Liu qihong 752642 final by qihongl

AIR STUDIO 7

SEMESTER 2. 2017

TUTOR: Jack Mansfield-Hung

Qihong Liu 752642

Table of content Part A A.0 Introduction A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation Part B B.1 Research field B.2 Case Study 1.0 B.3 Case Study 2.0 Reverse Engineer B.4 Development Part C C.1 Design Concept

B.5 Prototypes B.6 Design Proposal

C.2 Prototypes

B.7 Learning objectives and outcomes

C.3 Final Model

B.8 Appendix

C.4 Learning objectives and outcomes 01

Introdution About me

Visualising Environments is a subject I completed that introduced me to the basics of digital design. Through the practises of studio earth and studio water, I have made use of Rhino3D 5 to visualise my design and explore ideas of space. I learned to combine Rhino with other tools such as Vray to generate a realistic rendering and Photoshop to produce digital presentation pinups. Having explored many of its capabilities including its role in digital fabrication, I have now become more familiar with Rhino.

ello my name is Qihong Liu and I am currently a third year student studying in Bachelor of Environments major in architecture at the University of Melbourne. I am from Guilin, a beautiful small city in the south of China. Growing up in a high density city, I have always been encouraged to think about the relationship between dense building environments and increasing population. I believe architecture should connect to its surrounding environment and a real city is an organic complex ecologic system rather than just a forest of concrete and steel. My interest within the realm of architecture grows with the cohesion of building a sustainable urban future. I hope I will be able to find a way to integrate sustainable feature and design to apply to my project for this subject.

Digital design software had always been a great tool to visualise those complex and interesting designs. My skill of using Rhino is still at basic level but I am exciting about exploring the possibilities of parametric design using grasshopper to contribute to the performance of buildings.

ARCHITECTURE DESIGN STUDIO: WATER MASTER: TOYO ITO + KAZUMA SEJIMA STUDIO: 11 TUTOR: FRANCIS WAI PRODUCED BY: QIHONG LIU 752642

A.1. Design Futuring

t the present time, the condition that we are facing for our living is getting tougher and severer. The overconsumption of natural resources, the pollution of environment, and the increasingly population of our kind, these factors are the main issues that is threatening the sustainability of human civilization which means defuturing. Therefore, now we have to confront the questions and difficulties to ‘Design’ a future that is secured and sustainable. The main challenges we have to confront are slowing the rate of defuturing[…] and redirecting us towards sustainable development.1 So ‘Design’ is ‘Not in trying to predict the future’ and should be a tool of path-finding to open up all sorts of possible future that is discussable debatable, preferable, and the most important, sustainable future. 2 However, with the development of technology, it is getting much easier for everyone to access the realm of design by the help of massive cheap design software. This movement of ‘design democracy’ makes many design products become commercial and trivialized. 3

1 2 3

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 6 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 7

Boxhome Phototype in Oslo, Norway Rintala Eggertsson Architects

Fig 1

Fig 2

Fig 3

he Boxhome is a residential housing project produced by Norwegian architects. It is prefabricated house strips down to the utmost minimal in residential living, providing extremely organized living space with a bathroom, a bedroom and a kitchen. The idea of this project is to support the reduced use of construction material compared to spacious housing, hence raise people’s awareness over human’s ignorance towards sustainable development. And I think this design is revolutionary because it challenged the general ideal of “ Big house means big wealth”. Its prefabricated nature advocates more economical mass production. However, from the perspective of its inhabitants, it may evoke the concern of whether the Boxhome is more likely a ‘gateway place’ or a place to ‘live in for the time being’. But at least the project gets people to think the balance between spaciousness and sustainability.

Fig 1. Photo of Boxhome retrived from http://www.archdaily.com/503078/boxhome-sami-rintala Fig 2. Analysis of Boxhome retrieved from http://www.archdaily.com/503078/boxhome-sami-rintala Fig 3. Construction process retrived from http://inhabitat.com/boxhome-small-living-inside-a-stylish-norwegian-box/

BIG envisions zootopia for givskud in Denmark

Fig 4

esign futuring is not just to design a building that is only for human occupation, it is also essential to design a better living environment for both human and other species. On the way approaching to future, the necessity of maintaining the diversity of ecology will become more essential, therefore, it is important to create a region that is well-designed for all lives. The project that is commissioned by the givskud zoo, which unites an array of international animals on a site in central Denmarkis, is designed by architecture office BIG. The zoo is planned as three separate loops of sinuous geometry, and each representing a different region of the world (asia, africa, the americas). this trio of diverse experiences surrounds a circular central plaza, which is bordered by an elevated walkway.

Fig 5

Although this is just a zoo plan, it shows a great potential in the ideal urban designing in the future where human and other species can co-exist under one city-like system which is demonstrated through the concept of this project which is â&#x20AC;&#x153;integrate and hide buildingsâ&#x20AC;?.1

Fig 6

1 Rietrive from http://www.designboom.com/architecture/big-zootopia-givskud-denmark-07-30-2014/ Fig 4. Envision of zootopia retrived from http://www.archdaily.com/532248/big-unveils-design-for-zootopia-in-denmark/-bigunveils-design-for-zootopia-in-denmark-photo Fig 5. Envision of zoo center retrieved from http://www.archdaily.com/532248/big-unveils-design-for-zootopia-in-denmark/bigunveils-design-for-zootopia-in-denmark-photo Fig 6. Conception retrived from http://www.archdaily.com/532248/big-unveils-design-for-zootopia-in-denmark/1d7-big-unveilsdesign-for-zootopia-in-denmark-

A.2. Design Computation

he distribution of Design Computation in architecture is not to be neglected that extends productivity and accuracy in the aspect of engineering. In terms of complex geometries g computational design rather than hand drawing and thinking.

In the 1990s’, some works that was designed parametrically had already been born and those the advantages that drawings and scale models allowed architects not only to communicate w and modeling in architectural design is inevitable, the industry was seeking a tool to complete parametric programs were introduced into architectural industry such as Non-Uniform Rationa

With the help of computational research, computational system provide multiple levels of assi 2002 Serpentine Pavilion, people in the architectural industry are concentrating on the possib designs were created by employing these powerful parametrical integrated performative desig

1 2 3 4

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Pres Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Pres Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 4

the realm of design into complex geometric generating which riches the creativity and improves the generating, the forms and structures of buildings is able to be more complex and efficient when using

e works were demonstrating the architectural potential of parametric design to the whole industry. As with other communities, but also to experiment with critical design solutions.1 As the need of drawings e the complex and time-costly model making and calculation process by computation. Therefore, some al B-Spline (NURBS) like Rhino and the later appearance of Grasshopper.2

istance to designers by taking care of smaller or larger parts of the design process.3 After the emerge of bilities of algorithmic design in the aspects of aesthetic and tectonic. And many remarkable architectural gn environments that is formed by its performance.4

ss), pp. 9

ss), pp. 4

METROPOL PARASOL -Redevelopment of Plaza de la Encarnacion, Seville, Spain

Project Architect: Jürgen Mayer H., Andre Santer, Marta Ramírez Iglesia

Fig 7 Fig 7. Retrieved from: https://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects

etropol Parasol, the Redevelopment of the Plaza de la EncarnacĂon in Seville, is designed by J. MAYER H. architects is a project that demonstrates the beauty of computational design. The computational design element was used to generate the globular shapes that spread all above the plaza. The parametric program enabled the team to work out the forms that could be achieved in the specifically engineered timber curves, and to utilize those to achieve their design goals. The design process of this local iconic

architecture, which brings a ontemporary spirit to such a historical and traditional space, sets a precedence for others to follow and influences how other architects pursue architecture. Entitled to be one of the largest timber structures built in the world, Metropol Parasol has a massive timber structure which is defined by Rhino. In the Rhino rendering, architects was able to experiment different shadows that would be casted by different forms and the most desired shadow determined the final structure.

Chanel Mobile Art Pavilion -

Arab World Institute, Université Pierre et Marie Curie, 1 Rue des Fossés Saint-Bernard, 75005 Paris, France ArchitectsZaha Hadid Architects

“I think through our architecture, we can give people a glimpse of another world, and enthuse them, make them excited about ideas. Our architecture is intuitive, radical, international and dynamic. We are concerned with constructing buildings that evoke original experiences, a kind of strangeness and newness that is comparable to the experience of going to a new country. The Mobile Art Pavilion for Chanel follows these principles of inspiration,” --Zaha Hadid

Fig 8

n Zaha Hadid’s building, it is quiet obvious to notice that there are many fluid and organic forms are applied to her projects such as Galaxy Soho in Beijing, China and the Heyday Aliyev Center in Baku, Azerbaijan. Continuing with her unique style, the Chanel Mobile Art Pavilion is performing the characteristic with continuous movement in appearance with the aid of computation. The challenge of continuous surface and the complex structure of liquid building are the two main issues required to be dealt with.The digital architectural space frame system enabled the construction of a free-form structure and saved massive time throughout the construction process. This fluid geometry design was using Rhino software to develop a highly precise but constantly evolving 3D digital model of the Art Center. As Zaha stated “The complexity and technological advances in digital imaging software and construction techniques have made the architecture of the Mobile Art Pavilion possible. It is an architectural language of fluidity and nature, driven by new digital design and manufacturing processes which have enabled us to create the Pavilion’s totally organic forms – instead of the serial order of repetition that marks the architecture of the industrial 20th century.”

Fig 9

Fig 10

This is a Rhino model produed by me during summer holiday. In order to create the shape of surface precicely, I have to draw the reference lines precicely and then grew a reference surface to get other reference lines for the next steps and repeat this process agian and again. This was an actural experience of how computation influence the formation of a building.

Fig 8. Retrieved from: http://www.archdaily.com/144378/chanel-mobile-art-pavilion-zaha-hadid-architects/503185d128ba 0d1830000379-chanel-mobile-art-pavilion-zaha-hadid-architects-photo Fig 9. Retrieved from: http://www.archdaily.com/144378/chanel-mobile-art-pavilion-zaha-hadid-architects/5031861428ba0d183000 038d-chanel-mobile-art-pavilion-zaha-hadid-architects-photo

A.3. Composition/Generation

ter the enhancement of precision and effectiveness of drawing and modeling by introducing the computation design into the realm of architecture, computation further extend designers’ abilities to access the world of multitudinal instrumental building formation through parametric design software such as Grasshopper. In other words, computation can be expressed as an algorithm that is able to inspire the architects to explore new design options and to analyze architectural decisions during the process of designing. By using these computational tools, structural, material or environmental performance can become a fundamental parameter in the creation of architectural form in responding the environment. Architecture is currently experiencing a shift from the drawingto the algorithm as the method of capturing and communicating designs. Through computation, the digital architectural design environment has both the ability to construct complex models of buildings and give performance feedback on these models that sketching by algorithm. Computational designers are more than just creators of complex 3-D models or the developers of digital tools – they distil the underlying logic of architecture and create new environments in which to explore designs and simulate performance, both physical and experiential.1 Therefore, it is clear that the flexible nature, form-finding and performance analysis power, and simple.

Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural Design (2013), pp15

recent years architecture has gained access to generative methods with large populations of agents via explicit application of scripting and programming in de¬sign process. Large data sets carry twofold potential in establishing explicit connection between built fabrics and external input data, addressing increasing complexity of constructed environments and their capacity for adaptation. The study of emergence, where individual agents work in conjunction with their “host” environments and in collaboration with other simple agents towards higher order complexity, is leading towards new kinds of structural, organizational, spatial and esthetic behaviors. Such con- text reflects self-regulatory patterns found in natural ecosystems, which contemporary science, engineering and architecture are only starting to learn from. This emergent intelligence is being encapsulated as series of proto-patterns capable of rewriting existing protocols in architecture, including long inability of the field to productively and creatively address acute issues of sustainability. As this is an era of algorithmic computation, architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designer’s intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation. Increasing the material resolution and levels of information while having access to the coding of material or structural or organizational behaviors increases the ability of designed systems to respond, feedback, learn and adapt to the “host” conditions. Such approach is narrowing the gap between the power of computation and materialization eter in the creation of architectural form in responding the environment.

Dragon Skin Pavilion-Hongkong, China

Fig 10

The

Dragon Skin Pavilion was carefully designed to maintain balance between the regular, repetitive framework of the rectangular panels and their gradually irregular interconnections as they configure the overall shape. It comprised 163 plywood components manufactured in Finland at TUT and shipped to Hong Kong. The components were the result of a complex process involving the latest techniques in digital fabrication. A CNC-router was used to make a wooden mould in which preheated flat rectangular pieces were bent into shape. A computer programmed 3D master model generated the cutting files for those pieces in a file-to-factory process: algorithmic procedures were scripted to give every rectangular component their precisely calculated slots for the sliding joints, all in gradually shifting positions and angles to give the final assembled pavilion its curved form. A meticulously pre-choreographed montage sequence required all components to be uniquely labelled and numbered for assembling or dismantling the structure.

Fig 10. Retrieved from:http://www.evolo.us/architecture/dragon-skin-pavilion-is-a-digitally-fabricated-plywood-sculpture/

A.4. Conclusion

Arc

hitecture has been and will continuously be an important influential typology in the socio-cultural realm, and should continuously adapt and be open to developing technology such as computatoinal algorithmic programs such as Grasshopper. Such innovations in the architectural design process not only allows a test for variables of complex algorithmic forms, but also expands out to virtually verify processes such as building performance and structure whilst maintaining its creative integrity as an art form which serves social, cultural and aesthetical functions. In the lead-up to the design for the case study, parametric modelling tools such as Grasshopper will be utilized to explore extensive algorithmic variables to generate a form that responds to the contextual aspects of the site as well as addressing visual aesthetic cues to engage and introduce potential users and visitors to the complex beauty of parametric designing. Design strategies such as materiality, structural performance and responsiveness will be gradually explored and applied to achieve such design principle.

A.5. Learning Outcomes

limited experience with the theory and practical application of architectural computation meant that most of the content was very unfamiliar and new; however, by progressively taking steps to understand parametric tools (Grasshopper) from the very basics such as the principle of vectors and the definition of algorithmic formulas down to practical applications such as making designs that could potentially get fabricated, the very basics of architectural computation has been understood. The process of ‘how’ a form is created as opposed to ‘what’ the form is a significant concept that will motivate future designs. Looking back at past design practices such as Virtual Environments, such parametric tools could have been utilized to very efficiently explore and generate a lot more design possibilities to analyse elements such as light and shade exposure and ergonomic forms.

A.6. ALGORITHMIC SKETCHES

What

I have done so far is just trying to get familiar with the technique of controling grasshopper to generate geometries. At this stage, the outcomes are still experimental that help me to analyse the process of learning and experimenting. Hence help me to build some potential ideas for my design algorithms.

BIBLIOGRAPHY Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 6 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 7 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 9 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 4 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 4 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural Design (2013), pp15

IMAGE SOURCE

Fig 1. Photo of Boxhome retrived from http://www.archdaily.com/503078/boxhomesami-rintala Fig 2. Analysis of Boxhome retrieved from http://www.archdaily.com/503078/ boxhome-sami-rintala Fig 3. Construction process retrived from http://inhabitat.com/boxhome-smallliving-inside-a-stylish-norwegian-box/ Fig 4. Envision of zootopia retrived from http://www.archdaily.com/532248/bigunveils-design-for-zootopia-in-denmark/-big-unveils-design-for-zootopia-indenmark-photo Fig 5. Envision of zoo center retrieved from http://www.archdaily.com/532248/ big-unveils-design-for-zootopia-in-denmark/big-unveils-design-for-zootopia-indenmark-photo Fig 6. Conception retrived from http://www.archdaily.com/532248/big-unveilsdesign-for-zootopia-in-denmark/1d7-big-unveils-design-for-zootopia-in-denmarkFig 7. Retrieved from: https://www.yatzer.com/Metropol-Parasol-The-World-sLargest-Wooden-Structure-J-MAYER-H-Architects Fig 8. Retrieved from: http://www.archdaily.com/144378/chanel-mobile-artpavilion-zaha-hadid-architects/503185d128ba0d1830000379-chanel-mobile-artpavilion-zaha-hadid-architects-photo Fig 9. Retrieved from: http://www.archdaily.com/144378/chanel-mobile-artpavilion-zaha-hadid-architects/5031861428ba0d183000038d-chanel-mobile-artpavilion-zaha-hadid-architects-photo Fig 10. Retrieved from:http://www.evolo.us/architecture/dragon-skin-pavilion-is-adigitally-fabricated-plywood-sculpture/

Part B. Criteria Design

B.1. Research Fields

Fig 1. Retrieved from http://www.agefotostock.com/age/en/Stock-Images/Rights-Managed/VIW-UNK-AE-0056-A

omputational design in these days is moving towards the intergration of a series of fields, such as fabrication technology, application of material and generative algorithm technologies. To achieve this, the importance of the ability to master the skill of using digital tools & methods and the understanding of the nature of materials are essential.1 The concept of parametric modeling as introduced in Part A is a model that is created with a logic to connect different components. Focusing on this fundamental concept of parametric design, I have decided to do the research in the field of patterning.

Patterns on the surfaces of architectural designs have apeared for a long period of time and till now it is still a very important role for architectural articulation. From the perspective of parametric design, patterning emphasizes that the architectural design is approaching a more generative way of digital paradigm. The advantage of using parametric design to create patterns is that parametric design can utilize numbers of data-sets to drive different patterned differentiation across a surface.2 When we are about to set up a pattern through parametric configurations, the main pattern can be kept even while its primary surface changes.3

2 3

Patrik Schumacher, ‘Parametric Patterns’, AD Architectural Design-Patterns of Achitecture, Vol 79, No6 (2009). Patrik Schumacher, ‘Parametric Patterns’, AD Architectural Design-Patterns of Achitecture, Vol 79, No6 (2009). Patrik Schumacher, ‘Parametric Patterns’, AD Architectural Design-Patterns of Achitecture, Vol 79, No6 (2009).

Fig 2

Fig 3.

Fig 4.

Fig 2. Retrieved from https://au.pinterest.com/pin/347340189997290429/ Fig 3. Retrieved from http://figure-ground.com/de_young/0018/ Fig 4. Retrieved from http://www.arch2o.com/m-h-de-young-museum-herzog-de-meuron/

B.2. Case Study 1.0

de Young Museum Herzog de Meuron

e Young Museum is designed by Herzog & de Meuron. I choose this building as an example of how parametric patterns was incorporated with architectural design. The design concept for the facade of this museum was to create a variably perforated copper cladding on the outside of this building which would be a reflection of the green foliage of the surroundings of Golden Gate Park in San Francisco.1

The concept of this design, which is plotting perforated system of holes on the copper cladding, was to simulate how the light passes through the canopy of trees and gets filtered to create interesting shadows.2 The architects worked together an engineering and fabrication company named Zahner to generate a system known as the ZIRA™ Process that allows perforations and patterned dimples to be positioned throughout the exterior façade.3 These patterns could then be easily altered through the variation of size, deepness of dimple indentations, etc. The use of the ZIRA™ Process program allowed the engineers to choose different images of the foliage pattern to model through the algorithmic system and then translate it to the copper plates. The effect of material performance can also be seen in this project as the brownish copper cladding is expected to oxidize overtime and take on a greenish tone and an interesting texture that echoes the patterns of the surrounding trees. In exposing the forces of nature as a key changer, the architects not only highlight the beauty of the site, but also responds to the historical background of the de Young and the long standing controversy over the museum’s presence.4 The use of patterning as a material system allows a design to be transformed in a repetitive or predictable manner. One of the issues with patterning is that a primary or base surface / structure must first be designed before the patterns can be translated onto it.

1 2 3 4

Herzog & De Meuron Basel, ‘de Young Museum’, <http://www.herzogdemeuron.com/index/projects/complete-works/151-175/173-de-young-museum.html> Herzog & De Meuron Basel, ‘de Young Museum’, <http://www.herzogdemeuron.com/index/projects/complete-works/151-175/173-de-young-museum.html> ‘M.H. de Young Memorial Museum’, Zahner (2014), <http://www.azahner.com/portfolio/deyoung> ‘M.H. de Young Memorial Museum’, Zahner (2014), <http://www.azahner.com/portfolio/deyoung>

Specie A 1

III

his first species explores how different components in this original algorithm affect the final outcome of patterning. The original algorithm is provided in the LMS and it can be devided into different parts that control different varians. The sample image is remained unchanged, therefore, the patterning outcome is similar as expected. But the change in the density of dots in u-v direction and the change in the volume of single dot affect the ablity to resemble to the original image. 41

Specie B

his second species explores more in depth into the relationship between u-v direction and image structure. By changing the sample image from geometric pattern to oganic pattern, I am able to develop a better understanding of the image structure, which hepls me to use natural patterns to incorporate into architecture.

Specie C

his third species explores how the sample images generate forms in the threedimensional space. Using the data that is extracted from the image as input to create the extruded columns in the first two iterations and sphere cluster in the third iteration, each column and sphere has its unique radius and height.

Image resemblance : 80 Fabricatability : 80 Complexity : 80 Architectural potential : 90

Image resemblance : 40 Fabricatability : 60 Complexity : 50 Architectural potential : 50

Image resemblance : 90 Fabricatability : 80 Complexity : 60 Architectural potential : 90

Image resemblance : 60 Fabricatability : 70 Complexity : 75 Architectural potential : 80

he listing criterias are used to analyze the success of these chosen iterations. The image resemblance is the most important of all four criterias as it reflects that whether the final outcome obtains the ability of representing the original sample image. And this criteria relates to the core concept of patterning which is using arranged clusters to create patterns that resemble to a particular reference. The second is the buildability of this iteration when it is needed to be built in real site or fabricated in model scale. Fabricatability is related to complexity. The higher the complexity is, the lower the fabricatability will be. However, complexity is also related to architectural potential. The more complex it is, the more capacity of obtaining practical system will be gained. Therefore, Architectural potential is associated with complexity.

B.3.1 Case Study 2.0

Loop3

Co-de-iT and UniBologna

Fig 5.

Fig 6. Fig 5. Retrieved from http://www.evolo.us/architecture/loop_3-installation-investigates-mathematical-trigonometric-functions/ Fig 6. Retrieved from http://www.evolo.us/architecture/loop_3-installation-investigates-mathematical-trigonometric-functions/

oop-3 is a student project profuced by the architectural students from the University of Bologna. This product is a parametric design and it is aiming to explore a new design direction. This group of students used mathematics tool as the main drive behind the form, with the help of computation design, successfully accessed the territory of the inner complexity in the reality. Mathematics tool gives them the privilege of persuing their expressive language and tracing the systematic path at the same time. Loop-3 is designed to explore the interaction between the complexity of reality and the polytropic spatial link. They used voluptuous ripples as infill to provide the overall stability to the curvature structure, which shifted the functions smoothly.1

Loop-3 Retrieved from http://www.co-de-it.com/wordpress/loop_3.html

B.3.2 Reverse Egineer

Original Curve

Point Charge

Graph Mapper

Interpolate

Field Line

Flip Matrix ( Interpolate)

S Loft

tarted from a single closed curve, and adjusted the control points on the curve to create a shape that is similar to the presedent. Then added a point charge at the geometric center of this curve to create a magnatic field along the curve. Then used gragh mapper to adjust the field line to the correct position and shape, and flip the matrix to create a series of closed curve. And finally loft those curve to produse the fical surface.

B.4. Development In oder to incorporate into the group work, the origin of these iterations has to shift from Loop3 to Biothing Pavilion. Although the forms of final outcome of these two project are different, the same parametric technique is apllied to both of them, which is the use of magnatic field.

Complexity Buildability Massing Lavishness

Selection of Successful Iterations

he iterations I have chosen here have the potential of meeting the common desires with the product that we are going to analyze. The first iteration is chosen because of its complexity. The regid form provides the sense of securty and the high massing level resembles the harshness in the atmosphere that also enhance the solidness. The second iterration on the bottom left is chosen because it creates a different atmosphere compared to others. The discontinuous beads creates a sensen of floating, which increase the puffiness and enjoyment. The third iteration on the upper right is chosen because of its buildability and its spatial relationship. The linear layout provides great opportunity to incorporate with the cabanon. And each cell itself has reasonable volume to held some activities within.

B.5. Prototype

Prototype 1 Failed

Tessellation

he first prototype was produced with the technique of tessellation, which is an arrangement of repeated polygon fit to each other closely to generate a three-dementienal space.

â&#x20AC;˘ For the connection, we were initially inspired by the characteristic of stitching in our Versace throne chair. So we try to use the similar join logic to connect the polygons. â&#x20AC;˘ Thin wire is used to tie the bits. It is hard to manipulate by hand, so the outcome is not neat enough to meet the aesthetic accuracy.

â&#x20AC;˘ Wrong material was used in this trial. The material we used was not bendable. The thin edge bacame so fragile after laser-cutting, the wire constantly break the edge.

Prototype 2 success

Strip and Folding

aving learnt the lesson from the failure of the first prototype, our designing group are trying to produce a reliable join logic for this second prototype within the research field of strips and folding. One of the main reasons of recieving a failure in the first trial was that we failed to handle the issue in the join logic, which is the matching the characteristic of two joint material. So this time, we designed a trusswork system that the structure will stable itself after being assembled.

rom failure to success, th prototypes. The first chang material we used did not perfo the thin edge became so fragile to connect. For the second pro change of material is dtermine used the technique of tessella technique is joining repeated p meet this requirement, and tha we used the technique of strip a

The Second change is the c to connect each pieces, w of these two material be second prototype with truss

Reflection

here are two major differences between these two ge is the choice of material. For the first prototype, the orm well enough as we expected. After being laser cut, e and it was very easy to be broken by the wire we used ototype, we used MDF as model making material. This ed by our change of designing direction. Because we ation in the first prototye, and the characteristic of this polygons. We needed to produce many small pieces to at is what led to the material failure. So the second time, and folding, whhich can avoid the problem in the first time.

change of join logic. For the first one, we used wire where the difference between the characteristic ecame the issue. Therefore, we designed the swork join logic where no other material is need.

B.6. Proposal

ussospazio is a Italian phrase means luxury space. We were inspired by the idea of Versace x Haas Brothers from Haas brothers contemporary art duo, try to produce this project that collaborate with Versace throne chaire. This product is exlusively designed for wealthy people who want to have a life-style that is different from other "ordinary" people. The reason why we choose Versace chair to analyze is because the idea behind the chair is Haas brother's ambition that is changing everyday life elements into art pieces. Therefore, we abstracted the qualities of Versace chair and try to reflect it onto our architectural design to provide the sense of ownership and secure for our custermers.

Artpiecify your life-syle Lussospazio Lussospazio Lussospazio

Gold beads-Shiny Catching the attention of other people -Showing off the wealth

Solid base-Massive sense of secure and safety

Puffiness-Light and soft sense of comfort/happiness reliefing

Black Leather-Luxurious lifestyle -The access of fine material

Veicolo for objects

Albero for trees

Uccelo for birds

Persona for human

Site Proposal

B.7. Appendix

Rreference Patrik Schumacher, ‘Parametric Patterns’, AD Architectural Design-Patterns of Achitecture, Vol 79, No6 (2009).

Herzog & De Meuron Basel, ‘de Young Museum’, <http://www.herzogdemeuron.com/index/projects/complete-work ‘M.H. de Young Memorial Museum’, Zahner (2014), <http://www.azahner.com/portfolio/deyoung> Loop-3 Retrieved from http://www.co-de-it.com/wordpress/loop_3.html

Image Resource

Fig 1. Retrieved from http://www.agefotostock.com/age/en/Stock-Images/Rights-Managed/VIW-UNK-AE Fig 2. Retrieved from https://au.pinterest.com/pin/347340189997290429/ Fig 3. Retrieved from http://figure-ground.com/de_young/0018/ Fig 4. Retrieved from http://www.arch2o.com/m-h-de-young-museum-herzog-de-meuron/

Fig 5. Retrieved from http://www.evolo.us/architecture/loop_3-installation-investigates-mathematical-trigonometri

Fig 6. Retrieved from http://www.evolo.us/architecture/loop_3-installation-investigates-mathematical-trigonometri

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C.1. Design Concept

C.1.1 Feedback from Interim

uring the presentation on Interim, Lusssospazio became the project our team were trying to pitch. It was an outdoor accessory that attached to the Cabanon to provide a secured outdoor space for the custermer to showcase their lavish life style and make themselves into an art piece. We abstracted the qualities of the throne chair that is produced by Versace x Haas Brother, which share the common desire with our project. There are four products for different uses: For cars(oblects), for trees(gardening), for companion(pet), and for human activities.

What is good Our journey of how we get to our final product was clear, so that the crit panel was able the understand the concept of ownership through our design. They esspecially like the idea behind the fourth product for human activiives, which is "by caging yourself, you are acctually caging the world". This should be the direction of our final proposal.

What should improve The panel said that our product was not matching enough with the qualities we abstracted from the Versace chair. The problem of lacking of puffiness and strong base should be solved in the final proposal. They suggested that we should not restrict ourselves too much to grasshopper algorithm, we should try to use more computational tool to help our design.

C.1.2 Concept Finalise

Puffiness-Light and soft sense of comfort/happiness reliefing

Gold beads-Shiny Catching the attention of other people -Showing off the wealth

Black Leather-Luxurious lifestyle -The access of fine material

Solid base-Massive sense of secure and safety

The product we analyzed should share the common characteristics with our product. The elements that was missing in the mid sem should be added, which are strong base and puffniness.

The main concept of our final proposal should focus on exploring the spatial relationship bewteen inside and outside( derive from the idea of " by cage yourself, you are actually caging the world"), and showcasing of your lavish life style.

C.1.3 Site With the consideration of our main concept of showcasing, the site we choose should be in a conspicuous position.

C.1.4

Envisage Construction Process

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C.2 Prototypes

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C.3 Final Detail Model

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This is the part of strip and folding for our final model.

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C.4 Learning Objectives and Outco

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omes

he final presentation was once again able to give us more challenging requirements and refinements to be overcomed to make a more reliable reason for our design, algorithmic processing and the fabrication/ construction process. The use of strip and folding in the project was very straight dorward.An example of this was raised on the materiality form response in the application of the technique of strip and foldfing, where it was suggested that it would be an interesting process to increase the puffiness of our product through form-finding process by choosing the right material with a suitable characteristics. Throughout the process there has been an emphasis on trying to establish the material to meet the requirements of the form (eg. bendability, flexibility, joint logic adaptability etc.), but was realized that addressing the material qualitiese to influence the form would have opened up a wider array of possibilities and iterations to be explored. Therefore, the preceding process was largely influenced due to the aim of retaining the sense of ownership and secure. Another strategy that was raised during the final presentation was the development of modulated hexagonal base, we finally used a similar stategy that is applied in the Museo Soumaya in which the hexagonal panels were optimized and organized into â&#x20AC;&#x2DC;familiesâ&#x20AC;&#x2122; of panels distributed in accordance to the extent of the curvatures along the structure. Such methodology would bring in a dramatic change in the level of cost ( test in prototypes with different sizes), time and material efficiency during fabrication. Such process is challenging the capabilties of our groupâ&#x20AC;&#x2122;s grasshopper technique, especially with such a undulates and heavily curved geometric surface that is generated from the super formula. As such modulation process occurred, the overall geometry was further refined to minimize excessive steep curvatures and divided into multiple sub-groups depending on the level of curves induced on the locations of the panels.

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