order to having a better understanding of the actual construction, I created circular joints at each corner of the triangular pieces, then I selected parts of it and scaled it up to 1.5 meters within 131 pieces. I used digital fabrication through laser cutting to be the method. This decision was purely based upon the accuracy of the process as well as its efficiency. Materiality was the next thing considered when fabricating prototype. I chose to use polypropylene as the material is highly flexible and lightweight, which suitable for the effect that I want to achieve. Metal wire was used over rope as the connected tool for the joints because it is more stable and clean.

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There are some of the issues showed from this prototype. From the structural aspect, while the material showed great flexibility and good tesselation performance, polypropylene is very weak. I found that it was really easy to be twisted when pressure applied to it.

Which meant that the material may not be used for the structure as it requires strength in order to perform as a frame with structural integrity and support its own weight.

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The prototype is supposed to be hang up, but as I cannot pin it into the apartmentâ&#x20AC;&#x2122;s wall so I kind of hang it on the cardboard in order to get the effect.

There are also some issues about the joints. I found that some of the joints cannot be connected tight. For instance, many of them are supposed to be intersect with each other, Which is the largest problem that I found through the process of fabrication as this led to a less curvy surface. In the future design, I also have the thoughts of using something more elastic as the joining material.

There are also some other potentials such as differentiating the size of gaps and dividing the functions of structure by having some closures.

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B. 05 TECHNIQUE: PROTOTYPE Physical Prototype 2

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I also tried to make a 3D printed model but it failed. Therefore I used clay to build the prototype 2 in order to have a overall form of my chosen strcuture. From a more careful observation and manual production, I found that the structure is actually not stable enough itself, as the base is not on a flat surface. If this form will use for the future design, it will need to be changed more constructable and stable.

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B. 06 TECHNIQUE: PROPOSAL

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Design Proposal and Site Context

My design concept in response to the Merri Creek brief is to create a dynamic cave for animals to live in, such as spiders and insects in the site. The different sizes of gaps allows spider to hang up and spin on it. The design will be located in the forest around the CERES Community Environment Park where has a large floating population around the site. The design might be across the river because I want it to be visible but not reachable, as it will create a sense of mystery as well as keep people a safe distance.

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My design intend to raise awareness of small creatures from nature through providing them a place to live and getting peopleâ&#x20AC;&#x2122;s attention. The Merri Creek site is one of the places in Melbourne for Australian wildlife to call home and for people to walk, cycle and talk. However, the site is lack of a iconic landmark which contain a attractive visual effect. Moreover, even though there are a lots of animals and insects here, there is not a specific place designed for them. Therefore, my design goal is to create a signature place for those living creatures at Merri Creek to attracting peopleâ&#x20AC;&#x2122;s abservation but also provide safety for both human and animals.

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B. 07 LEARNING OBJECTIVES AND OUTCOMES

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his stage has been a challenging but rewarding one. It combines algorithmic thinking and design innovation and moreover requires consideration and practice in fabrication. The digital exploration allow me to keep an open mind and experiment with different interesting outcomes. Therefore it effaces the limitation and boundary of my own imagination and gives me ability to generate a variety of design possibilities for a given situation. I found it is critical to cross examine the computation process and fabrication process throughout the project, as it brings computation designs which are sometimes conceptual and impractical to a solid and clear solution that deals with the structure. Therefore, it is possible and promising to further push the boundary of the structure and utilize it in a aesthetic form. Both computation and fabrication help to train my logical thinking ability tremendously.

In Part B, I encountered with a series challenges in computational engineering from matrix exercises and reverse engineering, as well as prototype fabrication.

I think the key for algorithm generating is to be able to understand and extract the most vital parameter and gain control of it. It requires me to classify the data logically and manipulate it accordingly.

The prototype turned out to be satisfied from the aesthetic point of view but relatively failed structurally. However, there is definitely potential in both structural and aesthetic. Material and joints are also be tested during prototyping. Polypropylene achieves the visual effect that I what but not very ideal for structure. However, the change and development of joints may allow it works, which will be tested in the future prototype. Furthermore, the prototype and design proposal gives me a better understanding of the relation between architecture with air, as I now have a cleared idea of what I want to design and what effect I want to achieve in the future development of it. There are some issues that I still need to work on to solve. For instance, the lifestyle and habitat of spider and how the structure can relate to the spider web, which is to be more responsible to the site and brief both physically and conceptually, as well as have a clearer scale.

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REFERENCES

1. Iwamoto, Lisa (2009). Digital Fabrications: Architectural and Material Techniques (New York; Princeton Architecture Press), pp. 36 2. Iwamoto, Lisa (2009). Digital Fabrications: Architectural and Material Techniques (New York; Princeton Architecture Press), pp. 37 3. Moussavi, Farshid . The Function of Ornament, pp. 8 4. Skylar Tibbits, ‘VoltaDom’ < http://designplaygrounds.com/deviants/voltadom-by-skylar-tibbits/ > 5. IwamotoScott Architecture and Buro Happold, ‘Voussoir Cloud’ < http://www.triangulation. jp/2011/06/voussoir-cloud.html > 6. MATSYS, ‘Shellstar Pavilion’ < http://matsysdesign.com/2013/02/27/shellstar-pavilion/ > IMAGES 1. Skylar Tibbits, ‘VoltaDom’ < http://designplaygrounds.com/deviants/voltadom-by-skylar-tibbits/ > 2. SOFTlab, ‘POLYP. lux’ < http://designplaygrounds.com/deviants/polyp-lux-by-softlab/ > 3. IwamotoScott Architecture and Buro Happold, ‘Voussoir Cloud’ < http://www.triangulation. jp/2011/06/voussoir-cloud.html > 4. MATSYS, ‘Shellstar Pavilion’ < http://matsysdesign.com/2013/02/27/shellstar-pavilion/ > 5. Google Earth Map

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B. 08 APPENDIC ALGORITHMIC SKETCHES

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PART C. DETAILED DESIGN

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C. 01 DESIGN CONCEPT Reflecting on the feedback

Entering the final phase of the project, we were divided into group of three based on the similar design approach. We were started finalizing the key points of our proposal first reflecting upon feedback given in our interim presentation. Our approach to design needed to be more specific and innovative, which we have attempted to do through creating a combination between human senses and natural environments in our design. Something that has the potential to be iconic as well as benefit to the site. Addressing the feedback allows us to critically analysis the more unconvincing aspects of our project and how we can improve upon to create something more realistic, optimal or feasible.

The first point we took from the presentation was how we could combine our design proposals and techniques together as a group. In the part B two of us choose tesselation and another choose material performance as the research field, so we want to take the features of both as the starting point. We addressed these concerns in our final design idea by developing the pattern based on my part B selected prototype. My previous prototypes was visually successful because it transferred the sense of floating and hanging, which will be carry on for the further development. However, it was lack of dynamic because we want it to be more complex and even collect things from the nature, so the pattern will be refined in order to get a better outcome. The connection also had some problems as they could not be joined very well, we decide to change another method for a faster fabrication, maybe transparency nylon rope or cable ties. As we want to create a structure hanging between the trees, the material needs to be lightweight and flexible. Polypropylene fits the profile so we decide to continue to use it.

The last major point of criticism was our design proposal was not strong enough.

As to having a more specific and convincing proposal, we need to reconsider the site context, the function of our design, as well as the potential users. Because we want to bring people walk into our design so its relationship to the site, the clients and the people who will encounter the project is what we really need to think about and achieved by the evolve of technique.

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Watercourse

Flora & tree density

Planning & overlay

C. 00 SITE ANALYSIS

Merri Creek is a waterway that runs from the Northern suburb of Melbourne to the Y scape is resulted. Along the creek lies a fragile ecosystem which contains some of frastructure diagram shows the urban density of the area, which is contributed by p parks that surrounds the Merri Creek trail, namely the CERES environmental park, M

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y

Property allocation

Infrastructure

Yarra River. Due to revegetation and parkland development, a linear park and landAustraliaâ&#x20AC;&#x2122;s threatened wildlife and native vegetation. The above property and inparks, schools, recreational centers and Brunswick Train Station. There are several Merri Park and Sumner Park.

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We went on another site visit in order to find a suitable site location for our final project. As the Merri Creek Trail has a broad coverage, we narrow down the area to the Merri Park and the surroundings as it has enough space to be designed and it is relatively quiet which fits the atmosphere that we want to achieve.

There are three places we found that can be considered as the possible site location. Another thing we focused on is the trees location as we want our installation to be hanged on the trees. So the distance between every two trees needs to be suitable, the overall shape that created by all trees also need to be practical and good looking. The first site is located on a wide slope, the second site besides the bridge and the third one near the Baseball Club.

SITE 1

BRIDGE 78

SITE 2

SITE 3

BIKE TRAIL

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he second site is located just crossed the bridge. We found this one suitable bec road and the bridge so it has many potential users, such as the joggers and th also very attractive because it is near the river and the sound of water flowing can of the tree are not very ideal as those trees separate too much and form an elon

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cause it is at the intersection of the he dog walkers. The natural view is n be heard. However, the locations ngated shape.

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T

he third site is located near th many potential users such as people can walk in easily. Ho flat ground can be considered

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he entrance of the Merri Park and closed to the Baseball Club. This site also contains s the children and the sports player. It also has the benefit of sitting on a flat ground so owever, the surrounding environment is not quiet and peaceful enough. Moreover, the d as a flaw either, because it will make the installation not that interesting.

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he first site is the final location we decided to use. It is located slightly beh bridge, which gives it the advantages of beautiful environment while having po users at the same time. When we visited it, there are some joggers running p and some people walking their dogs occasionally, however, as it has a relativ vert location it still has the atmosphere of peaceful and tranquil. The treesâ&#x20AC;&#x2122; lo is also suitable as it forms a trapezoid shape and the distance between eve trees is not too wide or too narrow. The slope of the site makes it more inte for people to walk in, the altitude difference gives more flexibilities to the c of the installation. Then we measured the scale of the site, the distance be trees and the diameters of each trunk in order to develop the digital model.

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hind the otential pass by vely coocation ery two eresting creation etween .

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RESPONDING TO THE SITE CONTEXT

The designated site that we have chosen lies within the Merri Park, where it sits near the intersection of a bridge and the walking trail. The site is surrounded by the waterway that is curtained off by a row of towering trees and a piece of empty greenland. It is a space that is enjoyed by a diverse range of people - joggers, children, local residents and bikers, and at the same time giving a sense of serenity and calmness. The trees within the site sits closely on a slope, which adds on an interesting experience for our installation.

A stroll along the Merri Creek trail brought us to know the site better, in which there are several spots like the CERES environmental park and the Collingwood Childrenâ&#x20AC;&#x2122;s Farm that attracts most users. Our installation on the other hand would want to promote the Merri Park, so as to draw more audience to the area.

Additionally, given the delicacy of the ecosystem, our group will be implementing a design that post minimum threat to the habitat within.

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STILL LEAVES is a delicate organicorganic form that as a sensory install STILL LEAVES is a delicate formworks that works as a sensory

scattering down, down, frozen frozen within within time. Its a device that enhances the senses of leaves scattering time.

Its a device that enhances the sen ence.

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lation to be hang trees, mimicking the confetti of leaves installation to be onhang on trees, mimicking the confetti of f hearing, seeing,seeing, smelling and touching of the ofaudience. nses of hearing, smelling and touching the audi-

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Form +

PART B BY YINGLI

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Pattern

PART B BY JIAYI

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C.01 DESIGN CONCEPT Patterning Experiments

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The further development started from the patterning experiment. We did several prototypes in order to test out which pattern can be able to collect things as well as mimicking the shape of leaves at the same time. Firstly, we did them in the basic shape like triangle and quadrilateral, then by changing the shape slightly like rotating or twisting them we got more outcomes.

We simply use the paper, plastic and cardboard as materials as they are all lightweight and available from the laser cuter. So even though the prototype was handmade and the dimension is not precise, the overall visual and shadow effect can be seen. We also tried the different joints, such as screws and staple. Finally we decided to use the combination of last two patterns as they most fit the requirements.

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The further digital development started from the overall pattern trimming.

It is based on the digital model I have done in part b and it develops towards an imitated form of leaves. The advantages of parametric modelling can be seen very clearly at this stage as the density and the pattern of a shape can be changed very easily because it is highly flexible.

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Referenced it into Sierpinski Triangles Subdivision pattern by using Weaverbird.

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Tried the CatmullClark Subdivision for a more inter esting pattern.

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Generate Pattern 1 Set up the basic Voronoi pattern.

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Added InnerPolygons Subdivision on the previous pattern.

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Finally added one more layer of Sierpinski Triangles Subdivision to get the final complex pattern.

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Set up the basic Voronoi subdivided surface.

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Referenced it into Weaverbird Subdivision and g the pattern, then change its density.

Created the cones based on the location of the trees, set the anchor points in Kangaroo and run the simulation.

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Through ad people, the make peop

C.01 DESIGN CONCEPT Illustration Diagram

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djusted the height of each cone so e landscape form shaped so as to ple interact the site.

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Applied upper and lower skin on the middle base and get the final result.

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C.02 TECTONIC ELEMENTS Final Digital Model & Connection

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Through our physical and digital exploration, we got our final digital mode nation of our exploration during our patterning technique, our final installat layers, the upper and lower skin is bulging towards the opposite direction for collecting leaves. A circular hole is created at each corner of the triangle connection. The size and position of each leaves are randomly placed, computational design. Just like every piece of leaves. The uneven bottom rally drawn feeling are all the productions from parametric design, the pow surprising result which we were not be able to imagine in mind.

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el. With the combition is made up of 3 n to create a space e as the fabrication due to parametric m line and the natuwer of it is giving us

Upper Skin

Middle Base

Lower Skin

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For the fabrication, the complicity of th 6

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C.02 TECTONIC ELEMENTS Final Digital Model & Connection

, we decided to make one cone out of the whole installation due to he form. It contains of 1300 pieces and we arranged them into the 600x600 template and send it to fablab for cutting.

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We used digital fabrication through laser cutting to be the method. This decision was based upon the accura Materiality was the next thing considered when fabricating prototype. We continue using polypropylene as the m well as suitable for the effect that we want to achieve. We want the whole structure to be dynamic and interesti layers. White polypropylene for the upper skin, while the transparency polypropylene for the middle base.

At first we planned to use transparency bead thread as the connection to our joints, however it was very time c ties instead. The middle base was connected at first and then the upper skin will be able to apply to it accordin

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acy of the process as well as its efficiency. material is highly flexible and lightweight, as ing so we chose different colour for different

consuming and unstable, so we used cable ng to the number.

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Our final model was half done before the fin colou

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inal presentation and we hanged it on a tree outside the MSD. Our installation gives a pop of white ur as contrast to the lime green fall leaves and it beautifully camouflaged itself into the environment.

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â&#x20AC;&#x153;The earth has music for those who listen.â&#x20AC;?

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Falling leaves is a process, just as the pe

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person passes by, each moment of our life deserved to be retained and recorded as a story line.

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C.03 FINAL DETAIL MODEL

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The final finished model 127

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“Hearing“

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“Seeing”

“Smelling”

“Touching”

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C. 04 LEARNING OBJECTIVES AND OUTCOMES

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his semester’s study experience with Studio Air has been an extremely rewarding one. The outcome of learning and practicing algorithmic design is far beyond my expectation as I formulated a thorough understanding of the approach of computational design.

Objective 1: “Interrogating the brief” At the beginning of the subject we were challenged with learning a new approach to design to garner innovation through integration of parametric design and computation with issues of sustainability. Throughout the semester we have continuously interrogated the brief and addressed given feedback, which has given me a better perspective of how to create meaningful responsive design.

As a result I believe our design has been relatively successful in being memorable.

Objective 2: developing “an ability to generate a variety of design possibilities for a given situation” Computing has defined most of our project from the early stages of learning how to reverse engineer projects that could not be done through conventional methods and gaining the ability to expand upon their ideas to generate a variety of design possibilities. Our final design obviously gives us a better sight of infinity’s possibilities that can be given by the parametric as we reached our outcome during the process of trying different parameters. A slight difference can result in numerous outcomes.

Objective 3: developing “skills in various three-dimensional media” Within this project we have experienced several forms of 3Dimensional media specifically in creating computational geometry and in digital fabrication experimenting with plug-ins beyond grasshopper such as kangaroo and weaverbird.

When undergoing our model making process it was valuable that we came across complications because it challenged us to think of other solutions and possibilities of fabrication such as the different types of joints.

Objective 4: developing “an understanding of relationships between architecture and air” Our design proposal develops a relationship between architecture and air in a poetic way, using leaves as our source of inspiration and encouraging people to use their sense to communicate with the air. The overall installation want people to actual standing inside of it and feel more about the nature, about the world.

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Objective 5: developing â&#x20AC;&#x153;the ability to make a case for proposalsâ&#x20AC;?

Our design proposal is more focused on the communication of human and nature, as it is another way to reach the sustainability, to let people interacting with nature and having a better understanding of it. The complement of our proposal can be achieved and seen in the parametric design as we can know how people are feeling inside of the structure through the digital model. Together with the changeable nature of parametric, a better outcome can be reached.

Objective 6: develop capabilities for conceptual, technical and design analyses of contemporary architectural projects This has done not just in part A when they were a requirement, but also in part B and C as learning guides to refine on our design.

Objective 7: develop foundational understandings of computational geometry, data structures and types of programming This has been done through intuition, research, interacting with our tutor, and many practices.

Objective 8: begin developing a personalized repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application The advantages and disadvantages of computational technique in our project is most evident in part C when we started to make the final model. Advantages of scripting are plenty, such as it allows us to make parameter changes when necessary, contrive forms that cannot be drawn, and adhere to specific conditions such as our own design inputs. The biggest disadvantage is hard to fabricate the digital model in the same way when it has a very complex form. Therefore it gives us more understanding about the difference between idealistic and practical, and how important the prototypes and consistent experimental process are through the application.

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C. 05 APPENDIC

ALGORITHMIC SKETCHES

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