Nina LIU_652182 AIR JOURNAL by Nina_Liu

STUDIO AIR 2016, SEMESTER 2, MATTHEW Pengnan LIU 652182

PART A CONCEPTUALISATION

CONTENTS INTRODUCTION PART A. CONCEPTUALISATION A.1â&#x20AC;&#x192; Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcome A.6 Appendix

INTRODUCTION

My name is Pengnan Liu, I am currently a third year student major in architecture in the University of Melbourne. Architecture has always been a passion of mine since I first heart it in my high school. The experiences of drawing and model making in my high school arouse my desire to know more about architecture. I have the full passion in architecture, especially in drawing, designing process and model making. When I first learn about digital design theory and tools was in my visualising environment class, and at that time digital design was only a tool for me to realise the idea which is already appeared in my mind. With the more exposure to the digital design software, and through my courses in architecture Digital Design and Fabrication in my second year, I found the importance of digital design theory and tools for our life and I also exposure the fusion between traditional drawing technique and digital method in this area. During that time, due to my minimal knowledge of computation my initial complexity design intent was hard to be realized by only using Rhino, so that I cannot changing my ideas through computer. However, after taking this subject, I really look forward to learn Grasshopper plug-in to finish more complex designs.

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PART A CONCEPTUALIZATION A.1 DESIGN FUTURING

In the first weekâ&#x20AC;&#x2122;s readings, design future introduces more about design intelligence and critical design that design future should confront two tasks, one is slowing the rate of defuturing another one is redirecting us towards far more sustainable modes of planetary habitation. It also mentioned two further issues: design and the ecological have to break free of a biometric configuration depends on ecologies of the

â&#x20AC;&#x201C;

sustainability

artificial, mind and image as well as the natural. In the second reading, the author mentioned that design is not depends on the problem solving like solving the aesthetic problems, the designer should get together to face the more crucial problems like water shortage, climate changing and overpopulation. so that probable, plausible, possible and preferable are the key elements of design speculation. Both design future and speculative everything showed the critical design, which is the critical thought translated into materiality, and thinking through design not only through words and languages

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PROJECT 1 COUNCIL HOUSE 2

CH2 Melbourne City Council House 2 Architect: Designlnc

CONTRIBUTION

Location: 218-240 Little Collins Street, Melbourne VIC 3000

The design of CH2 follows the ecosystem mode, which focus more on the interaction between Melbourne city and the nature. Like the using of solar panels to reduce the consumption of electricity and the use of co-generation plant to reduce the CO2 emissions.

PROJECT 1 COUNCIL HOUSE 2 The Council House 2 (CH2) is an office building which is designed in collaboration with city of Melbourne. This building focus more on the relationship between the city and nature, and all parties of this building depend on each other. This building is the first commercial building in Australia has over six stars rating system1. REVOLUTIONARY Like Fry mentioned that design future places in apolitical frame wherein it is remade in order to become the force for change that it needs to be. And sustainability design places an essential role in this day and age that to solve the problem of overpopulation, water shortage and so on. The aim of designing this building is to achieve zero emission for the municipality by 2020, and it is the first commercial building in Australia which get an over six stars rating system2.

In energy generation, CH2 using a micro-turbine and solar panels to provide electricity, hot water and cooling, besides the co-generation plant in CH2 has a lower CO2 emission than traditional electrical generation system. The strategy used in CH2 building results in a reduction in energy consumption of commercial buildings by 50% by using the combination of local practice and international innovation, which including recycled concrete, recycled timber, timber windows, sewer mining and co-generating using natural gas3. It also mentions more about relationship between occupants and nature, which could provide provides 100% fresh air to all occupants with one complete air change every half hour.

CH2 Melbourne City Council House 2 / DesignInc ‘, City of Melbourne, <http://www.melbourne.vic.gov.au/building-and-development/sustainable-building/council-house-2/Pages/council-house-2.aspx> [ACCESSED 06 AUGUST 2016] “CH2 Melbourne City Council House 2 / DesignInc”. ArchiDaily, <http://www.archdaily.com/395131/ch2-melbourne-citycouncil-house-2-designinc>[ACCESSED 06 AUGUST 2016] 3 “CH2 Melbourne City Council House 2 / DesignInc”. ArchiDaily, <http://www.archdaily.com/395131/ch2-melbourne-citycouncil-house-2-designinc>[ACCESSED 06 AUGUST 2016] 1 2

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Figure 2 Figure 3

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PROJECT 2 THE CRYSTAL The Crystal Architect: Wilkinson Eyre Location: London, United Kingdom

The aim of design this building is to encourage the growth of sustainable cities through partnerships, research and expert collaboration. And due to the brief of the crystal, this project provides chances to designers to explore the relationship between new technologies and highly sustainable buildings without only rely on the passive system4. REVOLUTIONARY with the increasing resources scarcity, the reduction of energy demand places an important role in this time. So, if a building takes a high standard of energy efficiency and new technology for those issue, that could reduce the global energy consumption by over 20 percent. Besides, not only the energy consumption but also, the water availability and user comfort levels. The crystal plays an essential role in local ecosystem, which need to avoid the harmful pollutants and being a part of the wider community5.

CONTRIBUTION With the aim of connecting surrounding area with the building, the crystal-shaped envelope was used to reflect building’s context. Thus the highly insulated glass with varying levels of transparency was used by achieving this effect and provide the natural light for controlling solar gain. This careful use of translucent and mainly opaque glazing has been designed to minimise the running costs of the building. For the environmental design aspect, the Crystal contains several technical themes, which is the zero fossil fuel on site, the harvesting of rainwater and treated black water meet the UK water safety plan. At last both natural and mechanical, and provide users an unprecedented degree of control over temperature, light and air 6.

‘The Crystal / Wilkinson Eyre Architects ‘, ArchiDaily, < http://www.archdaily.com/275111/the-crystal-wilkinson-eyre-architects> [ACCESSED 06 AUGUST 2016] ‘The Crystal / Wilkinson Eyre Architects ‘, ArchiDaily, < http://www.archdaily.com/275111/the-crystal-wilkinson-eyre-architects> [ACCESSED 06 AUGUST 2016] 6 ‘The Crystal / Wilkinson Eyre Architects ‘, ArchiDaily, < http://www.archdaily.com/275111/the-crystal-wilkinson-eyre-architects> [ACCESSED 06 AUGUST 2016] 4 5

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Figure 8 CONCEPTUALISATION 11

A.2 DESIGN COMPUTATION

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PROJECT 1 HEYDAR ALIYEV CENTER Heydar Aliyev Center Architect: Zaha Hadid Location: Baku, Azerbaijan Project year: 2013 The Heydar Aliyev Center, which features Hadid’s signature The computation affects the design process in the elaborate curves and undulations. The design concept surface of the whole building, which likes the swooping for this building is the fluid relationship between its curves. The surface design is the most critical part of surrounding plaza and the building’s interior. As oxman the whole building. The special part of this surface is mentioned that the age of the emergence of the digital as the that it requires a broad range of different functions, encompassing both architectural and design phenomena constructions logics and technical systems to combined together. So that the computation not only helps to do was complex and non-monotonic with any situation of cultural transformation. The conventional differentiation the continuous control and communication of these complexed forms but also the construction industry. between building and landscape is important7. Innovation The geometrical surface to rationalize the panels, which Computation provides a continuity through the Zaha Hadid said: ‘We’re absolutely delighted to receive the building and landscape, Design of the Year Award. The surface of the Heydar Aliyev which provide a better understanding of the project’s Centre’s external plaza rises and folds to define a sequencescale. By using different material, like concrete, glass of public event spaces within; welcoming, embracing and and so on to express the fluid trajectory of building9. directing visitors throughout the building. It’s an architectural landscape where concepts of seamless spatial flow are made real – creating a whole new kind of civic space for the city8.

‘Heydar Aliyev Center / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [ACCESSED 06 AUGUST 2016] Heydar Aliyev Center / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [ACCESSED 06 AUGUST 2016] 9 Heydar Aliyev Center / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [ACCESSED 06 AUGUST 2016] 7 8

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Figure 10 CONCEPTUALISATION 15

PROJECT 2 HARBIN OPERA HOUSE Harbin Opera House Architect: MAD Architects Location: Harbin, Heilongjiang, China

This opera house was along the Songhua river and surrounded by the wetland landscape of Harbin, which spent 5 years to construct it. The form of the building evokes a response to the location’s natural elements. It is clear that the appearing of this building is the curvilinear and fluid structure, which is wrapped in smooth white aluminium panels. Computation From the look of the outside of this building, the whole smooth surface is consisted by many small geometrical forms, and for the roof of atrium, a crystalline glass curtain was supported by a lightweight diagrid structure, with the surface alternates between smooth and faceted, which referencing the billowing snow and ice of the frigid climate10.

Through the computation process, the digital model of the whole building was established, which could help to test not only the architectural aspect but also the construction details and structural aspect11. Innovation The another advantage of using computation as the main design technology in this design project is the speed of establish this design idea by tasting the humanistic, user comfort, reflection of context and so on12.

‘‘Harbin Opera House / MAD Architects ‘, ArchiDaily, <http://www.archdaily.com/778933/harbin-opera-house-mad-architects> [ACCESSED 06 AUGUST 2016] ‘Harbin Opera House / MAD Architects ‘, ArchiDaily, <http://www.archdaily.com/778933/harbin-opera-house-mad-architects> [ACCESSED 06 AUGUST 2016] 12 ‘Harbin Opera House / MAD Architects ‘, ArchiDaily, <http://www.archdaily.com/778933/harbin-opera-house-mad-architects> [ACCESSED 06 AUGUST 2016] 10

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Figure 11

Figure 12

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A.3 COMPOSITION/ GENERATION

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PROJECT 1 RESEARCH PAVILLION

2015 ICD Research Pavilion/ Prototype This research demonstrates the architectural potential of a novel building method, which is inspired by the underwater nest construction of the water spider. The concept of research pavilion is based on the biological construction processes study of the fiber-reinforced structures. The designer observe the motion of water spider and the nest of spiders. Computational design technology is the main tool for transferring the biological formation sequence into a building construction application. At first, the computational form finding method is used to construct the shell geometry ans the main fiber bundle locations. Then another computational method was used that is computational agent-based design method which aim to determine and adjust the fiber layouts. This computational design process enables the designer to navigate and simultaneously integrate these design parameters into various performative fiber orientations and densities13.

The pneumatic formwork is simultaneously used as a functional integrated building skin. This ICD Research Pavilion serves as a demonstrator for advanced computational design, simulation and manufacturing techniques, that the result is not only a particularly material-effective construction, but also an innovative and expressive architectural demonstrator14. Advantage Like peters mentioned in his book, computation allows designers to extend their abilities to deal with highly complex situations. The advantage of using computation design method is that is is efficient to produce those complex form rapidly. So that it reduces time spent on drawing and analysing. On the other hand, the using of computational method is easier to build the biological formation sequence into a building construction form15.

‘subaquatic water spider nests inform ICD/ITKE research pavilion 2014-15 ‘, Designboom, < http://www.designboom.com/architecture/icd-itke-research-pavilion-2014-15-water-spider-07-16-2015/> [ACCESSED 06 ‘subaquatic water spider nests inform ICD/ITKE research pavilion 2014-15 ‘, Designboom, < http://www.designboom.com/architecture/icd-itke-research-pavilion-2014-15-water-spider-07-16-2015/> [ACCESSED 06 15 ‘subaquatic water spider nests inform ICD/ITKE research pavilion 2014-15 ‘, Designboom, < http://www.designboom.com/architecture/icd-itke-research-pavilion-2014-15-water-spider-07-16-2015/> [ACCESSED 06 13 14

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Figure 13

AUGUST 2016] AUGUST 2016] AUGUST 2016]

Figure 14

Figure 15

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PROJECT 2 GUANGZHOU OPERA HOUSE Guangzhou Opera House Architect: Zaha Hadid Location: Guangzhou, Guangdong, China Project year: 2010 Guangzhou opera house is located in Guangzhou’s Zhujiang new town, which is an international finance centre with more modern buildings. The twin-boulder design of opera house enhances the city by opening it to the pearl river. The structure is the freestanding concrete auditorium set within an exposed granite and glass-clad steel frame16. The inspiration of opera house design was from the river valleys, which they are transformed by erosion. When people go inside of the building, the fold lines in this landscape define territories and zones within the building, different function zones were separated by the interior and exterior canyons, which is aim to penetrate more light inside. The use of glass-fibre reinforced gypsum units continuously express the architectural language of fluidity and seamlessness. The advantsge of using computational disign method to build models is that it could realize more complex geometrical forms on computer rather than compositional way to make it17.

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‘Guangzhou Opera House / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/115949/guangzhou-opera-housezaha-hadid-architects> [ACCESSED 06 AUGUST 2016] ‘Guangzhou Opera House / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/115949/guangzhou-opera-housezaha-hadid-architects> [ACCESSED 06 AUGUST 2016]

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Figure 16

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PART A CONCEPTUALISATION

CONCLUSION From the study of A1. the theory of intelligent design method and designing towards sustainability brought a new way of thinking design for me. As the readings mentioned solving aesthetic problems is not the key part of design, more huge challenges people need to face such as overpopulation, water shortage and climate change, that the designers should feel an overpowering urge to work together to fix them. Like part2 and part3 mentioned, part 2 mainly focus on the theory of computational design and the development of designing process. However, in part 3, readings more focus on the how architectural design shift from composition to generation by using parametric technique, algorithmic thinking asn scripting cultures.

CONCEPTUALISATION

A.5. LEARNING OUTCOME

Through first 3 weeks’ study, I learnt more about the theory of computational design method and the practice of architectural computing, which brought a new area of architectural design for me. In the first week’s readings, design future introduces more about design intelligence and critical design that design future should confront two tasks, one is slowing the rate of defuturing another one is redirecting us towards far more sustainable modes of planetary habitation. It also mentioned two further issues: design and the ecological have to break free of a biometric configuration – sustainability depends on ecologies of the artificial, mind and image as well as the natural. In the second week’s learning, the readings mentioned the evolution of design processes and how computing has engaged with them that with the development of architectural design method, the computational design tool places an essential role, and with any situation of cultural transformation, the age of emergence of the digital as encompassing both architectural and design phenomena was complex and non-monotonic. For my past work, I may review the design brief again and to design a new building by using the the critical thinking introduced in week1, because I do not want the past idea guide my thought again. After that I may choose using Rhino3D and Grasshopper to build up my idea, finally compared with my past work to find out the differences between two design outcomes.

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APPENDIX WEEK2 LOFT

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USING MESH TOOL TO MAKE A GEOMETRY FORM AND USING POPULATE GEOMETRY3D WITH OCTREE TO DESIGN THIS DESK

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REFERENCE LIST: ‘CH2 Melbourne City Council House 2 / DesignInc ‘, City of Melbourne, <http://www.melbourne.vic.gov.au/building-anddevelopment/sustainable-building/council-house-2/Pages/council-house-2.aspx> [ACCESSED 06 AUGUST 2016] “CH2 Melbourne City Council House 2 / DesignInc”. ArchiDaily, <http://www.archdaily.com/395131/ch2-melbourne-citycouncilhouse-2-designinc> [ACCESSED 06 AUGUST 2016] ‘The Crystal / Wilkinson Eyre Architects ‘, ArchiDaily, <http://www.archdaily.com/275111/the-crystal-wilkinson-eyre-architects> [ACCESSED 06 AUGUST 2016] ‘Heydar Aliyev Center / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadidarchitects> [ACCESSED 06 AUGUST 2016] ‘subaquatic water spider nests inform ICD/ITKE research pavilion 2014-15 ‘, Designboom, < http://www.designboom.com/ architecture/icd-itke-research-pavilion-2014-15-water-spider-07-16-2015/> [ACCESSED 06 AUGUST 2016] ‘2015 ICD Research Buildings / Prototypes ‘, Universitat Stuttgart, < http://icd.uni-stuttgart.de/?p=12965> [ACCESSED 06 AUGUST 2016] ‘Guangzhou Opera House / Zaha Hadid Architects ‘, ArchiDaily,<http://www.archdaily.com/115949/guangzhou-opera-housezahahadid-architects> [ACCESSED 06 AUGUST 2016]

CONCEPTUALISATION

IMAGE LIST: FIGURE1: ‘CH2 Melbourne City Council House 2 / DesignInc ‘, City of Melbourne, <http://www.melbourne.vic.gov.au/building-and-development/ sustainable-building/council-house-2/Pages/council-house-2.aspx> [ACCESSED 06 AUGUST 2016] FIGURE2: ‘CH2 Melbourne City Council House 2 / DesignInc ‘, City of Melbourne, <http://www.melbourne.vic.gov.au/building-and-development/ sustainable-building/council-house-2/Pages/council-house-2.aspx> [ACCESSED 06 AUGUST 2016] FIGURE3: ‘CH2 Melbourne City Council House 2 / DesignInc ‘, City of Melbourne, <http://www.melbourne.vic.gov.au/building-and-development/ sustainable-building/council-house-2/Pages/council-house-2.aspx> [ACCESSED 06 AUGUST 2016] FIGURE4: ‘CH2 Melbourne City Council House 2 / DesignInc ‘, City of Melbourne, <http://www.melbourne.vic.gov.au/building-and-development/ sustainable-building/council-house-2/Pages/council-house-2.aspx> [ACCESSED 06 AUGUST 2016] FIGURE5: ‘The Crystal / Wilkinson Eyre Architects ‘, ArchiDaily, < http://www.archdaily.com/275111/the-crystal-wilkinson-eyre-architects> [ACCESSED 06 AUGUST 2016] FIGURE6: ‘The Crystal / Wilkinson Eyre Architects ‘, ArchiDaily, < http://www.archdaily.com/275111/the-crystal-wilkinson-eyre-architects> [ACCESSED 06 AUGUST 2016] FIGURE7: ‘The Crystal / Wilkinson Eyre Architects ‘, ArchiDaily, < http://www.archdaily.com/275111/the-crystal-wilkinson-eyre-architects> [ACCESSED 06 AUGUST 2016] FIGURE8: ‘The Crystal / Wilkinson Eyre Architects ‘, ArchiDaily, < http://www.archdaily.com/275111/the-crystal-wilkinson-eyre-architects> [ACCESSED 06 AUGUST 2016] FIGURE9: ‘Heydar Aliyev Center / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadidarchitects> [ACCESSED 06 AUGUST 2016] FIGURE10: ‘Heydar Aliyev Center / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadidarchitects> [ACCESSED 06 AUGUST 2016] FIGURE11: ‘Harbin Opera House / MAD Architects ‘, ArchiDaily, <http://www.archdaily.com/778933/harbin-opera-house-mad-architects> [ACCESSED 06 AUGUST 2016] FIGURE12: ‘Harbin Opera House / MAD Architects ‘, ArchiDaily, <http://www.archdaily.com/778933/harbin-opera-house-mad-architects> [ACCESSED 06 AUGUST 2016] FIGURE13: ‘subaquatic water spider nests inform ICD/ITKE research pavilion 2014-15 ‘, Designboom, < http://www.designboom.com/architecture/icditke-research-pavilion-2014-15-water-spider-07-16-2015/> [ACCESSED 06 AUGUST 2016] FIGURE14: ‘subaquatic water spider nests inform ICD/ITKE research pavilion 2014-15 ‘, Designboom, < http://www.designboom.com/architecture/icditke-research-pavilion-2014-15-water-spider-07-16-2015/> [ACCESSED 06 AUGUST 2016] FIGURE15: ‘subaquatic water spider nests inform ICD/ITKE research pavilion 2014-15 ‘, Designboom, < http://www.designboom.com/architecture/icditke-research-pavilion-2014-15-water-spider-07-16-2015/> [ACCESSED 06 AUGUST 2016] FIGURE16: ‘Guangzhou Opera House / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/115949/guangzhou-opera-housezahahadid-architects> [ACCESSED 06 AUGUST 2016] FIGURE17: ‘Guangzhou Opera House / Zaha Hadid Architects ‘, ArchiDaily, <http://www.archdaily.com/115949/guangzhou-opera-housezahahadid-architects> [ACCESSED 06 AUGUST 2016]

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PART B CRITERIA DESIGN

CONCEPTUALISATION

B.1 RESEARCH FIELD B.1.1 PRECEDENT 1 B.1.2 PRECEDENT 2

B.2.0 CASE STUDY 1 B.2.1 ITERATION MATRIX B.2.2 ITERATION MATRIX B.2.3 ITERATION MATRIX B.2.4 SUCCESSFUL ITERATIONS B.3 CASE STUDY 2 B.3.1 INTRODUCTION B.3.2 REVERSE-ENGINEER B.4 TECHNIQUE DEVELOPMENT B.4.1 TECHNIQUE DEVELOPMENT B.4.2 TECHNIQUE DEVELOPMENT B.4.3 SUCCESSFUL ITERATIONS B.5 PROTOTYPE 1 B.5.1 PROTOTYPE 2 B.5.2 PROTOTYPE 3 B.6 TECHNIQUE: PROPOSAL (SITE ANALYSIS) B.6.1 TECHNIQUE: PROPOSAL (RHINO MODELS) B.6.2 TECHNIQUE: PROPOSAL (SITE APPLICATION) B.7 LEARNING OBJECTIVE & OUTCOMES B.7.1 LEARNING OBJECTIVE & OUTCOMES B.8 APPENDIX-ALGORITHMIC SKETCHES REFERENCE LIST

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B.1 RESEARCH FIELD-BIOMIMICRY

With the development of new technology and the awareness of people, the architecture is moving towards the sustainable design to face the issue of population, environmental pollution, resources over-consumption and any destructions caused by human beings. Thus the application of sustainable design method is crucial right now. And the applying of biomimicry in architecture is to find the solutions for sustainability in nature. So that biomimicry is the way for human to examine the patterns, models, systems and processes of natural world for getting inspirations for problems solving.

With regard to the application of biomimicry in architecture, in the earlier period, for example, Filippo Brunelleschi got inspiration from eggshells to design the thinner and lighter shell in Florence’s cathedral. To the modern period, the architect use the examination of termite mounds to create cool environment in warm weather without conditioner in Zimbabwe1.

However, for the utility of biomimicry in architecture area, the biomimicry is not just copying and imitate the form and shape from biological structures and patterns into a design solution, which is the lowest level of designing be translated from biology to architecture2. As Vincent (2009) demonstrated that the greatest potential for biomimetic in application for solving problems rather than mimicry directly from biological shapes and forms. He also pointed out three levels for translating biology to architecture. The lowest level is coping and imitating. The second level is the recognition, solution and elimination of problems, that people need to think about what I have to change, and use the properties of different types of material to implied into building engineering. The last level is that the translation is more closely integrated with current practice in engineering and design, which means people should think about not only what people have to change, but also what stops the improvement of it2.

Due to the distinctive forms of different biological characters, the extraction from biological area could apply a more flexible idea in design.

Sabrina Santos, ‘Financial Times Article Details How Biomimicry Can be Applied to Architecture’, Archdaily, (2016) < http://www.archdaily. com/788552/financial-times-article-details-how-biomimicry-can-be-applied-to-architecture> [accessed 22 September 2016] 2 Julian Vincent, ‘Biomimetic Patterns in Architectural Design’, Architectural Design, 79 (2009), 74-81 (p.74). 3 Julian Vincent, ‘Biomimetic Patterns in Architectural Design’, Architectural Design, 79 (2009), 74-81 (pp.76-8). 1

Figure 1

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B.1.1 PRECEDENT 1

ZA11 Pavilion Designers: Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan Location: Cluj, Romania

Figure 2

Project Year: 2011

Because of the limited budget and materials provided, the design of this pavilion becomes difficult. So scaling down items in this structure is important. This whole structure consists 746 unique pieces, which could create a free-form ring, and it also looks like a deep hexagons4. The hexagons pattern is very common in architecture and the biomimicry architecture, I think it may because of its own property, which could fit each other together one by one to make a self-supporting frame. So that in this project this particular geometrical configuration allowed for the sheltering of the different planned events while it inciting curiosity through its unusual, spectacular form5.

The shapes of different elements in this structure form on open-air wooden ring, which looks contrastingly quite industrial and raw. The ZA11 Pavilion is also a perfect example for a digital computational design, that we need to explore in this Unit since it’s rendered in detail with the use of ‘Grasshopper’ design software8. In the fact that the temporary pavilion can be easily dismantled and the wood can be recycled, which makes the environment friendly and meet the aim of design towards sustainability.

The realization of the design was made possible by advanced use of parametric design techniques, with the help of which the whole process was controlled from exact geometry generation to piece labeling, assembly logic and actual fabrication (CNC milling)6. I think the successful part of this building is that the designers met all of expectations of this design project, which has a lower budget and needs a larger scale structure and also by using the technique of blending avant-garde design. Moreover, it also successfully provided a flexible and comfortable space for the different events pertaining to the event for all types of ages, for example the temporary bookshop, open-air cinema, tea party, jam sessions and a small concert and sleeping under the sun7.

CONCEPTUALISATION

Figure 7

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Figure 6

Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, Archdaily, (2016) < http://www.archdaily.com/147948/ za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan> [accessed 23 August 2016] 5 ‘CLJ02: ZA11 PAVILION’, DESIGN PLAYGROUNDS, <http://designplaygrounds.com/deviants/clj02-za11-pavilion/> [accessed 23 August 2016] 6 ‘CLJ02: ZA11 PAVILION’, DESIGN PLAYGROUNDS, <http://designplaygrounds.com/deviants/clj02-za11-pavilion/> [accessed 23 August 2016] 7 ‘CLJ02: ZA11 PAVILION’, DESIGN PLAYGROUNDS, <http://designplaygrounds.com/deviants/clj02-za11-pavilion/> [accessed 23 August 2016] 8 Tracy, ‘ZA11 PAVILION’, All That’s Design, <http://allthatsdesign.blogspot.com.au/2011/11/za11-pavilion.html> [accessed 23 August 2016] 4

Figure 5

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B.1.2 PRECEDENT 2

The morning line Architect: Ritchie Location: Seville, Spain; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany

Figure 8

The design aim of this structure by Ritchie is to examine the interrelationship among art, architecture, cosmology and music. Looking from the outside, The Morning Line is like a drawing in that area, that each lines connected with each other to consist a network of intertwining figures and narratives without single beginning and end, entrance or the exit. That structure only shows the movements around multiple centres9. For example, the model of this structure is from diving a triangular solid, and each corners have another triangular solid like the infinite circulate. The heart of The Morning Line is â&#x20AC;&#x153;the bitâ&#x20AC;?, that means the whole structure is created from the lines, spaces and structure of pieces. Referring the fractal growing and scaling in a fixed ratio in 3 dimensions like the fractal building, which reflects the biomimicry applying in this structure. In this design, each bit is interchangeable, demountable, potable and recyclable, allowing the rearrangement of pieces and moveable of the whole structure10.

CONCEPTUALISATION

THE DEFINITION OF GRASSHOPPER

Figure 9

Figure 10

Figure 11 9

‘The Morning Line’, ARANDA/LASCH, < http://arandalasch.com/works/the-morning-line/> [accessed 24 August 2016] ‘The Morning Line’, ARANDA/LASCH, < http://arandalasch.com/works/the-morning-line/> [accessed 24 August 2016]

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B.2 CASE STUDY 1.0

VoltaDom Architect: Skylar Tibbits

Figure 12

The design of VoltaDom is for the 150th anniversary celebration & fast arts festival in MIT university, which is posited between two corridor spanning buildings11. The design of VoltaDom consists hundreds of vaults, which reflects the history of this site (reminiscent of more characteristic constructive way of the historic cathedrals)12. From the picture on the right side, it is clear that when the light turned on, the light will release from inside through the small hole to the outside, which create an effect of boundary like the “oculi”13. This structure seems like a cell group, that will multiply and grow in a relationship of interdependence between cells 14. And what I found from this model is that different vaults have different size, and every vaults are positioned randomly on the frame, that I think it may use the populate 2D command to create a random central point in a boundary area. And for the arrangement of those vaults, I think a morph command may be used in the digital modelling process. Actually one part attracts me a lot is the connection between each cells. Because the material choosing and the combination of vaults, it is not a self-supporting structure, so that a frame is necessary for this design. The successful of this design is the aim of this project, which is to expand the notion of the architectural “surface panel,” by intensifying the depth of a doubly-curved vaulted surface, and also maintaining the relative ease in assembly and fabrication15. 38

CONCEPTUALISATION

Figure 16

Figure 13

Figure 14

Figure 15 ‘voltaDom: MIT 2011’, SJET, < http://sjet.us/MIT_VOLTADOM.html> [accessed 27 August 2016] ‘voltaDom: MIT 2011’, SJET, < http://sjet.us/MIT_VOLTADOM.html> [accessed 27 August 2016] 13 ‘Voltadom by Skylar Tibbits | Skylar Tibbits’, Arch2o, <http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/> [accessed 27 August 2016] 14 ‘Voltadom by Skylar Tibbits | Skylar Tibbits’, Arch2o, <http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/> [accessed 27 August 2016] 15 ‘Voltadom by Skylar Tibbits | Skylar Tibbits’, Arch2o, <http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/> [accessed 27 August 2016] 11

CONCEPTUALISATION 39

B.2.1 CASE STUDY 1.0

SPECIES 1 I EXPLORED THE CHANGING OF SLIDERS OF ORIGINAL DEFINITIONS, AND HOW DOES IT EFFECTS THE SHAPE AND CONSISTING OF EACH FORM. I CHANGED THE NUMBER OF POINTS, SEEDING, CONE RADIUS AND CONE HEIGHT.

SPECIES 2 IN THIS SEQUENCE I EXPLORED THE EFFECTS OF CHANGING POPULATE 2D COMMAND INTO HEXAGONAL WHICH CREATES A BEEHIVE BASE FOR THE WHOLE SHAPE. I ALSO CHANGE THE SLIDERS OF COMMANDS TO TEST THE CHANGING OF SLIDERS IN THE FORM OF SHAPES. IN THE LAST 2 ITERATIONS, I USE A BEND CURVE TO LET THE CONE ARRANGE ALONG THE CURVE

1.1 ORIGINAL MODEL N=10; SEED=3

1.2 INCREASE POINTS IN POP2D N=25; SEED=9

2.2 CHANGE THE UPPER AREA RADIUS OF CONE

2.1 CHANGE POPULATE 2D TO HEXAGONAL

SPECIES 3 IN THIS SEQUENCE I EXPLORED THE EFFECTS OF CHANGING POPULATE 2D COMMAND INTO RADIAL GRID WHICH CREATES A BEEHIVE BASE FOR THE WHOLE SHAPE. I ALSO CHANGE THE SLIDERS OF COMMANDS TO TEST THE CHANGING OF SLIDERS IN THE FORM OF SHAPES.

SPECIES 4 IN THIS SEQUENCE I EXPLORED THE EFFECTS OF CHANGING POPULATE 2D COMMAND INTO TRIGRID WHICH CREATES A BEEHIVE BASE FOR THE WHOLE SHAPE. AND IN THE LAST TWO ITERATIONS, I USE THE MORPH COMMAND TO TEST HOW THE PATTERNS ARRANGED ON THE FLAT SURFACE

CONCEPTUALISATION

3.2 CHANGE THE UPPER AREA RADIUS OF CONE N=12;S=8

3.1 CHANGE POPULATE 2D TO RADIAL GRID N=5;S=8

4.1 CHANGE POPULATE 2D TO TRIGRID N=12;S=8

4.2 CHANGE THE LOWER PART RADIUS N=12;S=8;DOMAIN=0.9

1.3 ON PLANE N=25; SEED=9 R=0.9;H=0.73

2.3 CHANGE THE UPPER AREA RADIUS OF CONE & CHANGE THE SIZE OF CONES

1.4 INCREASE THE LOWER PART OF CONE N=25; SEED=9 R=0.76

1.5 INCREASE THE UPPER PART OF CONE N=25; SEED=9 R=0.8

2.4 CHANGE THE UPPER AREA RADIUS OF CONE TO MAKE IT CLOSED ATTRACTOR POINT

3.3 MAKE CONES ARRANGED RANDOMLY CHANGE THE PATTERNS

USE MORPH COMMAND TO ARRANGE EVERY SMALL CONES ON SURFACE

2.5 CHANGE THE UPPER AREA RADIUS OF CONE LET CONE ALONG CURVE

3.3 CHANGE THE SIZE OF CONE

3.4 CHANGE THE UPPER AREA RADIUS OF CONE & MAKE CONES ARRANGED RANDOMLY

ALSO USE THE SQUARE AND CONE TO TRIM TO MAKE THIS PATTERN AND CHANGING THE SIZE OF OPENING

USE MORPH COMMAND TO ARRANGE EVERY SMALL CONES (MORE HIGHER)ON SURFACE CONCEPTUALISATION 41

B.2.2 CASE STUDY 1.0 SPECIES 5 IN THIS SEQUENCE I EXPLORED THE CHANGING OF DOMAIN COMMAND, AND I ALSO CHANGED THE MINIMUM NUMBER OF V VALUE INTO NEGATIVE NUMBER, WHICH CREATED A CONE TOWARDS DOWNWARD. AND I ALSO CHANGE THE HEIGHT OF THOSE CONES TO MAKE A SOLID OBJECT.

5.1 CHANGE THE SLIDER OF DOMAIN INTO NEGATIVE NUMBER TO MAKE A SPHERE N=26; S=8

5.2 CHANGE THE HEIGHT OF EACH CONES TO MAKE A MORE SOLID PATTERN

5.3 CHANGE THE INSIDE CONE’S HEIGHT IN NEGATIVE NUMBER & CHANGE THE DOMAIN OF OUTSIDE CONE TO MAKE AN OPENING

5.4 CHANGE THE INSIDE CONE’S HEIGHT IN NEGATIVE NUMBER & CHANGE THE DOMAIN OF OUTSIDE CONE TO MAKE AN OPENING R=1.0 H=0.5 R=0.43 H=-7

5.4 CHANGE THE INSIDE CONE’S HEIGHT IN NEGATIVE NUMBER & CHANGE THE DOMAIN OF OUTSIDE CONE TO MAKE AN OPENING R=1.0; H=0.5 R=0.43; H=2.0 42

CONCEPTUALISATION

5.5 CHANGE THE HEIGHT OF CONES AND MAKE AN OPENING ON THE TOP OF OUTSIDE CONE

5.6 MAKE A BEND CURVE THAT LET THE CONES ALONG WITH IT

5.7 MAKE A BEND CURVE THAT LET THE CONES ALONG WITH IT ALSO CHANGE THE DOMAIN COMMAND TO MAKE DIFFERENT RADIUS OF CONES R=0.7

SPECIES 6 IN THIS SEQUENCE, I USE THE LOFTING COMMAND TO CREATE A SMOOTH SURFACE AND THEN I USE THE MORPH AND BOX COMMANDS TO ARRANGE THE PATTERN ON SURFACE , AND I ALSO CHANGE TWO CONES IN DIFFERENT ANGLES TO MAKE A UP AND DOWN FEELING OF SURFACE 6.6 USE LOFT COMMAND TO MAKE A ANOTHER DIFFERENT SURFACE, THEN USE MORPH 6.1 MORPH COMMAND ON A SURFACE CONE WITHOUT OPENINGS DIVIDE N=15; V=45

6.7 CHANGE THE NUMBER OF PATTERNS ON SURFACE TO TEST THE STRETCHING FORCE OF CONES 6.2 MORPH COMMAND ON A SURFACE CONE WITH OPENINGS

6.8 CHANGE THE FORM OF LOFTING SURFACE

6.3 MORPH COMMAND ON A SURFACE CONE WITHOUT OPENINGS & CHANGE THE ANGLE OF INSIDE CONES

6.4 MORPH COMMAND ON A SURFACE CONE WITHOUT OPENINGS INCREASE THE HEIGHT OF EACH CONES & CHANGE THE ANGLE OF INSIDE CONES

6.5 MORPH COMMAND ON A SURFACE CONE WITHOUT OPENINGS INCREASE THE HEIGHT OF EACH CONES

6.9 CHANGING THE PATTERNS ON SURFACE (FROM SMALL OPENNING TO BIGGER OPENING) TO TEST THE DEFORMATION OF PATTERNS

6.10 CHANGE THE SURFACE INTO A MORE SIMPLE ONE

CONCEPTUALISATION 43

B.2.3 CASE STUDY 1.0 SPECIES 7 IN THIS SEQUENCE, I CHANGED THE SURFACE INTO A MORE CURVED ONE, AND I TEST THE EFFECTS OF MORPH DIFFERENT KINDS OF PATTERNS ON SURFACE. AND EXPLORED HOW THE PATTERNS ARRANGED ION THE MORE CURVED AREA

7.1 USE DIFFERENT CURVE TO LOFT A SURFACE FOR TESTING THE EFFECTS OF DIFFERENT PATTERNS ON SURFACE

7.2 CHANGE THE PATTERN INTO A HIGH WITHOUT OPENING CONE

7.3 CHANGE PATTERNS IN DIFFERENT ANGLES ANGLE= 0.259

7.4 CHANGE THE PATTERN INTO SMALL OPENING CONES

7.5 CHANGE PATTERN INTO NO OPENING CONES AND INCREASE THE NUMBER OF CONES TO TEST WHAT HAPPENS IN THE CURVED PART 44

CONCEPTUALISATION

SPECIES 8 IN THIS SEQUENCE, I USE THE TAPEWORM COMMAND WITH SEVERAL SLIDERS TO CONTROL THE BENDING , TWISTING, LENGTH AND WIDTH OF THE SURFACE.

8.1 TAPEWORM COMMAND TO BEND AND TWIST SURFACE WITH DIFFERENT PATTERNS ON SURFACE

8.2 CHANGING THE BEND SLIDER A LITTLE BIT AND CHANGE THE PATTERN INTO A CONE WITH OPENING

8.3 INCREASING THE NUMBER OF PATTERNS ON SURFACE

8.4 CHANGING TWISTING SLIDER

CONCEPTUALISATION 45

B.2.4 CASE STUDY 1.0 SUCCESSFUL ITERATIONS

2.4 CHANGE THE UPPER AREA RADIUS OF CONE TO MAKE IT CLOSED ATTRACTOR POINT

8.2 CHANGING THE BEND SLIDER A LITTLE BIT AND CHANGE THE PATTERN INTO A CONE WITH OPENING

6.9 CHANGING THE PATTERNS ON SURFACE (FROM SMALL OPENING TO BIGGER OPENING) TO TEST THE DEFORMATION OF PATTERNS

CONCEPTUALISATION

6.4 MORPH COMMAND ON A SURFACE CONE WITHOUT OPENINGS INCREASE THE HEIGHT OF EACH CONES & CHANGE THE ANGLE OF INSIDE CONES

SELECTION CRITERIA - The design could be used in panels that Can make a roof like structure - Ideas of tessellation - Aesthetic quality of the structure - To reflect the design technique of biomimicry which shows the relationship between nature and structure, that is the interaction between nature and human being - Interacting and engaging with the context of surrounding phenomenon - Imply a not enclosed area, but still apply shadows for visitors

ITERATION 2.4 This iteration is chosen as it processes the most simple elements than others, which may provides a more easier installation of structure in design. When I did this geometry, I am trying to achieve the random distribution of every elements by adding an attractor point and line in the boundary. With regard to the brief of project, there is a limited space of the inner courtyard area, and it a an open space which means the weather conditions may influence the events holding. Thus, this structure may be used as the roof structure for this site design, the empty area could be the open stage, that visitors can sit around the stage in order to have a iteration with the context. For the quality of this geometry, the random size of each cones can be suitable for different number of visitors, and it is movable, which is important for this site that depends on the population of every event. For the effect that it can create, because of its movable and opened features, it effectively relates the nature and people together. This structure can be used as a shelter, that visitors could enjoy under shadows in sunny and rainy days.

ITERATION 6.9 In this iteration sequence, it processes the cones without caps arranging on the smooth surface by using morph command, and due to the use of angle slider to change the different angles of inside and outside cones, it create a mountain ridge like view. When I design it I try to achieve the flowing feeling of surface. For the application of this structure, it is more suitable for the roof or put in vertically as a screen in this site. Because of the events hold in this area, the population control is important, so that the combination of several screen may control the flow of visitor. For the quality of this structure, it is a solid structure, so it may has the heavy weight, so the material choosing is important. Besides, it does not have caps on cones, so it is better for bad weather conditions. This structure can be used as the roof structure for creating a shelter for people, or worked as a screen near the entrance of this courtyard for controlling population.

ITERATION 6.4 In this iteration process, I created a grid shell first, and change the shape of grid shell step by step, finally I tried to use morph to apply cones on the uneven surface, and also reduce the number of cones to observe the stretching of elements on surface. For the selection criteria of aesthetic quality, it cannot satisfied, but I am trying to achieve a self-supporting structure, which has a simple connection details and do not need the extra frame to hold the structure. For the architectural application of this structure, it could be a pavilion or the sculpture on site, because of its self supporting feature. For the quality of this structure, the stretching of each cones create big hole in each surface, however, due to the form of this bas surface, some parts have bigger shadow area with small holes, so that it can also has a function as the shelter. With regard to the effect of this structure applied, the irregular holes on the surface limited the light through to create different light spots on ground or surrounding vegetations and buildings, which invites the outside in the design. This structure can be a sculpture or pavilion in the courtyard for visitors.

ITERATION 8.2 This iteration process is chosen because it creates a roof like structure for site by using solid difference to make the cone into a rectangular base shape and using morph to arrange geometry on surface. The reason why I choose this iteration is that the number of cones on surface is suitable, which means it has half shadow area and half open roof area. When I creating sequence of geometric variation, I tried to achieve the panel with irregular elements arranged on the surface to make a more abstract looking. For the application of this structure, it is more suitable for the roof structure, which could provides shadows for visitors, and because of the quality of irregular caps on cones, this structure could make different shape of shadows on the ground, which interacts with the context. For the effect it could create, because it is curved in the middle, so when it used as the roof structure in the rainy days, the rainwater will flow along the grid frame of this structure, and drop in each lowest points if people stand inside, it will create a natural screen to visitors that is also a kind of interaction between nature and human beings.

CONCEPTUALISATION 47

B.3 CASE STUDY 2.0

PROJECT: AIRSPACE TOKYO ARCHITECT: FAULDERS STUDIO, WITH PROCES2 IN SAN FRANCISCO DATE: 2007 LOCATION: TOKYO, JAPAN

Design concept: to establish a screened buffer zone- a thin, super-compact artificial “yard” that protects the building’s occupants from pressing context of the dense urban environment outside.

The design ideas behind this façade design is to design an articulated densities of the porous and open-celled mesh work, which are placed around the building to response to the internal working areas of building16. The façade design of Airspace Tokyo refers to the artificial blends with nature, which provides shading and reflection of excess light away from the building, channels rainwater away from the exterior walkways via capillary action, and the interior views are shielded behind its variegated and foliage-like cover17.

The design of this building is by the cooperation of two architects in different countries: Japan and America. They designed this building outside and inside separately, then come up with together, which shows a contrasting of this building. Thus, this contrast became the true character of the Airspace building, which mingles Japanese minimalism and American technological works to offer this net like architecture18.

CONCEPTUALISATION

Figure 18

Figure 17

This project demonstrates the capabilities of generative computational methods and fabrication in producing complex geometries which would be impossible using manual methods to realize the design. For achieving designing and fabrication this façade, the architect use computers as a tool for take parametric, geometric cellular forms for each layer that were then flattened on one plane and then made into panels and assembled19.

Figure 19

‘Studio M,Thom Faulders Architecture with Proces2 Airspace Tokyo’, SlideShare, < http://www.slideshare.net/kappa2007/airspace-tokyo> [accessed 6 September 2016] 17 ‘AIRSPACE TOKYO’, faulders-studio, <http://faulders-studio.com/ AIRSPACE-TOKYO> [accessed 6 September 2016] 18 ‘Studio M,Thom Faulders Architecture with Proces2 Airspace Tokyo’, SlideShare, < http://www.slideshare.net/kappa2007/airspace-tokyo> [accessed 6 September 2016] 19 ‘Studio M,Thom Faulders Architecture with Proces2 Airspace Tokyo’, SlideShare, < http://www.slideshare.net/kappa2007/airspace-tokyo> [accessed 6 September 2016] 16

Figure 20 CONCEPTUALISATION 49

B.3.1 CASE STUDY 2.0 Project explores the redefinition of the architectâ&#x20AC;&#x2122;s role by integrating design, analysis, and production manufacturing as a whole formal process by applying algorithms in real contexts.

Design approachDigitally-generated overlapping voronoi pattern that represents the biomorphic cells of vegetation, suits our preferred digital technique exploration. Figure 21

Figure 23

CONCEPTUALISATION

Figure 22

At night the interior lighting passing through the perforations of overlapping voronoi make a mysterious feeling as it seems to move as we move

Figure 24

CONCEPTUALISATION 51

B.3.2 CASE STUDY 2.0 REVERSE-ENGINEER PROCESS

PROCESS 1

PROCESS 2

CREATE A SURFACE AND USE POPULATE 2D COMMAND TO POPULATE BOUNDARY WITH POINTS. PULL A CURVE WITH A VARIETY OF GEOMETRY DISPATCH TWO ITERMS INTO TWO TARGET LISTSAND MERGE A BUNCH OF DATEA STREAMS CREATE A BOUNDARY FOR THE VORONOI COMMAND TO CCREATE A PLANAR VORONOI DIAGRAM FOR COLLECTING POINTS

I USE A WIRECOMMAND FOR EXTRACTING THE WIREFRAME CURVES OF A BREP AND TO JOIN CURVES TOGETHER AND USE REGION INTERSECTION FOR INTERSECT TWO SETS OF PLANAR CLOSED CURVE TOGETHER TO GET THE DIFFERENT PLOGONS ON SURFACE FIND THE CENTER POINTS OF THE POLYGON

CONCEPTUALISATION

PROCESS 3

SCALE THEM UNIFORMLY IN ALLDIRECTIONS CHANGE THE FACTOR INTO 0.854 AND USE CONTROL POLYGON TO EXTRACT THE NURBS CONTROL POLYGON OF A CURVE THEN, USING NURBS CURVE COMMAND TO CONSTRUCT A NURBS CURVE FROM CONTROL POINTS

CONNECT BOOLEAN TOGGLE WITH NURBS CURVE COMMAND AND TURN IT TO TRUE FOR PERIODIC CURVE USE A SLIDER TO CHANGE THE CURVE DEGREE

In this section, I’m trying to recreate the façade of the airspace building through rhino5 and grasshopper through the processes under each screen captures. In the Airspace, the architect overlaid two panels with voids together in order to produce a more complex and organic form with porous and dense pattern due to the internal function, and reach the aim of shading and reflecting sunlight away. So that I created another panel with different density of each voids on panel and overlay them to form a multiple skin for the building façade. Compared with the original building, the deform of the pattern I did is not expand so crazy like the capillary, and although the original building has very big opening, it still can be hides by the other two pieces of facade behind, however this reverseengineer model cannot hide some openings. Through this process, what I did is only a flat surface with some irregular openings on, so in the following parts I would like to extrude the surface, and change the flat surface into a curved surface, and I may also change the pattern distribution on surface. CONCEPTUALISATION 53

B.4 TECHNIQUE DEVELOPMENT SPECIES 1 IN THIS SEQUENCE, I USE THE SLIDERS TO CHANGE THE DENSE OF PATTERN ON THE SURFACE, AND I ALSO TEST THE CHANGING 1.1 PLANARITY OF CURVE PROCESSES OF PATTERN CHANGED FROM SMOOTH BOUNDARY TO THE POLYGON SHAPE. 1.2 DEGREE=4; POP2D= 214 F=0.854 S=1

2.2 DEGREE=4; POP2D= 50 F=1 S=10 POINT LIST Y=5

2.3 DEGREE=4; POP2D= 50 F=1 S=10 POINT LIST Y=1

1.3 DEGREE=4; POP2D= 270 F=0.854 S=10

2.4 N=50 S=2 DEGREE=4 SLIDER FOR SCALE=0.921 A=8; B=0.921

1.4 DEGREE=4; POP2D= 100 F=0.854 S=TFTT

2.5 CONNECT TO A CURVE AND ADJUSTABLE CURVE AT CENTER

1.5 DEGREE=4; POP2D= 50 F=0.854 S=10 D=3

2.6 CURVE FACTOR= 0.5 A=20 B= 0.967 X=59.8 Y= 15.6

1.6 DEGREE=4; POP2D= 50 F=0.5 S=10 D=2

2.7 CURVE FACTOR= 0.5 A=20 B= 0.967 X=.36.8 Y= 15.6

1.7 DEGREE=4; POP2D= 50 F=1 S=10 D=1 54

SPECIES 2 IN THIS SEQUENCE, I EXPLORED THE ATTRACTOR POINT AND LINES ON THE SURFACE, TO CHANGE THE PATTERN AND THE DISTRIBUTION OF EACH PATTERNS.

CONCEPTUALISATION

SPECIES 3 IN THIS SEQUENCE, I STILL USE THE ATTRACTOR LINES TO TEST THE ARRANGEMENT OF PATTERNS, AND I ALSO ADDED SLIDERS AND MOVE COMMAND TO CONTROL THE POSITION THE POSITION AND SIZE OF ATTRACTOR LINES. 3.2CURVE FACTOR= 0.5 A=20 B= 0.967 X=.15 Y= -60

3.3 EXTRUDE SURFACE D=4 N=70 SEED=2

3.4 EXTRUDE SURFACE D=3 N=70 SEED=2

3.5 EXTRUDE SURFACE D=2 N=80 SEED=3

3.6 EXTRUDE SURFACE D=1 N=80 SEED=3

3.7 EXTRUDE SURFACE D=1 N=80 SEED=1

CONCEPTUALISATION 55

B.4.1 TECHNIQUE DEVELOPMENT

3.7 EXTRUDE SURFACE D=1 N=80 SEED=1

SPECIES 4 IN THIS SEQUENCE, I EXPLORED THE EFFECT OF EXTRUDED FORM OF PATTERN. SO THAT I USE MOVE COMMAND TO MOVE THE PROJECT SURFACE UPPER, AND THEN I USE LOFT COMMAND TO LOFT THE POLYGONS ON BOTH SURFACES TO MAKE A TWISTING FORM OF SHAPE. AND THEN I CHANGED THE PATTERN LIKE THE DISTRIBUTION AND THE SIZE OF POLYGONS ON THE SURFACE TO EXAMINE THE PATTERNS CHANGING PROCESSES.

4.1 DELETE NURBS AND CONTROL POLYGON TO MAKE POLYGONS INSTEAD OF CIRCLES SHIFT=1

4.2 SHIFT=10

4.3 SHIFT=10 FACTOR=0.8 X=30;Y=-60 SEED=4; N=80 A=0.999;B=26.389

4.4 SHIFT=10 FACTOR=0.8 X=30;Y=-30 SEED=4; N=80 A=0.999;B=26.389

CONCEPTUALISATION

4.5 SHIFT=20 FACTOR=0.8 X=30;Y=-30 SEED=4; N=80 A=0.999;B=26.389

4.6 CHANGE THE POSITION OF ATTRACTOR LINES SHIFT=10; X= 30;Y=-30

4.7 CHANGE THE POSITION OF ATTRACTOR LINES SHIFT=10; X= 30;Y=-30

4.8 CHANGE THE POSITION OF ATTRACTOR LINES & WARPED VORONOI SHIFT=1; X= 30;Y=-30 D=1;A=20;B=0.967;N=80;S=4

4.12 SHIFT=25;H=20; X= 30;Y=-30 D=1;A=20;B=0.967;N=80;S=4

4.9 SHIFT=5; X= 30;Y=-30 D=1;A=20;B=0.967;N=80;S=4

4.10 SHIFT=10; X= 30;Y=-30 D=1;A=20;B=0.967;N=80;S=4 4.13 SHIFT=25;H=40; X= 30;Y=-30 D=1;A=20;B=0.967;N=80;S=4

4.11 SHIFT=15; X= 30;Y=-30 D=1;A=20;B=0.967;N=80;S=4 CONCEPTUALISATION 57

B.4.2 TECHNIQUE DEVELOPMENT

4.1 DELETE NURBS AND CONTROL POLYGON TO MAKE POLYGONS INSTEAD OF CIRCLES SHIFT=1; H=30

5.1 STEPS=3; FACTOR=1; N=80 X=30; Y=-30; SHIFT=1

5.5 ONLY CHANGE THE BENDING GRAPH MAPPER (LINE IN THE 1/3 POSITION)

5.6 ONLY CHANGE THE BENDING GRAPH MAPPER (LINE IN THE LOWEST POSITION)

5.7 ONLY CHANGE T TWISTING GRAPH M

SPECIES 5 IN THIS SEQUENCE, I USED THE VBSCRIPT (TAPEWORM ) COMMAND CONNECTED WITH GRAPH MAPPERS AND SLIDERS IN ORDER TO CHANGE THE FACTOR OF BEND, TWISTING, LENGTH, WIDTH AND GAIN OF THE SURFACE. THEN I ALSO CONNECTED THE LOFT WITH THOSE RESULT TO CREATED A LOFTED SURFACE, AND THEN THE REVERSE-ENGINEER DEFINITION WAS CONNECTED WITH BOUNDING BOX TO SOLVE ORIENTED GEOMETRY BOUNDING BOXES, FINALLY, I USE MORPH COMMAND TO MORPH GEOMETRY INTO SURFACE. IN THIS PART, I USE TWO DIFFERENT HEIGHT PATTERNS I GOT FROM ABOVE PROCESSES, AND CHANGE THE SLIDER AND GRAPH MAPPERS TO TEST THE INFLUENCES OF CHANGING TWISTING AND BENDING FACTORS TO THE SURFACE AND THE PATTERNS ON SURFACE.

5.11TWISTING=40 L=50;W=30;GAIN=1 STEP=12

5.1 L=5 STE

4.13 SHIFT=25;H=40; X= 30;Y=-30 D=1;A=20;B=0.967;N=80;S=4

CONCEPTUALISATION

5.15 CHANGE TWISTING GRAPG MAPPER

5.16 CHANGE TWISTING GRAPG MAPPE

5.2 ONLY CHANGE THE BENDING GRAPH MAPPER (LEFT POINT IS LOWER)

THE MAPPER

12TWISTING=40 50;W=30;GAIN=2 EP=12

5.3 ONLY CHANGE THE BENDING GRAPH MAPPER (BOTH POINTS LOWER)

5.8 ONLY CHANGE THE TWISTING GRAPH MAPPER

5.4 ONLY CHANGE THE BENDING GRAPH MAPPER (RIGHT POINT LOWER)

5.9 CHANGE THE TWISTING & BENDING GRAPH MAPPER

5.10 CHANGE THE TWISTING & BENDING GRAPH MAPPER AND THE SIZE OF SURFACE

5.13TWISTING=40 L=50;W=30;GAIN=3 STEP=12 5.14 TWISTING=40 L=50;W=30;GAIN=10 STEP=12

5.20 CHANGE TWISTING GRAPG MAPPER 5.17 CHANGE TWISTING GRAPG MAPPER

5.18 CHANGE TWISTING GRAPG MAPPER

5.19 CHANGE TWISTING GRAPG MAPPER CONCEPTUALISATION 59

B.4.3 TECHNIQUE DEVELOPMENT SUCCESSFUL ITERATIONS

4.8 CHANGE THE POSITION OF ATTRACTOR LINES & WARPED VORONOI SHIFT=1; X= 30;Y=-30 D=1;A=20;B=0.967;N=80;S=4

5.13TWISTING=40 L=50;W=30;GAIN=3 STEP=12

CONCEPTUALISATION

SELECTION CRITERIA - The design could be used in panels that can make a roof like structure - Ideas of tensellation - Aesthetic quality of the structure - To reflect the design technique of biomimicry which shows the relationship between nature and structure, that is the interaction between nature and human being - Interacting and engaging with the context of surrounding phenomenon - Apply shadows for visitors

4.8

5.13

This iteration sequence processes a dynamic form, and it has potential to engage with the surrounding context environment. The reason why I choose this as the successful iteration is that the irregular shapes of small elements in this panel represent the growing of flowers, and the frame of this structure also looks like the capillary , which is reflecting the biomimicry. Besides, in this case, this design area is a place for holding some out door events like music performance, thus, the population control is important for this design. This kind of screen constructed near the entrance or other inside area in the courtyard to guide people walk along this “wall” in order to control the population. Moreover, sue to the opened area on the screen, even people sit behind the screen they can still watch the show. For another effect that I want to realise is the shadow and light. During the day time, when the light through the irregular holes on screen, it results in more and more spots on ground, which imply this enclosed area with light towards the natural environment.

This iteration is from the changing factors of tapeworm command, which could twisting, bending and changing the size of base surface.

It is clear that I used attractor line in this iteration, which produces a dissipating feeling. This types of pattern reflects the pollen dissipating process, which has an interconnection between natural world and the structure, which brings this structure into a biomimicry technique by doing research about surrounding vegetations’ growing and nature.

The effect that I want to create is also from the light and shadow. From the outlook of this structure, it looks like a tree, however, with the sun pass through each openings on this structure, it produces a large area of shadows and light spots on ground, which represents the vegetations around this area are growing luxuriantly. Then, due to the sun raise and set, the changing of light spots on ground is also changing from small to big to small. So that this kind of changing process represent the growing and wither process of vegetations. In another hand, referring the history background and the brief of this design project, this area is a heritage place, and it is very important for Victoria. Therefore, this structure can also express the use and history of this building complex. For the application of this structure, it could be a sculpture in the courtyard for visitors. I think it can also be a pavilion for people under sunny days.

This structure could be made as a screen in the courtyard face the north and south building for creating different shape to spots on ground by different angles of sunlight.

CONCEPTUALISATION 61

B.5 TECHNIQUE: PROTOTYPE 1 Cutting circles on the board

CONCEPTUALISATION

Draw the gaps line on surface

Cut the gap in 1mm width

1.1

1.2

1.3

2.1

2.2

2.3

3.1

3.2

3.3

4.1

4.2

4.3

4.5

4.4

4.6

The above photos show the model stands on ground by arranging those elements around two elements, however, diue to the angle between each gaps, it is hard to make a circle

5.1

5.2

5.3

The above photos show the model stands on ground by different parts, and using the light to make different shadow effects. For this first prototype, I use screen board as my prototype material, because what I want to express is a self supporting structure with the simple connections. For the development of this prototype, I got ideas from The Morning Line in my B1 research field part, which is developed from a simple hexahedron. So that I combine ideas from both The Morning Line and the Airspace Tokyo to make this model. For the connection of this prototype, i made 8 small rabbets around each elements, so that each elements could insertwith each other by this little gaps (the width of gaps is same with the thickness of screen board in order to fit them stable). This prototype is a self supporting system, so it could stand on the suface by itself. 3.4

With regard to the brief of the design site, at first, I want to design a flexiable structure, which could change the shape, size, form or position after a period. to create a new view to people. Thus, i start from creating small elements and conscidering fit them by themselves properties. It is clear that the minimum pieces of elements on ground is 3 to make the structure stable, however, if i want to create a higher structure, more base pieces will be used. Actually, for the fabracation process,I think the digital fabrication layout is suitable for this prototype. because when I did it by hand made, it spends a lot of time, and for the small connection parts on circle, it is hard for me to create a 1mm width gap. So that I think the laser cut method is better for this prototype. TESTING THIS PROTOTYPE IN 5 DIFFERENT COMBINATIONS CONCEPTUALISATION 63

B.5.1 TECHNIQUE: PROTOTYPE 2

For the second prototype, I made the digital model in Rhino first, which is from the development of reverseengineer process. And I pick some small elements as the example of this prototype. because my aim is to create a polygon base solid to fix them together. So that for the material choosing of this model, I choose the transperancy plastic paper as the main material to form the surface of each polygons. The reason why I choose this material is that the outcome I want is a twisting shape solid, and I tried to use card board to make models, shown in prototype3, it cannot form the twisting shape. So I think the soft and tension material may more suitable. For the connection part of this prototype, because I use steel bar as the frame of polygons, so I searched for the installation of membrane and frame structure, and I found that some structures use steel to tie membrane with the frame together. So I use another thiner steel wire to fix paper on steel frame. Actually, this only a little part of structure, so that it need some other frames to fix it on site for stopping collapsing. The choosing of this kind of material bring a transperancy effects to the design that gives a feel of people can look through but they cannot go through to visitors. For the fabrication process of this prototype, the difficulty parts are tie the paper with wire frames. My ideal idea is to make holes evenly, however, when I made it, It is hard to control the position of holes. The left photos test the light effects and the twisting look. 64

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B.5.2 TECHNIQUE: PROTOTYPE 3

For the third prototype, I choose screen board in 1mm thickness to make each elements. Firstly, I printed out the line work of Rhino models, and refered the line drawings to cut each surface of elements. From No. 3 photo, it is different with the other elements, because at first I just copy the line work to cut it, however, when I fixed them together, It does not work that each surface cannot match each other correctly. So that I made some changes in the shape of every elements into a no twisting solid. After making each elements, I made a capillary like frame (photo No.1) to tie each elements together. However, what I made is only on the flat surface, but after compositing those elements together, the whole structure is like a shell, it is curved. so that some parts of this modelâ&#x20AC;&#x2122;s connection is not stable. Actually, my aim is to make a self-supporting frame, however, it is only the surface of this structure, so it cannot stand properly. For the preventing structure from collapsing, I may developed it into a more solid form. For the technique I used in this prototype, I also choose hand made method to make it. however, It is really spend a lot of time. Besides, for the connection part, without digital fabrication, it is hard to make joints, and keep the accuracy of each surface to let them match each other better. For the brief of this project, I deside to choose this kind of elements combined with prototype 2 to make a kind of screen with transperancy feel and solid feeling together. The above photos test the light effects. CONCEPTUALISATION 65

B.6 TECHNIQUE: PROPOSAL

SITE ANALYSIS; WIND, SUN PATH & ACCESS

THIS IS THE SITE PLAN OF THE SACRED HEART COURTYAR. THE BLUE ARROW REPRESENTS THE WIND DIRECTION, AND THE GREY SHADOW AREA IS THE SUMMER AND WINTER SUN PATH. THE BLACK ARROW MEANS THE ACCESS WAY OR THE CIRCULATION OF PEOPLE IN THIS AREA. SCALE: 1:500 @A1

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Figure 25

Figure 26

The site for this design project is the Sacred Heart in Abbotsford Convent. the above screen capture shows the site plan of surrounding buildings in abbotsford convent. It shows that the context of this area, and the surrounding services. At the sourthern end of the courtyard, there is an oratory, which is restored in 2003, and this area was a place for presenting music, theatre, installations, projects and immersive experiences20. The left site plan shows the sun path in summer and winter, wind direction and the access way to the Sacred Heart courtyard. The Sacred Heart building was enclosed by a courtyard that was not visible beyond the surrounding gate21. And in the earlier period, the design of this courtyard does not have the enclosed building (st. anne’s building), and because they want to keep the secure of this courtyard, so that a new building in the access area was built22. This area is very important to the Victoria and it is a historically significant as the birthplace in Australia of the Good Shepherd Order, which is one of the most important religious institutional complexes within the Catholic Church in Victoria. Another import thing is that this place is the a place for providing refuge and women and girls help, which means it provides many different welfare, rehabilitation and protection during the late 19th period23. So that I think for the design of this project I will focus on how to reflect the history of the existing buildings, and also conside how to make the existing buildings and the new structures properly.

Sacred Heart’, abbotsfordconvent, <http://abbotsfordconvent.com.au/about/history/buildings/sacred-heart> [accessed 13 September 2016] Sacred Heart’, abbotsfordconvent, <http://abbotsfordconvent.com.au/about/history/buildings/sacred-heart> [accessed 13 September 2016] 22 Bryce Raworth, ‘Sacred Heart: Heritage Impact Statement’, conservation urban design, (2016), 1-39. 23 Bryce Raworth, ‘Sacred Heart: Heritage Impact Statement’, conservation urban design, (2016), 1-39. 20’ 21’

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B.6.1 TECHNIQUE: PROPOSAL RHINO MODELS

NORTH SCREEN

SMALL ELEMENTS DETAIL IN THE DESIGN

SOUTH SCREEN 68

CONCEPTUALISATION

BRIEF CLIENT: ABOTTSFORD CONVENT IN COLLABORATION WITH SHADOW ELETRIC PROGRAM: MIXED MODE EVENT SPACE INCLUDING OUTDOOR CINEMA, MUSIC STAGE, FOOD AND BEVERAGE OFFERING +HIGH LEVEL PEDESTRAIN BRIDGE THE SHADOW ELETRIC WAS HOLD IN EACH SUMMER IN THE ABOTTSFORD CONVENT PRECINCT. THE SACRED HEART COURTYARD WAS THE PLACE FOR HOLDING THIS EVENT, WHICH WILL OCCUPY MANY PEOPLE IN THE COURTYARD. THE DESIGN FOR THIS SITE SHOULD ENGAGE WITH THE RICH HISTORY OF THIS HERITAGE BUILDINGS, AND IT ALSO NEEDS TO EXPLORE THE THEMES OF SYMBIOTIC RELATIONSHIPS, URBAN AND NATURAL FORM, ITERATIVE GENERATION, RULE BASED DESIGN AND ATTRITION. THE USE OF THIS PLACE MAY AT ANY TIME OF A DAY OR FOR 24 HOURS. SEVERAL POINTS THAT I MAY NEED TO CONCIDER IN MY DESIGN - USE OF SPACE IN DIFFERENT WEATHER CONDITIONS - PEDESTRIAN MOVEMENT WITHIN SPACE - VIEW LINES TO CINEMA SCREEN/ STAGE - NOISE MITIGATION BOTH IN AND OUT OF THE COURTYARD - DELINEATION OF NEW AND OLD BUILDINGS - THE DESIGN IS NOT ONLY FOR THIS MUSIC EVENT -IDENTIFY THE NUMBER OF OCCUPANTS IN THIS AREA

DESIGN Design a sculpture or screen that can be an entrance for the courtyard The entrance next to St anne’s building is the only entrance for this courtyard, and the original idea of constructing St anne’s building is to keep secure inside the courtyard. And for this project, this area is hold many outdoor events like cinema, performance and so on, so my idea is to design a kind of structure that could separate the whole courtyard into two different function areas. One is noisy another one is quiet, no more people around. And because of the more popular of the event in this area, more people prone come, so this kind of screen can also be a population control structure for this to keep the proper number of occupants inside. Besides, during the history of this area, the Abbotsford Convent is a large and architecturally distinctive example of a Roman Catholic convent complex, and it includes ecclesiastical, residential, educational and utility buildings which is a self-sufficient area. constructed during the late nineteenth and twentieth centuries close to the city, and it also provided for the refuge and care of thousands of women and girls through a variety of welfare, rehabilitation and protection programs during the nineteenth and twentieth centuries. so that I want to focus on this period of history as the base of my design to reflect the history of this building complex by this structure. Moreover, in my mind, the design of this entrance is not only for guiding people go through the opening, but also has a kind of abstract meaning that I think door is an intermedia for one world to another world. That represents in the past it was a new world for refuge and women and girls, which could change their life. So that the design of this entrance is to attract people think back to that period. Finally, this design may put near the entrance, and due to the location of this entrance, the different size of vaults on it could trance limited sunlight to the ground to make shadows, which is got ideas from my part B case study 1, the VoltaDom which is designed by Skylar Tibbits, which reminiscent the vault historic cathedrals. The vaults like elements to my design, maybe remind people the late 19th design style of this area, like a kind of reflection.

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B.6.2 TECHNIQUE: PROPOSAL SITE APPLICATION

IDEA 1 IN THIS IDEA I JUST PUT THE RENDERED RHINO MODEL IN THE PHOTOT TO SHOW THE EFFECT OF NEW STRUCTURE.

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IDEA 2 WHEN I MADE THIS RHINO MODEL, I JUST THINK ABOUT THE PAVILION LIKE STRUCTURE NEAR THE ENTRANCE, WHICH CAN NOT ONLY PROVIDE THE SHADOW OF STRUCTURE TO PEOPLE, BUT ALSO CREATE A NEW GATE OR A SCREEN FOR THE COURTYARD TO CONTROL THE POPULATION IN THE COURTYARD SURING THE PERFORMANCE.

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CONCEPTUALISATION

B.7 LEARNING OBJECTIVE & OUTCOMES

At the start of this document, I think that means part A for this journal. Through the study of part A, I learnt about the theory of computational design method and the practice of architectural computing, which brought a new area of architectural design. Moreover, I was impressed by the words in those readings, that is design and the ecological have to break free of a biometric configuration â&#x20AC;&#x201C; sustainability depends on ecologies of the artificial, mind and image as well as the natural, which is related to my part b analysis. Last in the rest of readings, it introduces the logic of grasshopper to make us more understandable. I think the learning of part A provided the base of our part B study, like the choosing of part B technique, the reason why I choose biomimicry as my study is that the natural world has the distinctive forms of different biological characters, the extraction from biological area could apply a more flexible idea in design. Besides, the applying of biomimicry in architecture is to find the solutions for sustainability in nature. So that biomimicry is the way for human to examine the patterns, models, systems and processes of natural world for getting inspirations for problems solving. For the research I did in this part, it changed biomimicry in my mind. From Vincentâ&#x20AC;&#x2122;s reading I know that biomimicry is not only mimicry the natural world, but also know the logic, property, the growing process and anything about this vegetation. For the role of computation in the design process. From part B, I learnt that the powerful of digital design. For example, it is hard and waste time to draw a grid shell by hand, however, just using some commands in grasshopper, it could produce a shell. And also for the fabrication processes, in this part, I use hand-made models, it spent me almost 2 days to finish it, however, the laser cut machine is much easier and save time. Besides, the digital fabrication and computation can provide more accuracy data and models like the joints and connection parts of models. After almost 8 weeksâ&#x20AC;&#x2122;learning of grasshopper and rhino, I think I can create, manipulate and design using parametric modelling, but there still has a lot of thing I need to learn like other plug-in in rhino.

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B.7.1 LEARNING OBJECTIVE & OUTCOMES Objective 1

Objective 2

“Interrogating a brief”by considering the process of brief formation in the age of optioneering enabled by digital technologies

Developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration.

The brief in this design project provides a guideline for me to understand the need from users in this courtyard, and the basic requirements for this design. Then, by doing the research of site like understand the historical background of site let me know the limitation of design that is to make the new structure blend together properly. So that when I use parameter tool to design models, I could concider those limitations and apply it in my design to make the best option by using digital tools.

This process is like what we did in case study 1&2, that adding or interchanging some commands to test the possibility of the original model. During the iteration process, I not only interchange the existing command, but also change and add some other command by learning from online grasshopper tutorial, for example, when I did the case study 1 iteration, I want to change the base surface by different factors, so I used the tapeworm command for twisting, bending and changing size of surface to reach this aim. Besides, in the digital design there are more tools for designers to reach their ideal design models, like using kangaroo to apply a force on surface.

Objective5

Objective6

Developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architecture discourse.

Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects.

In this project, I start with the choosing criteria of digital models, which produces a boundary for the design idea, and from the research I did in part B, I learnt from precedents that how to apply biomimicry in an architecture, not only mimicry the vegetation. With discussing the shortcomes and limitations of proposed design during the presentation, my initial idea of creating a screen has more drawbacks. For example, I still imitate the form of natural world, that is not a biomimicry building, and the form and size of screen is not quite suitable for this site. For those problems, I got suggestions from tutor and guests, that I need to go to the site, do some sketch and do researches about vegetations surrounding this site to understand the properties of vegetation, not just the form. By the way, for the size of screen, I can divided it into several pieces to put them in different place for controlling population.

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In the first part of part B journal, I learnt some design techniques in architecture, and with the practice of using grasshopper and doing iterations of digital models, I learnt how to design by using computation and algorithm techniques, and also improved my ideas through those techniques to create a desire parameter in my design. Besides, from the site analysis and background research, I got to produce my design guideline, which interrelated with my design concept and as the strat point of my design project.

Objective 3

Objective 4

Developing “skills in various three-dimensional media “and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication.

Developing “an understanding of relationships between architecture and air “through interrogation of design proposal as physical models in atmosphere.

In this project, it is the first time for me to use digital modelling tools to start my design project, and I found that it brings more benefits for me. Because, referring the brief and background research I made the design boundary for the model, and I wrote down the outcomes of models I wanted before I use modelling tool. Then by using parametric modelling, it produces more different shapes and form to me, which gives me a new architectural design area. And for the effect I want to make in models, I used Rhino and photoshop to reach this goal, which shows the application of design on site, and also test whether the choosing of material is suitable for this structure. Finally, for the digital fabrication process, I did not use laser cut or 3D printer in producing prototype, but actually digital fabrication provides more accuracy measurement for models’ connection details and joints, that hand making is very hard to achieve, like my prototype3, it is hard to make the joint and connections between each polygons.

For this part, I think the site application and prototype provides me more helps, which show the relationship between physical models and environment clearly, and it also helps me to test the effect of models in the site. Because the design is not just design for the form, it should reflect or contain the concept of itself, so during de design proposal process, it helps me to understand the communication and interrelationship among background, history, existing building, landscape and designs.

Objective7

Objective 8

Develop foundational understandings of computational geometry, data structures and types of programming

Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

I think the main technique I learnt from this subject is the using of grasshopper as a parameter modelling. Like the successful iteration examples, I learnt how to set selection criteria for my model and design toward that directions. With regard to the data flow in grasshopper, based on the readings in part A, I got to know the logic and principles of grasshopper, and apply it in the part B. for example, I use tapeworm, morph, evaluating and other commands in grasshopper for shaping my ideal models. And I think base on those study of parametric design modelling, I can reverse-engineer existing precedents and implement technical solutions achieving analogous outcomes. Because in this time I can analyses a building base on it structure, form and material in a parametrical way so that I can relate the similar commands in grasshopper with the real building, and I think the ‘help’in grasshopper’s menu is really useful, which helps me to solve some data flow errors.

in the study of case study 1 and 2, I learnt how to develop my own idea by using algorithm methods. And from the iteration processes, I learnt the development of an idea and the changeable of a model, which provide more possible ideas for my design process. In the past, design by hand sketching is my main technique in architectural study, which could form my ideas on paper and record the development of my design and critical thinking process. However, during the study of part B, I found that parametric tool could provide more possibilities for design, like the iteration process and the selection criteria, change a factor may cause a large change applied on model. Moreover, digital fabrication is also important, when I designed in traditional way, I need to make model by hand or create a digital model. But in digital modelling tool, it saves more time for me. However, I think sometimes, computational techniques also limited our ideas in some area. For example, when I got the guideline for this design, I just choose a command that based on this form that it can only produce this from like the voronoi in grasshopper, so that it limited the extension of our ideas. So I think that may be the drawbacks for computational technics. CONCEPTUALISATION 75

B.8 APPENDIX- ALGORITHMIC SKETCHES EXPRESSIONS

GRIDSHELL

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CONCEPTUALISATION 77

REFERENCE LIST: ‘AIRSPACE TOKYO’, faulders-studio, <http://faulders-studio.com/AIRSPACE-TOKYO> [accessed 6 September 2016] Bryce Raworth, ‘Sacred Heart: Heritage Impact Statement’, conservation urban design, (2016), 1-39. ‘CLJ02: ZA11 PAVILION’, DESIGN PLAYGROUNDS, <http://designplaygrounds.com/deviants/clj02-za11-pavilion/> [accessed 23 August 2016] Julian Vincent, ‘Biomimetic Patterns in Architectural Design’, Architectural Design, 79 (2009), 74-81. Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, Archdaily, (2016) < http://www.archdaily. com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan> [accessed 23 August 2016] Sabrina Santos, ‘Financial Times Article Details How Biomimicry Can be Applied to Architecture’, Arch Daily, (2016) < http://www. archdaily.com/788552/financial-times-article-details-how-biomimicry-can-be-applied-to-architecture> [accessed 22 August 2016] ‘Sacred Heart’, abbotsfordconvent, <http://abbotsfordconvent.com.au/about/history/buildings/sacred-heart> [accessed 13 September 2016] ‘Studio M,Thom Faulders Architecture with Proces2 Airspace Tokyo’, SlideShare, < http://www.slideshare.net/kappa2007/airspacetokyo> [accessed 6 September 2016] ‘The Morning Line’, ARANDA/LASCH, < http://arandalasch.com/works/the-morning-line/> [accessed 24 August 2016] Tracy, ‘ZA11 PAVILION’, All That’s Design, <http://allthatsdesign.blogspot.com.au/2011/11/za11-pavilion.html> [accessed 23 August 2016] ‘Voltadom by Skylar Tibbits | Skylar Tibbits’, Arch2o, <http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/> [accessed 27 August 2016] ‘voltaDom: MIT 2011’, SJET, < http://sjet.us/MIT_VOLTADOM.html> [accessed 27 August 2016]

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IMAGE LIST: Figure1: ‘Nature Does It Better: Biomimicry in Architecture and Engineering’, Redshift, < https://redshift.autodesk.com/biomimicry-in-architecture/ > [accessed 15 September] Figure2: ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan ‘, Archdaily, < http://www.archdaily.com/147948/za11-paviliondimitrie-stefanescu-patrick-bedarf-bogdan-hambasan > [accessed 23 August 2016] Figure3: ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan ‘, Archdaily, < http://www.archdaily.com/147948/za11-paviliondimitrie-stefanescu-patrick-bedarf-bogdan-hambasan > [accessed 23 August 2016] Figure4: ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan ‘, Archdaily, < http://www.archdaily.com/147948/za11-paviliondimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/img_5111 > [accessed 23 August 2016] Figure5: ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan ‘, Archdaily, < http://www.archdaily.com/147948/za11-paviliondimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/110627-hex-infograpics_page_4 > [accessed 23 August 2016] Figure6: ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan ‘, Archdaily, < http://www.archdaily.com/147948/za11-paviliondimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/110627-hex-infograpics_page_2> [accessed 23 August 2016] Figure7: ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan ‘, Archdaily, < http://www.archdaily.com/147948/za11-paviliondimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/img_5111> [accessed 23 August 2016] Figure8: ‘The Morning Line ‘, ARANDA/LASCH, < http://arandalasch.com/works/the-morning-line/ > [accessed 24 August 2016] Figure9: ‘The Morning Line ‘, ARANDA/LASCH, < http://arandalasch.com/works/the-morning-line/ > [accessed 24 August 2016] Figure10: ‘The Morning Line ‘, ARANDA/LASCH, < http://arandalasch.com/works/the-morning-line/ > [accessed 24 August 2016] Figure11: ‘The Morning Line ‘, ARANDA/LASCH, < http://arandalasch.com/works/the-morning-line/ > [accessed 24 August 2016] Figure12: ‘Voltadom by Skylar Tibbits | Skylar Tibbits ‘, arch2o, < http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/ > [accessed 27 August 2016] Figure13:‘Voltadom by Skylar Tibbits | Skylar Tibbits ‘, arch2o, < http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/ > [accessed 27 August 2016] Figure14: ‘VOLTADOM ‘, GUANNAN JIA, < http://guannan-jia.com/voltadom > [accessed 27 August 2016] Figure15: ‘VOLTADOM ‘, GUANNAN JIA, < http://guannan-jia.com/voltadom > [accessed 27 August 2016] Figure16: ‘Voltadom by Skylar Tibbits | Skylar Tibbits ‘, arch2o, < http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/ > [accessed 27 August 2016] Figure17: ‘AIRSPACE TOKYO ‘, faulders-studio, < http://faulders-studio.com/AIRSPACE-TOKYO > [accessed 6 September 2016] Figure18: ‘AIRSPACE TOKYO ‘, faulders-studio, < http://faulders-studio.com/AIRSPACE-TOKYO > [accessed 6 September 2016] Figure19: ‘AIRSPACE TOKYO ‘, faulders-studio, < http://faulders-studio.com/AIRSPACE-TOKYO > [accessed 6 September 2016] Figure20: ‘AIRSPACE TOKYO ‘, faulders-studio, < http://faulders-studio.com/AIRSPACE-TOKYO > [accessed 6 September 2016] Figure21: ’Facade of an abandoned wooden house covered with overgrown vegetation’, 123RF, < http://www.123rf.com/photo_38634942_facade-of-anabandoned-wooden-house-covered-with-overgrown-vegetation.html > [accessed 6 September 2016] Figure22: ‘AIRSPACE TOKYO ‘, faulders-studio, < http://faulders-studio.com/AIRSPACE-TOKYO > [accessed 6 September 2016] Figure23: AIRSPACE TOKYO ‘, < http:// http://papers.cumincad.org/data/works/att/acadia06_542.content.pdf > [accessed 6 September 2016] Figure24: ‘AIRSPACE TOKYO ‘, faulders-studio, < http://faulders-studio.com/AIRSPACE-TOKYO > [accessed 6 September 2016] Figure25: Bryce Raworth, ‘Sacred Heart: Heritage Impact Statement’, conservation urban design, (2016), 1-39. Figure26: Bryce Raworth, ‘Sacred Heart: Heritage Impact Statement’, conservation urban design, (2016), 1-39.

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PART C DETAILED DESIGN

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C.1 DESIGN REFLECTION C.1.1 REVIEW & ADD ON SITE ANALYSIS AND PHOTOS C.1.2 DESIGN CONCEPT

C.1.3 DESIGN RESEARCH C.1.4 DESIGN DIAGRAM C.1.5 DRAWINGS C.1.6 DESIGN DEFINITIONS C.1.7 RENDER EFFECTS C.1.8 PHOTOMONTAGE C.2 TECTONIC ELEMENTS & PROTOTYPES PROCESS DETAILS PHOTOGRAPH C.3 FINAL MODEL DETAILS PROCESS PHOTOGRAPG C.4 CONCLUSION C.4.1 LEARNING OBJECTIVE & OUTCOMES REFERENCE LIST IMAGE LIST

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C.1.0 DESIGN REFLECTION CHANGED BRIEF, CONCEPTUAL IDEA AND TECHNIQUE

BRIEF: an event area for hosting outdoor cinema, music performance, food and beverage offerings and other outdoor events. can occur at any time of day (should allow for 24 hours use) design for max 150 occupants a high level pedestrian bridge connected east and west wings of the building delineation of new and old designs

DESIGN CONCEPT: The concept is to design an entrance cross courtyard for controlling population during the activity period and decorations on the existing wall to integrate the historical building with new design together, and also make the interaction among design, environment and human beings.

CONCEPTUALISATION

FEEDBACK FROM INTERIM PRESENTATION

During the interim presentation, I presented my design concept, ideas and the roughly digital design models. there several comments from my interim presentation - The cross area of this courtyard is 17m long, and what I designed is a screen like entrance to cross the courtyard, which is too long to put in the courtyard. (making more screen to control population, not only a whole screen crosses the courtyard) - The structure of this design cannot stand properly on site, because it has no support and only has one surface of elements. - Biomimicry is not only mimic the form or shape of a vegetation, it is more about the organism, growing or other nature of natural life, but what I designed for this project is just a copy from the volt forms. (do some sketches of vegetation on site, and do some research to find out the nature, organism or growing path of those vegetation) -

Need more clear brief

- The connection details between existing wall and the designed structure - The delineation of new and old, what is the inter face detail two conceptual elements For those comments and suggestions from interim presentation, I went to the site again for exploring more about the site and did some sketches about vegetation around building, however, the none of vegetation around site is related with my design pattern, so I got suggestion from tutor that I can do more research about coral to develop my design project. So that I added on more site analysis for part c, and continue researching the information about coral. Then I started focus on the brief of this design project, because in the interim presentation, I only focus on the function areas use in the courtyard like using the screen to separate the courtyard into two parts, one is quite and another one is noisy area. So for the development of this design, I am not only focus on the functional areas use, but also the population control. Besides, I also changed my design concept more, like making the interrelationship between existing building and the new designed project. For the design part of model, I continue working on grasshopper to find a proper pattern of design. And for part B, I did not consider and test more about the material choosing of this design, so in this part I will also focus more on material choosing and structure of this design.

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C.1.1 REVIEW & ADD ON SITE ANALYSIS AND PHOTOS After visiting the site, I got more information about this courtyard that the document can not show to us. For example, the colour of existing buildingâ&#x20AC;&#x2122;s skin is really different with the pictures I found in the website before. The west entrance is the only entrance for this courtyard, with regard to the document provided before, the building next to the entrance is built later and the aim of construct this building is to keep security. So that for my design, I may keep this idea to develop my design. Besides, this area is divided into several function parts. The blue part is the walking path for people suring the evets. The yellow part is the sitting area for cinema, and the pink area is the movie screen. Moreover, because most of the events were held in the northern part of this courtyard, so for the southern part, I am not going to install any screen or wall for controlling population. So that refer to my design concept, what I want to design is the entrance in the courtyard for controling population during the events period, so the orange parts are my selecting designed area. Because, I also refer to the circulation of this area that the blue arrow represents the people walking path. Finally, for the brief of this design project, if I want to realize the delineation of new and old, I need to consider the colour choosing of screen, so for my design I prefer using the existing wall colour as the base to find other related colours.

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C.1.2 DESIGN CONCEPT DESIGN CONCEPT: The concept is to design an entrance cross courtyard for controlling population during the activity period and decorations on the existing wall to integrate the historical building with new design together, and also make the interaction among design, environment and human beings.

For controling population, because this courtyard only has one entrance, so if I want to control population, the best choice is the area near existing entrance. Besides, at first my aim is to make an complexed entrance, but a more complexed design may be not suitable for this courtyard, because this design also needs to accommodate the occupaied numbers of visitors, and ensure all of people could watch the movie. For the movie screen, I moved it to the north end, because the another effect I want my design to achieve is the light effect, so that the movie screen may hide the light through the screen. From those plan view drawings, it is clear that the whole shape of this design is different, and it looks like gone in the middle and grown to the wall of the existing buildings. The elements on the ground provide a tortuous path to visitors for controling population. The design itself already achieve the aim of connection historical background with the existing building, but for the interelationship between existing buildings and new design screen what I did is focusing on the colour choosing of material which is based on the colour of existing wall. Moreover, in the following parts, it will show the decoration elements on the existing wall and the growing of those elements is followed the growth of coral in different life stages, and they comes from have to nothing, and from nothing to have which means the whole life of coral. For the last part of design concept, I want to achieve an interaction between human beings and environment.Hence, I used the form of each elements that everyone has a hole, so that the vegetation could be plant into the hole, and this kind of view may attract visitorsâ&#x20AC;&#x2122; view to have a look to achieve the aim of control population.

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DESIGN DIAGRAMS

structural wall for holding the whole screen

SCREEN (OR PERFORMANCE AREA) LESS CROWDED AREA

VISITING AREA (ENJOY WALL DECORATION`)

CROWDED AREA (EVENTS AREA)

STREET FOOD AREA

PLAN DRAWING

CROWDED AREA (EVENTS AREA)

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Regard to what I did in part B, I continue doing research and focusing on biomimicry for my following design process. Besides, I only focus on the coral in natural world. As the feedback from interim presentation, I understand that biomimicry is the act of producing technology or methods which mimic processes already occurring within nature. So I started researching the growing path and organism of coral. However, as Janine Benyus said most designers, engineers, architects and other people who build things just don’t know that much about biology and the natural. So that I think my design need to make an interaction between human beings and environment by the new design, and from Janine Benyus’s idea the biomimicry applied in architecture should solve problems and make it towards sustainability. Corals are invertebrates that they do not have any spinal column or internal bones, because they are consisted by thousands of polyps. Then those polyps working together and colony generation after generation for creating limestone skeletons that form the framework of the reef. When the coral growing, they expand and new corals build their skeletons on those dead corals, so that we can see corals are so big. Actually, each polyp is very similar in structure, from picture here, they seems like same elements. Then those polyp comprises a tube-like body column which is growing generation by generation. For the role of coral in natural world, in the habitat, some types of corals like hard coral can be survived in the poor nutrient water, and because coral is the base of reef, so the hard skeleton of corals provide the shelter for small animals, a nursery for ocean-going creatures and protect the shoreline from strong waves, storms and erosion2. And now many types of corals are in the threatened animals list in some countries, human destroy coral and their living world in many different ways. 88

2”

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Hard corals and coral reefs’, FACT SHEETS” <http://www.wildsingapore.com/wildfacts/cnidaria/coralhard/coralhard.htm> [accessed 25 october 2016]

C.1.3 DESIGN RESEARCH

Coral Reef-Inspired ColoniaTecne Pavilion Spies on Visitors With an LED Display Designer: the San Francisco–based BIOS Design Collective

At first, I refer to the idea from part b to develop my design, and from the pattern of part B I found that it looks like coral, then I focus on the growth and organism of coral. Like ColoniaTecne pavilion, which is an interactive pavilion for working as a spy to monitor the passage of visitors. This design was inspired by the stealthy communication network of coral reefs, and the designer mimics how coral reefs monitor their environment with the help of thousands of polyps that also work to shape the reef itself. The designer used the idea to create an interactive artwork that spies on people to create a colorful LED display based on visitors’ movements. It’s a responsive piece which monitors visitors passing through the tunnel using sonar sensors which are attached to the wooden structure Their motion is fuel for the display that occurs on the plastic scales and LEDs which are also attached. These LEDs are paired with microprocessors which receive and process the information from the sensors, translating the paths people take through the sculpture into shifting colors and patterns. Making it probably one of the only times you won’t mind being spied on by technology 1. The reason why I choose this work as my research study is that it does not mimic the shape or form of corals directly, the designer focus on the growth and organism or other natures of coral to develop their design project.

Coral Reef-Inspired ColoniaTecne Pavilion Spies on Visitors With an LED Display’, INHIBITAT, <http://http://inhabitat.com/coral-reef-inspired-coloniatecne-pavilion-spies-on-visitors-with-an-led-display/coloniatecne-bios-design-colle 2016] 1”

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C.1.4 DESIGN DIAGRAMS

Those changing images show the growing path of each element on the existing buildingâ&#x20AC;&#x2122;s wall. How colour changed and size changed

They changed from top and bottom to middle, and colour changed from gray like green to light red colour.

The structural wall will be constructed firstly, and then the inside and out side vertical part will be filled in small elements.

The changing of plan view of this design ahows the growing of elements like coral. Besides, from the changing of those elements, it is clear that the number of elements changed from less to more. And the reason why I make elements on ground distribute in an irregular shape is that to add more barries for vistors to get to the entrance. They need to bypass those elements to get to the opening. Elements on the outside wall

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The shape of elements changed from big to small.

After finishing the construction of digital model, I use V-Ray in Rhino to render the whole model for getting the effect of real material and colours. For the colour choosing, I used Photoshop to select colour of existing wall and ground and record the number of RGB colour. Then I searched colour wheel and combination online for getting more closer colour and suitable colour for using. Because I want this new design blend with the existing buildings, so that the suddenly colour like saturated colour is not suitable for this designed area. For the material choosing, I tested polythene as the main material, because I want put vegetation and spot light into each elements. Hence, I refered the polythene flower pot and there are some flower pots has double After the vertical wall, the elements on ground will skin which is installed light inside. be installed. Note that all of elements will avoid the opening area I also searched other material like timber and concrete, however, they cannot transparent light from inside to outside, and the concrete has a heavy weight. Thus, I choose translucent polythene as the main material.

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C.1.5 DRAWINGS

MASTER PLAN DRAWING

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C.1.6 DESIGN DEFINITION

ENVISAGE THE CONSTRUCTION PROCESS : DIAGRAM

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TECHNIQUE DIAGRAM

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C.1.7 RENDER EFFECT

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NIGHT EVENT EFFECT

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NIGHT EVENT EFFECT

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C.1.8 PHOTOMONTAGE NIGHT EVENT EFFECT

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DAY TIME EFFECT

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C.2.0 TECTONIC ELEMENTS & PROTOTYPES TYPE 1

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For the prototype, I choosed perspex as the main material, and I tested 2 different colours, one is white anotherr one is clear perspex board. Because perspex is more closed to the polythene material. For the connection part, I used Rhino to create some holes on each part of elements, and then I tried to use plastic strips to connect each piece together to hold the whole element stable. However, without the base of element, the whole structure is easy to move and change shape, so that I connected the base plate with extrude part. Actually for this first prototype, I used no tranparent perspex as the extrude part, and the transparent piece as the base. Because in this design, some of the elements may plant vegetation into the pot, so the transperancy base plate could provide a clear view of the vvegetationâ&#x20AC;&#x2122;s root to show the growing path to vistors which could make an interaction between human being and environment. For the cost of perspex is really expensive, but the fabrication time is not very long. Actually this material cannot express what I want to show to the vistors, because what I want is the translucent material, to crreate a hazy view of light. So that for the really model, the polythene is still the main material for the design CONCEPTUALISATION 109

In this prototype, I changed the material use for extrude part and the base plate, which is opposite with prototype 1. Because for the observision during visiting for vistors, I want to test which one could provide a better view of vegetation root, but for the joint, I still use the same types of strip to connect each plate together. After fabrication, I found that this kind of combination may suitable for the elements on the ground that the base plate only provide a seperation between ground and element. If It works as the vertical wall, because of the non transperancy property of material, the light from inside area cannot through, which is different with my design concept. Actually, the fabrication process for those element spent me a lot of time, because each elements are different, but they worked together and need to connect with each other without gaps between, which means, I must mark the number on each base plate correctly on Rhino, then send them for laser cutting. And some of them are very similar, even I made marks on plate, I still made some mistakes when I fixed them together.

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For this prototype, I also worked on the connection between structural wall and vertical elements which is used by screw to fix on wall. Because those holes on base plate also need to connect with plastic strips, so I make a bigger hole for screw and strips, then the screw should be installed before finishing connect the base plate. The reason why I use this joint as the connection between element and wall is that the joint only need to support the self load of each element, and each elements are independ so that there is no larger load for each element.

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In this prototype, I connected all of e for testing which one can express be

And from the step 7 of this prototy joint between ground elements and ground elements it could make an a element, however, both vertical and position, so what I did is to disassem vertical and ground one and take ou Then connected the verical eleme using only one piece. So that when t between two base plate becomes 90

This joint connection reached my aim like the problem in prototype 2, eac all of elements must marked proper one of them was wrong, the whole for fixing problem.

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elements I made before together. etter effect on site.

ype, I worked on the connection d vertical elements that if we bend angle of 90 degree with the vitical d ground one has a plate in same mble that piece of perspex part of ut of them. ent with the ground element by the strip becomes tight, the angle 0 degree.

m in the real fabrication, however, ch elements are different, so that rly for getting the right position. if e structure should be disassemble

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This part shows all of connection details of protypes, and it is clear that all of base plate could connect with another piece tightly and has no gaps. however, due to the special shape of extrude part, there are some gaps between each elements. Actually, at first, I used grasshopper in Rhino to produce the joint for connecting each pieces toghter. However, because of the irregular shape of elements, all of joints are different which produces a difficulty not only in fabrication but also in the assemble process. So in this situation, if we really produce this kind of joints, it must spend more time on fabrication and constructing. Besides, all of joints I made by grasshopper need to be fabricated by 3D printer, but in the real construction process, using 3D printer to produce a large amount of irregular joints is expensive and waste time.

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In the last prototype, I brought decoration light and install it into each element. Actually, at first I want to cut the connection between each small light , and then through the wire into small holes in each piece, finally, connect the spot light with wire again. However, in this situation, the single spot light stop working, and I think that may influenced by the wrong connection between wires. So that, I change to another way that is cutting plastic strips in some part of model, and through the wire between two pieces. For the spot light, I decided using hot melt glue gun to stick each light on the base plate of element. In fact, in the real design, what I want to show to visitors is the changing of red colours gradually, however, I cannot find that kind of spot light. So I choose to use this one, after installing it, the effect of colourful light does not make this model failed, and I also consider that if this design on site, the colourful lights may cause a refresh look of a design.

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PHOTOGRAPH

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C.3.0 FINAL DETAIL MODEL PROCESS

For the final 1:100 scale model, I choose using 3D printer to fabricate the whole design. However, it really spend a lot of time for me because of the model in rhino is not correct, so that I failed more thatn 5 times to print out all of elements. During the assemble process, I printed out plan, section and elevation as the guideline for me to stick elements on transperancy plastic card.

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Besides, in this design, what but for the smallest elemen this final model.

t I want to show is the changing effect of elements on the wall, from big to small, nt, the 3Dprinter is hard to print out, which result in the un successfulelements for

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The left photos show the failure of 3D printer in printing the smallest elements. There is a more complicated process for 3D printer that is to take off the small elements from base. In fact, if the stuff I printed out is big, it is easier fror my to take. However, for the smaller pieces, it is easier to destory the patterns. Another difficulties is sticking those elements on plastic card. Because I shared the site model with others in tutorial, so I choose using transperancy plastic card as the base for whole model. Actually, when I taking off and sticking them on plastic board, I always find the wrong place for each elements, like the prototype, if one place is wrong, the whole structure will be changed. And for the 3D printing, it is hard to mark on the elements, so when I stick every element, I need to refer the drawings I printed out.

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C.4 CONCLUSION

After the final presentation, I got some useful help from tutor and guest. Like my model is still a straight screen across the courtyard, and they advise me to make a curved wall may more interesting, in fact, during the interim presentation, they gave me the same suggestion, but I have tried many ways to make a curved wall It still does not work for my model. But this time, one of the guest give me the command advice, and I tried it at home, it works and I felt so happy, however, after I put it into the real site, I found that it is not so suitable for this site. Because, in this brief the cinema area should occupy 150 people, and plus the area for performance stage, a curved wall will stand more area in courtyard which may results in the not enough area for outside events. This design project affects me a lot in the knowledge of architecture and the roles of computation in the design process. At first, the works in part B gives me a kind of guide to explore the role and function of grasshopper in architectural design, like the reverseengineering process and iteration. It guides me to explore more about grasshopper, like before I learned grasshopper, rhino is the only way for me in designing. The grasshopper provides more possibilities in the form or shape of a design work. And for the part C, I used those techniques to develop me design. But in fact, I still use it as a tool to construct my design works in digital way, I still cannot use it to design completely. Like this project, I did some sketches and drawings on paper firstly, then I use those sketches as the guide and inspirations to develop my model in grasshopper. In part B, for the prototype part, I used handmade models, which is spend time and hard to make. So, in part C I started using digital fabrication like laser cut and 3D printer to work out my models. By the way, for the joints I made 2 kinds of methods to work out it, however, for the digital one, it has many drawbacks and it is hard to print out, so that I did not printed out it. Because in a design project, we cannot consider the outlook or the concept of this design, the construction or possibility of this design should also be considered. Like the digital joint model, I made is different in different connection part, which will result in the difficulty in real fabrication and assembly process. During the design precedent research process, I focus on coral, as for the part B topic I choose was biomimicry, I think during this part, I got more understand about biomimicry that biomimicry is the act of producing technology or methods which mimic processes already occurring within nature. So, I started researching the growing path and organism of coral. However, as Janine Benyus said most designers, engineers, architects and other people who build things just donâ&#x20AC;&#x2122;t know that much about biology and the natural. So, that I think my design need to make an interaction between human beings and environment by the new design, and from Janine Benyusâ&#x20AC;&#x2122;s idea the biomimicry applied in architecture should solve problems and make it towards sustainability. So, that I apply this idea in my design concept and focus on the life path and organism of coral in my idea development. Finally, I enjoy the study of air studio, because I am not only learning the parametric design techniques but also improved my design skills.

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C.4.1 LEARNING OBJECTIVE & OUTCOMES Objective 1

Objective 2

“Interrogating a brief”by considering the process of brief formation in the age of optioneering enabled by digital technologies

The brief in this design project provides a guideline for me to understand the need from users in this courtyard, and the basic requirements for this design. From the re-visiting of the site, I found more information that I did not mentioned before, like the vegetation around and inside the courtyard, and the colour of existing building and ground, which provides more help for my further design. So that when I use parameter tool to design and construct models, those limitations and brief give me the boundary of my design model, and the using of digital tool also help me to get the best choice from all of ideas.

This process is like what we did in part B case study 1&2, that adding or interchanging some commands to test the possibility of the original model. In part C, we do not need to do iteration of models, but the process is like what we did in case study 2 that I refer the sketch I did in paper to make digital models on computer which likes the reverse engineering process. Besides, for the exploration of design-space, the screen I want to profoem to people is the curved wall, and I tried more commands to test the effects, this process likes the interchanging of grasshopper. Finally, I used surfacemorph to realize this curved wall design.In fact, in the digital design there are more tools for designers to reach their ideal design models, like using kangaroo to apply a force on surface.

Objective5

Objective6

Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects.

In this part, I still work on my design refer to the brief I made before and the limation for this design area. As for the feedback from final presentation, with discussing the shortcomes and limitations of proposed design during the presentation, my initial idea of creating a screen has more drawbacks. For example, I still need to observ the coral in the deeper way, like coral in different growing steps. Besides, the growing pattern do not need to focus on the specific area, I can extend them in the outside wall, like the entrance of the whole courtyard. For those problems, I got suggestions from tutor and guests, that I need to do more research about coral and understand the growing process of them. For the extending part, if those elements are in different depth, size and shape, that will be fun.

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In the learning of this subject, I know how to use digital tool to finilise my ideas and make models. Like using grasshopper to build the models, in fact, after part B I want to use this digital tool to design my model not just construct digital models, however, it still is a tool for me that means I can only use it as an assistant. I still use my own way to design. But this tool also helps me a lot, like it improved my ideas through those techniques to create a desire parameter in my design, especially the curved wall in my design, it is hard to realize by using Rhino. Besides, from the site analysis and background research, I got to produce my design guideline, which interrelated with my design concept and as the strat point of my design project, and from the research in part C, it helps me to explore more deeper in using biomimicry

Objective 3

Objective 4

Developing “skills in various three-dimensional media “and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication.

Developing “an understanding of relationships between architecture and air “through interrogation of design proposal as physical models in atmosphere.

In this project, I firstly used grasshopper to make models and it was also the first time for me to use laser cut and 3D printer to get desired models. For the scales part, I discussed with tutor to finalise the scale for prototypes and final models. For the material effects, I used the V-Ray in Rhino to test how difference between different material and different colours, moreover, I also use laser cut to print out the elements I need for having a first hand feeling with the real material. For the geometry, I think it means the form or shape of the final model that I refered the research I did before like the growing path of coral to support my final ideas. For the fabrication and assembly process, the main problem is the machine I choose, like the1:100 site model, the 3D printer is more suitable, however, a little bit mistake may result in the failure in printing process, like in using 3D printer, I used mesh for all of my model, however, I did not delete the original polysurface, so that every time in the last process, the squzz will back to the start point of the printer, which means it destory the whole model in the last minute.

For this part, I think the site application, V-Ray rendering and prototype provides me more helps, which show the relationship between physical models and environment clearly. Besides, the digital tools also help me to test the effect of models in the site. After finishing part C, I found that during the design process, I need to think back the design concept every time, and during the design proposal process, it helps me to understand the communication and interrelationship among background, history, existing building, landscape and designs. Moreover, like the research I did in part C, coral really gives me the inspiration of designing concept. like the growing path and organism, even the relationship between coral and human beings, they all gives me the guideline for how to work on the interrelationship between human being and environment.

Objective7

Objective 8

Develop foundational understandings of computational geometry, data structures and types of programming

Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

I think the main technique I learnt from this subject is the using of grasshopper as a parameter modelling. Like the successful iteration examples in part B and the final model I got from part C. I think the whole structure of this subject is the the process to teach us how to use parametric design in designing process. Like in part A, those readings not only teach us the importance of critical thinking in design, but also the logic and principle of grasshopper, and even the application of digital tools in design process. Besides, based on the study in part B, I can combine my own design way with the parametric design together. For example, before I learnt this subject, the only way I used is to design from sketching, but now, I can sketch my idea firstly, then using parametrical tool to build those models then develop them by using grasshopper to get a different form of structure. And I think the ‘help’in grasshopper’s menu is really useful, which helps me to solve some data flow errors. However, during the final part of this subject, I found that some of the structure is hard to construct in the real world, so sometimes I think we should not pay more attention to the design tools, the most important thing is the design.

in the study of Part B, I learnt how to develop my own idea by using algorithm methods. For example, the iteration in part B provides more possiblity for the potential of designing. However, the parametric tool is only a design assistant for designers, the main part is the designing itself. Like my design in part C, I worked on the box morph for a week to make a curved wall, at that time the only thing in my mind is to build a curved wall, and I forgot the key thing I need to do is the designing process. Although, I am still not familiar with the digital design and fabrication, I should say the digital design really save more time for me. In this time, I used laser cut and 3D printer to work out my prototype and site models, which could make a more accurate and beautiful models. Finally, I think sometimes, computational techniques also limited our ideas in some area. For example, when I got the guideline for this design, I just choose a command that based on this form that it can only produce this from like the voronoi in grasshopper, so that it limited the extension of our ideas. So I think that may be the drawbacks for computational technics. So that my solution is to combine traditional way with the digital way together to develop the design idea. CONCEPTUALISATION 141

REFERENCE LIST: ” Coral Reef-Inspired ColoniaTecne Pavilion Spies on Visitors With an LED Display’, INHIBITAT, <http://http://inhabitat. com/coral-reef-inspired-coloniatecne-pavilion-spies-on-visitors-with-an-led-display/coloniatecne-bios-design-collective-5/> [accessed 25 october 2016] ” Hard corals and coral reefs’, FACT SHEETS” <http://www.wildsingapore.com/wildfacts/cnidaria/coralhard/coralhard.htm> [accessed 25 october 2016]

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IMAGE LIST: Figure1: ”Coral Reef-Inspired ColoniaTecne Pavilion Spies on Visitors With an LED Display’, INHIBITAT, <http://http://inhabitat.com/coralreef-inspired-coloniatecne-pavilion-spies-on-visitors-with-an-led-display/coloniatecne-bios-design-collective-5/> [accessed 25 october 2016] Figure2: ”Coral Reef-Inspired ColoniaTecne Pavilion Spies on Visitors With an LED Display’, INHIBITAT, <http://http://inhabitat.com/coralreef-inspired-coloniatecne-pavilion-spies-on-visitors-with-an-led-display/coloniatecne-bios-design-collective-5/> [accessed 25 october 2016] Figure3: ”Coral Reef-Inspired ColoniaTecne Pavilion Spies on Visitors With an LED Display’, INHIBITAT, <http://http://inhabitat.com/coral-reefinspired-coloniatecne-pavilion-spies-on-visitors-with-an-led-display/coloniatecne-bios-design-collective-5/> [accessed 25 october 2016] Figure4: ”Coral Reef-Inspired ColoniaTecne Pavilion Spies on Visitors With an LED Display’, INHIBITAT, <http://http://inhabitat.com/coralreef-inspired-coloniatecne-pavilion-spies-on-visitors-with-an-led-display/coloniatecne-bios-design-collective-5/> [accessed 25 october 2016] Figure5: ”Hard corals and coral reefs’, FACT SHEETS” <http://www.wildsingapore.com/wildfacts/cnidaria/coralhard/coralhard.htm> [accessed 25 october 2016] Figure6: ”Hard corals and coral reefs’, FACT SHEETS” <http://www.wildsingapore.com/wildfacts/cnidaria/coralhard/coralhard.htm> [accessed 25 october 2016] Figure7: ”Hard corals and coral reefs’, FACT SHEETS” <http://www.wildsingapore.com/wildfacts/cnidaria/coralhard/coralhard.htm> [accessed 25 october 2016]

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