Journal

S T U D I O A I R

J O U R N A L : 2 0 1 6 ,

T U T O R : C A I T L Y N

S T U D E N T

S T U D E N T

N A M E :

I D :

6 2 Q 1 S P I 7 1 A U 2 R 2 R L Y I A N G L I

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C O N T E N T S

I N T R O D U C T I O N

P A A A 1 2 R . .

T D D A E E : S S I I C G G O N N N C E P T U A L I S A T I O N

F U T U R I N G

C O M P U T A T I O N

A A A A 3 4 5 6 . . . .

C O M P O S I T I O N & G E N E R A T I O N

C O N C L U S I O N

L E A R N I N G O U T C O M E

A P P E N D I X

P B B A 2 3 R : : T C C B A A : S S E E C R I T E R I A D E S I G N

S T U D Y

S T U D Y

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B B B B 4 5 6 7 : : : : T E C H N I Q U E

P R O T O T Y P I N D G E V E L O P M E N T

P R O P O S A L

L E A R N I N G O U T C O M E

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I N T R O D U C T I O N Hi, My name is Qiuliang Li. In my brief 21 years. I have studied in China, Botswana, New Zealand and Australia.

Since I was a child, drawing had always been my main method of communication, second to speaking of course. Throughout the years, drawing had helped me in many ways to gain popularity and achievements among friends and school. It all started with a pen and my bedroom wall, from stick figures to the best graphic designer in the school, a homeless man’s shack to New Zealand scholarship winning cliff house. All of these were the result of my sixth-sense in drawing

and of course, the hard work. Throughout my senior years in school, I have travelled to both developed and developing countries and was inspired by the close relationship between social, cultural and economical factors of a country to its architectural style. One major difference is the use of computation in constructing buildings.

In developing countries, such as Botswana where I worked on site as a labourer, the interaction between all parties were direct and on paper. Whereas, everything was set out on BIM in New Zealand.

Thus, I believe computation still has a long way to

fully aid the human society as a whole, first, we must make it available to everyone.

However, with the rocketing prices on software, it is very hard. I have been using ArchiCAD since high school to produce designs, however, hand drawing has always been my strength as I think it is important to have the mind and the body to work as one. Until recent time, I have taken up interest in learning grasshopper, which is fascinating in terms of how simple algorithms can be transformed visually into designs.

Computation is a booming skill to have and I will try my best to acquire it.

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A 1 .

D E S I G N F U T U R I N G

Design Intelligence (not to be confused with ‘intelligent design’).1 What is Design Futuring? What is sustainability? What is nature? What is a question that cannot be defined?

Indefinable or incomprehensive? We, humans, live in a world we do not fully comprehend.

The rocks are being melted into iron, the soil is drained for crops, the roots are made into furniture, yet, we keep pushing our overweighted bodies erratically onto the crumbling cliff to test if it would hold. It will…just kidding.

Before one more person becomes the victim of climate change due to unsustainable development. We must wake up to the fact that the end is near! A spaceship needs to be designed and built in order to accommodate the elite and leave the everyday people in the apocalypse, which I believe is the case with architecture today.

People with the appropriate financial and political means gain free access to the spaceships made from

steel and glass while the rest shelters in wood cabins burning coal to survive.

Anyhow, the point is that architecture today has become a materialistic mean that focuses on the aesthetical appearance to a very narrow group of people. For example, mansions build for the rich in the desert in Las Vegas .2 How much is enough in order for us to realise that sea level is expected to rise 7 metres by the end of century with 500-750 million plus environmental refugees?3 Social and political aspects in society have set a general standard in promoting democratic designing, which allows a wider variety of design to be accomplished by a wider group of designers. This grants a more satisfied society, but also humans have become so proud and comfortable in their architectural developments that they are reluctant of creating the will and

means to mobilize appropriate technologies at the scale needed to make a real difference.4 Thus, design intelligence must intervene to create a sustainable future.

Parametric design is the tip of the iceberg in design futuring as it is an effective method in finding the optimal structural strength and form from different materials to produce an advanced, durable and functional construction with minimum outputs.

Therefore, in increasingly unsustainable worlds, design intelligence would deliver the means to make crucial judgements about actions that could increase or decrease futuring potential.5 Essentially, design intelligence has become design futring.

It has to confront two tasks; slow the rate of defuturing and redirecting us towards far more sustainable modes of planetary habitation.6

1. Rivka Oxman, Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1–10.

2. 'Design Futuring, dir. by University of Melbourne (University of Melbourne, 2015).

3. 4. 5. 6. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1– 16.

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A F R E E F O R M I N G F U T U R E

FIG. 1 THE SWISS RE, LONDON, 2003.

The Swiss Re, designed by Norman Foster and Arup group is a commercial skyscraper with 41 floors that was completed in construction in December, 2003. The building is an iconic symbol of London and one of the most widely recognised examples of contemporary architecture.

It demonstrates the power of the linkage between parametric modellers and their scriptable mediated variability and performance simulation software.7 This is evident in the design of the building’s effective ventilation system ,

The six air shafts in the building act as natural ventilation systems as well as creating a double glazing effect, trapping air within to force warm air to escape upwards in summer, while using passive solar heating in winter. As a result, it only consumes half the power that a similar tower would typically use.8 The commitment to curvilinear design and the preference for non-orthogonal geometries, such as aerodynamically splitting wind paths rather than blocking them like typical orthogonal buildings have redirected the Swiss Re to the differentiating

potential of topological and parametric algorithmic thinking and the tectonic creativity innovation of digital materiality.9 In turn, it formalises the biomimetic principles of design as it combines the concept of morphogenesis with the tectonics of futuring materials, e.g. glass in conjunction with performative simulation, such as the natural ventilation to create naturally ecologic systems.

Ultimately, the Swiss Re pushes architecture towards a sustainable design future.

7. Rivka Oxman, Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1–10.

8. Martin Spring, 30 St Mary Axe: A gherkin to suit all tastes (2008) <Building.co.uk> [accessed 12 August 2015].

9. Rivka Oxman, Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1–10.

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FIG. 2 QATAR NATIONAL CONVENTION CENTRE, 2011.

With 40,000 square metres of exhibition space, the Qatar National Convention Centre (QNCC) in Doha is the largest Congress centre in the Middle East. The building complex was designed by Arata Isozaki, and it impresses with construction shaped tree trunks and monumentally uprising branches that take on a vital supportive function.10 Through the use of advanced computing software, the structural form, e.g. the sharp connection from the trunk structure to the roof was able to be executed to an optimal connection in relation to the materials used. The exhibition not only exhibits what is inside but also its futuristic structural experimentations only made available by computation technologies.

Made of steel, wood, marble and glass â&#x20AC;&#x201C; it demonstrates the powerful

potentials of materials in supporting the building with minimal quantities and extreme, non-orthogonal shapes. The building has already received the 'Leadership in Energy and Environment Design' (LEED) award by operating efficiently with innovations such as water conservation and energy-efficient fixtures. One of the features is the 3,500sq m of solar panels providing 12.5 percent of the Centre's energy needs.11 The exhibition centre is a vivid example of innovative integration between material fabrication, form generation and performative form finding.

The end result is a democratic design free from restrictions, limits or unsustainability.

This building has revolutionised architecture as multiple functions can be accomplished by a single

10. Arata Isozaki, 'Qatar National Convention Centre', Dezeen Magazine, 1.1, (2013), 1, in 1 <http://www.dezeen.com/2013/08/22/qatar-national-convention-centre-

by-arata-isozaki/> [accessed 12 August 2015].

11. Wikipedia, Qatar National Convention Centre (2015) <https://en.wikipedia.org/wiki/Qatar_National_Convention_Centre> [accessed 13 August 2015].

building. For example, a power station could also perform as a recycling centre, or a commercial office with water catchments and farming facilities this concept was already visioned in Le Corbusierâ&#x20AC;&#x2122;s roof gardens.

However it lacked the appropriate technologies to materialise. Today, with design intelligence and performative parametric computing, we must take the next step and use this advantage to create complex systems that are effective in harmonising with nature and sustainability. As already evident in the exhibition centre, many other integrative design elements were included in the building to achieve the highest level of environmental and sustainable standards.

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A 2 .

D E S I G N C O M P U T A T I O N

Computing technology has become so effective in todayâ&#x20AC;&#x2122;s society, especially in designing that it has formed part of our daily practices and we are dependent on the efficiency it provides.

In fact, we are so over reliant on it, without it, society would be paralysed. Thus, it leads to a common question to whether we must continue down this path or find other solutions.

Lawson's theory on 'fakeâ&#x20AC;&#x2DC; creativity encouraged by CAD, that technology can replace design12 is a reasonable argument and that we are more dependent on machines rather than our imaginations and dreams. However, our imaginations are limited by what we

understand and the ability of our brains to process these information. Thus, a majority of designers use programs simply to computerize their ideas electronically onto CAD. Whereas, computation not only eliminates these limitations but also helps us to discover new comparable possibilities each with its own processes and data. Computer aided design (CAD) helps to formulate randomized concepts into informed designs through the processes of calculating structural performance, load distribution, optimal strength threshold of materials13 in merely minutes, granting major reductions in work loads, material quantities and time

spans.

Furthermore, BIM (Building Information Modelling) as part of CAD has become an international communicating tool that brings designers from different ethnic, social and political backgrounds together to share and develop architecture as a global goal towards major developments, such as sustainability, Form generation and composition have never been made easier with the redirection of computation to a precise, puzzle making process, allowing architects to find, instead of making14 patterns inside and outside the puzzles.

12. Lawson. Bryan. (1999)."'Fake' and 'real' creativity using computer aided design: Some Lessons from herman hertzberger", in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by ernest edmonds and Linda candy (new York: Acm press), pp. 174-179 13. Elias,B 2016, Lecture 02, Recording, University of Melbourne, Parkville.

14. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1â&#x20AC;&#x201C; 16.

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FIG. 4 OVERALL TOWER GEOMETRY.

T H E F U T U R E

FIG. 3 NATIONAL BANK OF KUWAIT HEADQUARTERS, KUWAIT, 2007.

Located in Kuwait City, the National Bank of Kuwait is a successful computing architecture. "The building is an environmentally responsive building and a complex geometry designed that was designed to integrating various performance parameters while continuing to investigate geometrical solutions".15 Generative Components™ (GC) was the primary parametric modelling software that quickly produced various options for the design considering a range of performance parameters including “aspirations, structural, environmental functional and operational requirements”. 16 The speedy analysis and generation of models enhance the tectonics of materialization and fabrication. The fins that create the shading system were studied for buildability through testing the level of curvature of the elements and through the derivation of elements with possible repetition, all while maintaining the shape. 16 Three sides except the South façade are covered by the intelligent shading system where fins are angle at such

15. Morphosis Architects, Emerson College Los Angeles / Morphosis Architects (2014) <http://www.archdaily.com/491193/emerson-college-los-angeles-morphosisarchitects/> [accessed 18 August 2015].

16. Peters, B, Kestelier, X 2013, Computation Works: The Building of Algorithmic Thought, John Wiley & Sons ltd.

degrees to reduce sunlight penetration but at the same time, allowing views and the daylight to facilitate the interior spaces. The building responds well to local weather conditions.

Parametric and performative design have been utilised with integrated simulation software for wind, sunlight, energy and structural calculations (shown in Fig. 4) in scripting the angle and shape of the saw-tooth form for optimal shading and energy efficiency.

Furthermore, computation processes have turned the facades from singularities to multiple singularities, which consists of multiple performative layers that integrates with each other to create an optimal product that provides maximum efficiency and minimum environmental impacts.

Required interdisciplinary skills and communication to accomplish these is much easier to be expressed and managed with computer generations. Time span of designing is shortened as multiple performative forms can be simultaneously calculated, evaluated and perfected.

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FIG. 7 NATIONAL AQUATICS CENTRE, BEIJING, 2003

The national aquatics centre in Beijing, China, also known as the ‘water cube’ brings aspiration to computer generation technologies.

22000 structural elements and 4000 unique cladding panels were modelled and designed using CAD with rapid prototyping machinery.17 The exterior pattern was generated by randomized shapes formed by computation, it is similar to the result of Voronio in grasshopper 3D. The end result is an iconic futuristic building.

Environmentally, the cube is an insulated greenhouse with diffuse natural light.

Functionality wise, the main steel structure is housed in a cavity, isolated from both the outside and the corrosive pool atmosphere. ETFE, a fluorine based plastic cladding was used to be an efficient means of construction as it would use minimal material

and remove the need for a secondary structure, while providing better insulation than single glazing. These innovative and performative features are made possible solely by computation. Materials, costs and time are saved by the continuum of form generation and testing by CAD. With the exterior cladding generated with computation, this demonstrates another advantage of computation that it can be used to spark ideas and to continually generate forms in order to keep the design process circulating as sometimes, designers grow weary and run out of concepts. With the development of material fabrication, structural tectonics was simultaneously calculated by CAD to test and execute performative forms in hands with the morphological structure.

FIG. 8 PLATEAU’S SOUP BUBBLE GEOMETRY

FIG. 9 CAD STRUCTAL SYSTEM MODEL

FIG. 10 CONCEPT DESIGN USING WEAIREPHELAN FOAM

17. Tristram Carfrae, 'Engineering the water cube', ArchitectureAU, 1.1, (2006), 1, in 1

<http://architectureau.com/articles/practice-23/> [accessed 8 August 2015].

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A 3 .

C O M P O S I T I O N & G E N E R A T I O N

Parametric design has given us countless opportunities and ideas that we would never dream of without it.

It has made unbuildable designs buildable.

Unimaginable form generations generated.

The trial and error age has passed and today, with powerful computers, knowledge is key to create imaginations.

Knowledge in systems, modelling, sharing and reuse of computational tools.

With more powerful computers come with much more sophisticated analytical algorithms and visualisation techniques that render the analytical data.

Ultimately, design outcomes become more sophisticated in creating much more complex design briefs with the access to gain profound discoveries about abstract

concepts.

It is fascinating to observe forms, patterns, structures generated with the aid of algorithmic thinking, such as the pattern of bird flocks through Boids by Craig Reynolds. 18 Multiple briefs can be fitted into one design with the help from form generation to composition of performative forms to form a complex brief that meets multiple functions. Sustainable fabricated materials are used to achieve a more environmental friendly design.

Computer programs such as Grasshopper relies on visual connections in writing parametric script.

Visually descriptive nodes are only shown in a visual form similar to the architecture field, which heavily relies on visual communications. This

18. Elias,B 2016, Lecture 03, Recording, University of Melbourne, Parkville.

19. Burry, M (2011) Scripting Cultures, West Sussex: John Wiley & Sons Ltd.

creates a barrier between developers and users as beginners in the field are constrained by their insufficient knowledge in computing.

Thus, unable to fully express themselves through CAD programs.

Ultimately, hand drawing is still a popular method in designing.

However, educational videos on the internet have proved in encouraging more designers to use CAD, which increases the data base online for sharing and reuse throughout the world.

Nevertheless, sharing have caused existing designs to be modified due to individualsâ&#x20AC;&#x2122; vague believe in only form and structure, leading to the loss of connection to the brief.

The individuals â&#x20AC;&#x2DC;simply being a designerâ&#x20AC;&#x2122;.19

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FIG. 12. ICT/ITKE RESEARCH PAVILLION, STUTTGART, 2011.

B E Y O N D C O M P R E H E N S I O N

FIG. 11 FORM GENERATION, 2011.

In this pavilion, the efficiency of computational generation is achieved through advanced simulation and robotic fabrication that expands the design space towards hitherto unsought architectural possibilities, 20 enabling material behaviour to unfold a complex performative structure from a surprisingly simple material system. Referring to the pavilion, the development of a generative computational process based on the morphological principles of the plate skeleton of echinoids enabled the design and robotic manufacturing of a modular system, which exploited the hygroscopic behaviour of wood in the development of no-tech responsive architecture. The pavilion only uses extremely thin (6.5mm) plywood sheets, 20 thus making it both economical to build and materially highly efficient. At the same time providing an enriched spatial extension of the public space. By utilising computer generation, the surface of the building was able to be created through form generation in cooperation with performative form finding. A series of computerised detailing , such as digital fabrication and compositing the surfaces greatly enhances the structures adaptability to the surrounding environment as well as simplifying the designing and construction

processes while maintaining its complexity. The surfaces were divided into singular panels which were digitally fabricated, then fitted on site efficiently with the aid of CAD. Similar in putting together a puzzle. The morphogenetic property of the pavilion form a relationship between its surrounding vegetation and the pavilionâ&#x20AC;&#x2122;s interior.

Elaborative formations such as undulations, bifurcations, folds, and inflections modify this pavilion surface into an architectural landscape that performs a multitude of functions: welcoming, embracing, and directing visitors through the interior spaces. With this gesture, the building blurs the conventional differentiation between architectural object and urban landscape, building envelope and urban pavilion, figure and ground, interior and exterior.21 Thus, form generating through algorithmic thinking allows the design to relate to its surroundings in harmony both aesthetically and environmentally.

Advanced computing allowed for the continuous control and communication of these complexities between a wide variety of participants also reduced time span and allowed for the bottom-up system where more productive ideas and concepts were combined to perfect the pavilion as a whole..

20. Peters, B, Kestelier, X 2013, Computation Works: The Building of Algorithmic Thought, John Wiley & Sons ltd.

21. Zaha Hadid Architects, 'Heydar Aliyev Center / Zaha Hadid Architects', Archdaily, 1.1, (2013), 1, in 1 <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-

hadid-architects> [accessed 9 August 2015].

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FIG. 14 SERPENTINE PAVILION, LONDON, 2002.

With Toyo Itoâ&#x20AC;&#x2122;s Serpentine Pavilion. The aesthetic and tectonic possibilities of the algorithmic was eloquently demonstrated.22 It was designed during the time when multidisciplinary research were developed to expert the ability to exploit computational geometry in the mediated generation and analysis of digital designs.23 The design can be related to the Delaunary and Offset commands in Grasshopper, which allows computation to tease out the patterns in which the building could utilise. Experimentations with the modelling of the tectonic potential of the square was carried out. A series of squares were drawn with the same

centre point, with the aid from form generation, patterns were formed during the process which composited together to form a computational design we see as the end product. Moreover, this pavilion portrays one of the symbolic properties of form generation, that, it creates randomised patterns and designs through controlled parametric algorithms.

This is in the similar case with nature as it is the randomness of trees and mountain ranges formed by a broader pattern of genetics and plate tectonics that creates beautiful and natural sceneries. This cannot be achieved by hand as one will always be limited by his/her design patterns and way of thinking.

FIG. 15 COMPUTER EXPLODED DIAGRAM.

22. Rivka Oxman, Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1â&#x20AC;&#x201C;10.

23. Oxman, Theories of the Digital in Architecture.

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A 4 .

C O N C L U S I O N

It is with urgency to inform the industry that architecture has come to a stall. In one hand, futuristic and fascinating buildings are being designed and constructed. However, on the other hand, they are still been built at a cost on environmental degradation no matter how energy efficient it is. ‘one must destroy something in order to create something new’, animals must be killed to make meat, trees must be chopped to turn into timber.

Architecture is forever a create and destroy relationship.

Natural resources are burnt in need for constructing skyscrapers or

providing energy for households. Thus, the most feasible option would be to slow down ‘defuturing’ and prolong our habitable environment, which can be accomplished by computation.

Design intelligence/algorithmic thinking is able to aid us for optimal performative form finding, in relation to utilising resources and materials to generate precisely the minimal resources needed in generating the maximal efficiency in all areas of a design from energy consumption to material strength. With the constant development of programing, designers

will be able to use algorithmic formulas to calculate the unpredictable growth patterns of renewable resources such as trees or bird flocks by Craig Reynoids. This can be used directly as design elements. Leading to the creation of live architecture which cooperates with nature to build shelter.

Therefore, there are endless possibilities with computation to turn undefinable designs on paper into an algorithmic system where designs come from generation and generation from intelligence.

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A 5 .

L E A R N I N G

Through the process of comprehending computational theories and practices, I am able to understand the necessity of being able to grasp this important skill. Being a designer, it is not only about creating new styles or forms of architecture, but to experiment with

different genres of architecture in order to discover and find the optimum solution to a puzzle. Whether it is an environmental puzzle or a social puzzle, I am able to use computation to aid me in performative form finding and providing accurate calculations for

multiple goals.

The precision of computational tools fascinate me the most as it is crucial in constructing major projects. I will utilise these tools to their full potential in order to find the puzzles that were considered to be impossible on paper.

O U T C O M E

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A 6 .

A P P E N D I X .

A L G O R I T H M I C S K E T C H E S

This algorithmic stretch consists of many fundamental elements of computation.

It represents parametric designâ&#x20AC;&#x2122;s ability to generate mesh , then dividing it precisely into producible components while adding appropriate thickness and details to the design. Following up to the mesh and geodesic components, I have added thickness as well as transformed

the rigid outcome into a more morphogenetic structure which relaxes its protruding characteristic and maintain its structural integrity at the same time.

From this sketch, I have discovered that by using computation, structures can now be generated into interesting shapes that can be exposed purposefully to achieve both aesthetical and

structural success, such as bridges or skyscrapers. With the aid of computation, model making has become more efficient and time saving as parametric algorithms automatically calculate and generate the necessary elements into producing the model with an infinite number of modifications in perfecting the outcome.

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The diversity of algorithm outcome in this parametric design interests me. By simply changing a few nodes, (Box Morph> Orient, Weaverbird) grasshopper was able to generate brand new faรงade patterns for the entire design in

mere seconds. This greatly reduces design time and more importantly, allow designers to explorer much more feasible possibilities that would never be achieved by hand.

This once more emphasise on the efficiency of computation.

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This parametric design displays the beauty of repetition through form generating.

It

demonstrates the limitless using Offset and freedom of algorithmic Number Slider thinking. The design can Grasshopper. be infinitely expanded

the in

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B I B L I O G R A P H Y

Arata Isozaki, 'Qatar National Convention Centre', Dezeen Magazine, 1.1, (2013), 1, in 1 <http://www.dezeen.com/2013/08/22/qatar-national-convention-centre-by-arata-isozaki/> [accessed 12 August 2015].Rivka Oxman, Robert 'Design Futuring, dir. by University of Melbourne (University of Melbourne, 2015).

Elias,B 2016, Lecture 02, Recording, University of Melbourne, Parkville.

Elias,B 2016, Lecture 03, Recording, University of Melbourne, Parkville.

Martin Spring, 30 St Mary Axe: A gherkin to suit all tastes (2008) <Building.co.uk> [accessed 12 August 2015].

Morphosis Architects, Emerson College Los Angeles / Morphosis Architects (2014) <http://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects/> [accessed 18 August 2015].

Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1â&#x20AC;&#x201C;10.

Peters, B, Kestelier, X 2013, Computation Works: The Building of Algorithmic Thought, John Wiley & Sons ltd.

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1â&#x20AC;&#x201C;16.

Tristram Carfrae, 'Engineering the water cube', ArchitectureAU, 1.1, (2006), 1, in 1 <http://architectureau.com/articles/practice-23/> [accessed 8 August 2015].

Wikipedia, Qatar National Convention Centre (2015) <https://en.wikipedia.org/wiki/Qatar_National_Convention_Centre> [accessed 13 August 2015].

Zaha Hadid Architects, 'Heydar Aliyev Center / Zaha Hadid Architects', Archdaily, 1.1, (2013), 1, in 1 <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 9

August 2015].

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B 2 .

C A S E S T U D Y 1

De Young Museum

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Modify image pattern: 1.

2.

3.

4.

5.

6.

7.

8.

9.

Removing the first image.

Used “Smaller Than” and erased all the larger circles.

Flattened the cones through expression.

Cull pattern horizontally.

Flip data matrix for vertical cull pattern.

Changed circle pattern to polygon then added Kangaroo by using “Spring” and “Planarize” forces.

Box morphed surface with mesh object and reduced pattern to one.

Decreased divide points and twisted surface box.

Converted mesh to poly-surfaces and extruded along curve.

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Modify pattern components: 1.

2.

3.

4.

5.

6.

7.

Replaced patterning circles with rectangles.

Adjusted X and Y domains of the rectangles.

Extruded along a curve.

Mesh brep then welded and smoothed.

Added Weaver Bird framing and eliminated repeated shapes.

Changed and added 2 extrusion curves while Catmull-Clark subdivision was added.

Altered Weaver Bird into windows with offset split triangles subdivision. Removed one extrusion.

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Modify lofted Cones:

1.

2.

3.

4.

5.

6.

7.

8.

9.

Using the same image for both image sampling inputs.

Adjusting UV points for surface divide to show the detailed outlines of the image with the adjustment of the expression from x*y +0.02 to 0.01 to reduce the biggest circle radius allowed in order to fit more UVs. Increasing the degree of radians to the planar surfaces, the height of the cones can be adjusted to create certain effects, such as diversifying and highlighting certain sections of the pattern.

Copying the Z vector expression to the first image.

Applying the coning script to the first image.

Increasing the radius restriction of the base circle as well as the radians of the planar surface.

Increasing the top circle that forms the planar surface.

Added another image pattern.

Rotating 2 images along the Y-axis.

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Adding Field Spins and point charges:

1.

2.

3.

4.

5.

6.

7.

8.

9.

Added one field spin.

Shifted the centre of the spin force while increased amplitude.

Reduced points and added multiple field spins.

Added point charge and adjusted amplitudes.

Changed the expression for radius of the circles.

Extruded using the spin force vectors.

Furthermore altered the Z axis expression, tan(y)*(x-0.1) to tan(y)*(x+0.3).

De-brep, then created interpolate curves and lofted into fans.

Reduced number of fans and added thickness through “Move”. Added another image on each fan and used “Solid Difference” to trim out holes.

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Solid Operations and Kangaroo:

1.

2.

3.

4.

5.

6.

7.

8.

9.

Trimmed two breps.

Decreased UV points while increasing the Y variable for the circle expression.

Decreased UV points and used region intersection to boarder the lofted, relocated and rescaled circle.

Used “Spring” and “Unary” forces for “Kangaroo” with one bottom anchor point for each circle.

Changed circle to polygon. Added multiple bottom anchor points for “Kangaroo” and left the simulation on for a longer period (one minute).

Increased anchor points on the top surface.

Used “Mesh Surface” as multiple mesh inputs for “Kangaroo”.

Removed “Unary” force from “Kangaroo”.

Stretched the Z axis while added “Windmesh” force to “Kangaroo”.

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B 3 .

C A S E S T U D Y 2

Aqua Tower

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29

R E V E R S E O V E R V I E W

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B 4 .

Modifying façade pattern and shape by adding curve splines and utilities:

T E C H N I Q U E

1.

2.

3.

4.

5.

6.

D E V E L O P M E N T

7.

8.

9.

Used “colour brightness” to determine the lofted pattern.

Changed to “RGBA colours” to alter pattern.

Changed “Interpolate curve” to “Nurbs curve”.

Changed “Nurbs curve” to “Kink curve”.

Changed “Kink curve” to “Fit line” between the end points. Increased domain end from 0.000 to 0.200.

Connected “Nurbs curve” (favourite outcome) and extruding the “Boundary Surfaces” along X axis for thickness.

Added “Catenary” and connected curves.

Found “Extreme” points then added and joined “Catenary” on top of existing “Catenary”. “Tweened” both curve patterns with image pattern then connected with “Nurbs curve” at 1 degree.

Extended and connected “Catenary” curves. Prepped and lofted frames for the curves.

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Modifying Façade through Matrix, Domain and WB:

1.

2.

3.

4.

5.

6.

7.

8.

9.

Used “Flip Matrix” to generate vertical pattern.

Mirrored and joined the pattern, then increased “Domain Start” and thickness.

Connected and bordered the “Nurbs curves”.

Transformed façade pattern by using WB’s “Loop Subdivision” and “Stellate”.

Extracted frame by WB’s thickened “Picture Frame” and straightened the frame using “Split Triangles Subdivision”.

Added WB’s “Catmull-Clark Subdivision” to the frame.

Used WB’s thickened “Mesh Window” along with “Loop Subdivision”.

Smoothed out the façade with WB’s “Catmull-Clark Subdivision” and “Laplacian Smoothing”.

Repetitively used WB’s “Catmull-Clark Subdivision” and “Laplacian Smoothing” on the frame of the façade.

Protruding patterns through various GH functions:

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Extruded scaled “Square Grid” guided by image pattern and thickened with WB. Changed grid to rectangle and façade to polylines.

Increase “Domain End” for the image.

Added WB’s “Catmull-Clark Subdivision”.

Adjusted domain values.

Increased subdivision level for WB’s “Catmull-Clark Subdivision” with decreased domain values.

Used “Mesh Edges” and connected the lines to create a fence pattern.

Used “Cull Faces” to generate pattern within pattern.

Increased UV for “Surface Divide” and extracted looping layers.

“Debrep” and added “Oct Tree”.

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Modifying image patterning:

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Moved remapped pattern points on the X axis.

Added circle expression to replace lines.

Added second circle to generate cones with reduced surface UV. Then smoothed the shapes using WB’s “Catmull-Clark Subdivision”.

Changed plane input to “HexGrid” then used “Merge” and “Scale” to offset pattern.

Thickened pattern with WB and used “Split Triangle Subdivision” to triangulate each protrusion.

Decreased grid UV and added Lunchbox’s “Panel Frame”. “Hexagon Cells” was then used to fill the pattern’s frames.

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B 5 .

P R O T O T Y P I N G

‘An architectural intervention that will express, support, amplify or question continuous relationships between technical, cultural and natural systems’…

The ability to use a design to improve on the lives of people, animals and the general environment in moving towards a sustainable future.

S I T E

Merri Creek is one of the few natural reserves left in the metropolitan area of Melbourne. It provides a sanctuary for many wild lives as well as an escape from the populated city. It is a place of peace for adults and a learning environment for children. In my perspective, I will try to maintain its natural characteristics and only improve on areas that cause harm to the environment.

From the visit to the Merri Creek reserve, I have observed a few things that needed to be changed or improved. Firstly, there was rubbish along the path and the creek, which is always harmful to the image of the reserve. Thus, a solution of designing rubbish bins could reduce pollution. However, this may attract animals to seek for food within the bins, potentially turning the bins into a death trap if animals fall in. Secondly, there were these tree protectors, I thought I might replace them with a more interesting design. However, seeing the quantity needed for the protectors, it will be an expensive project.

B R I D G E S

The most distracting thing I experienced on site was the uncomforting feeling when walking under the bridges. Not only it is aesthetically unpleasing, it also posed a threat of pigeon bombs. The area was dirty and dangerous. It is a shame that a prime space like this is being left out when it has the ability to facilitate people and animals against the unpredictable weather of Melbourne. As well as a great resting space for joggers or a recreational space for people. To my experience, a space like this in China would be packed with people playing Chinese chess. Thus, it is to my consciousness to change the atmosphere and the environment of the space under the bridges and transform it from a space of brief passing into a place of interest that is able to facilitate its potentials.

To achieve this, I believe, involves mainly covering up the underside of the bridge. The technique of patterning would be very effective in generating a horizontal plane, layer or canopy that connects to the underside of the bridge. Closely binding rectangular, triangular or random patterns would form an architectural decoration to the space. At the same time, hiding the hideous concrete bridge on top and hindering pigeons from nesting and dropping on the edges of the bridge columns.

Thus, group D solves the problem by transforming a 1 way perspective/2D into a 3D patterning design. It started with taking the easiest form â&#x20AC;&#x201C; rectangles and eliminating the row beams to provide simplicity for the extrusion. The extracted pattern thus displays a pattern from all directions. The panels were then shaped into irregular wave patterns using image sampling from grasshopper. At this stage, it starts to resemble elements of the Aqua tower façade used as the ceiling pattern.

Extrusion continues as an experience to find the optimum height to generate an all-direction pattern.

The ceiling was then charged to a point to create a perspective and dynamic effect, however, it proved to be unsuitable to the squarish site. However, the purpose to hide the underside of the bridge as well as to hinder pigeons from accessing the space has not been met as there are too few panels to cover up the view of the bridge nor to create obstructions for pigoens.

Through development, I have increased the density/reduced the spacing between each panels to generate the outline of the ceiling pattern. This creates a mysterious atmosphere to the site backed up by the experience of abstract, depth, vertical gravity and vivid contrasts. Contrasts between the concaving and extruding pattern, the depth of the dropping down panels vs. the spacing in between as well as the rigid structure of the bridge vs. the abstract design. This creates diversity, a point of interest to the site but not domination to the surrounding environment. Moreover, different images were used to generate different ceiling patterns to utilise computation in generating quick patterns to choose the best from.

C H O S E N T E C H N I Q U E

Lastly, to adapt the design to the underside of the bridge, I must consider the fact that there will be a lot of vibration, thus, using fixed joints to connect the panels to the bridge would mean constant vibration and tension at the joints as well as the whole design, which may lead to instability and reduced the life of the design. Thus, a solution is to divide the pattern into individual strips and connecting them individually to the bridge using 2 fixed joints connect by tension cables. This way, most of the vibration from the bridge can be dispersed by the movements of the cables. Moreover, this allows the panels to swing a bit amongst themselves which creates an unintentional experience of living architecture through movement as well as the experience of transformation in patterns through controlled movement.

B 6 .

P R O P O S A L

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Technique thinking From B1 to B4 process, the two structures, De Young Museum and Aqua Tower in Aqua Tower I learnt a lot on their technique applications.

For De Young Museum, I adopt its several clusters on one curve, then the whole structure is made up of a few curves with these clusters. It was achieved by divided points on curve generating points fields and interact together.

So my structure is also as clusters to be linked together under the bridge.

Even though I do not adopt point field or spin field on my own design, each panel have to interact each other though higher and lower section layer. One panel’s form may also affect another panel’s form or section platform, so this is what the field component in grasshopper have taught me.

Fabrication and material thinking From B5 process, I have tried to explore the relations of section layer numbers and shape, as well as supporter height. How these two elements affect the stability of my structure.

Joinery structure will be much applied in this structure no matter to join components from panel to the underside of the bridge with fixed joints.

However, since the structure is elevated and only supported from one direction, special fixing methods have to be adopted to make sure it is stable.

Since timber material is weak in longer time, I think steel have to be adopted for panel supporters even though the surfaces of these metal resemble timber. Meanwhile, rock or grass texture surface material can be adopted for section layer but they have to be lightweight and smaller-scale from lower level to top level.

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B7: Learning Objectives and outcomes Objective 7. developing “the ability to make a case for proposals Actually there is a big gap between digital approaches and practical approach. In digital approach that adopts grasshopper, the shape can be stimulated by just piling, but through practical model i find that small joins or small gap will the whole structure not in an completed shape or collapsing. However, though practical model I can make some mistakes that digital model doing wrong or never being considered to perfect my proposal.

Objective 8. begin developing a personalised repertoire of computational techniques.

I am able to develop some of personalised repertoire from initial algorithm programming but not fully mastered, especially when i face some simple programming that the shape itself can not be changed too much like in B4. Additionly, some components in grasshopper that relevant seldom using will also stuck me to program further complex programming.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” Since i have not much researched in detail on my target clients, water birds like in Mebourne, what they eat, what kinds of plants they are refer to be habitating, my design proposed possiblity is limited,which means only one to two shapes or functions can be put forward.

Objective 3. developing “skills in various three-dimensional media” In three dimension rhinoceros and grasshopper from B2 to B4, i can do different media by showing varied shape on technique development, but in the prototyping process afterwards, since my reaserach field have not expanded in details, i can not put forward various 3D media that shot on certain points accurately. In addition, prototyping is another shortcoming since i made it simple as much as i can so that the judgers felt that my model can not show praramtric elements Objective 7. develop foundational understandings of computational geometry, data structures and types of programming IN opinion, in B2 case study1.0 i can showed my understanding exactly according to parametric data shifting, in B4 my reverse-engineering program, my techinique development is not as good as B2 since some parametric data is leaping and i do not know how to transit them smoothly. in B6, even though i use grasshopper to made digital model first, it is still to see the computational elemnents inside.

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