AIR Journal Part A + Part B_671127 by Queenie Li

STUDIO AIR 2015 SEMESTER 2 LI MINGKUN TUTOR CHEN CANHUI

PART A CONCEPTUALIZATION

Table of Contents INTRODUCTION

A.1. DESIGN FUTURING

A.2. DESIGN COMPUTATION

A.3. COMPOSITION/GENERATIVE

A.4. CONCLUSION

A.5. LEARING OUTCOMES

A.6.APPENDIX-ALGORITHMIC SKETCHES

REFERENCE 39 B.1. RESEARCH FIELD

B.2. CASE STUDY 1.0

B.3. CASE STUDY 2.0

B.4. TECHNIQUE DEVELOPMENT

B.5. TECHNIQUE PROPOSAL

B.6. LEARING OUTCOMES

A.6.APPENDIX-ALGORITHMIC SKETCHES

REFERENCE

INTRODUCTION My name is Mingkun Li, I like friends call me Queenie. I was majored in bussiness administration, to achieve my real dream, I applied unimelb to study Landscape architecture. As a landscape architect student, lots of people ask me, “Why you choose Air as elective subject?” Actually I was not sure how to answer, especially after touching with grasshopper, it is a disaster. I am writing this introduction after the whole Part A, and I could answer the question now. Air turns out as such a chanllenging subject is totally out of my expectation, but now I firmly believe it does bring me something that values for my whole career, as I decided to choose it. Designing of Environments is like a abecedarian, Constructing of Environment is like the skeleton of my design idea, Visuallizing of Environments improved my skill of express my ideas by sketching, drawing and even create a collage. Then what Air brings me? By reading through the previous students work on algorithmic design, I realized “it gonna be lots of fun”, as my tutor always said. Computerisation sounds far away from me in the past, however luckily and unfortunately, the design theme of this era will be computational tool, in this semester and not only stop in this semester, I will also definately be its intimate friend. Hope After this semester, I could use grasshopper to design as proficient as use a pen. It really gonna be lots fun. I totally believe that.

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A.1. DESIGN FUTURING

ccording to Fry, Design futuring has to confront two tasks. First one is to slow the rate of defuturing, because for us humans the problem adds up to the diminution of the finite time of our collective and total existence. The other one is redirecting us towards far more sustainable modes of planetary habitation. Design is no longer a subjective creating process, it could and should be in the front-line of transformative action which is increasingly likely to be inspired by softwares. At the same time, the challenges of sustainability of architecture design is highlighted. The principle of designers decides many users direction of behavior and attitude, one may argue that it is uses’ demand matters, it is apparently true, however before greening apartment is constructed, little users realized the cozy liveable environment directly relates to the conservation of macro environment. To some extent, design is an activity highly requires responsibiity to our future and to our planet.

“It is not just that many contemporary practices harm the world of our dependence but also that so few of them deliver the means to actually know the consequences of their activities beyond a horizon of immediate concern”——Tony Fry I might have exerted so much pressure and duty on designers, which could be a quite wide concept towarding every common individual nowadays. Sorry about that! design is still more than exiting. As being described in Speculative Everything: Design Fiction, and Social Dreaming , Design is dreaming, ……(it) “thrives on imagination and aims to open up new perspectives on what are sometimes called wicked problems, to create spaces for discussion and debate about alternative ways of being, and to inspire and encourage people’s imaginations to flow freely. Design speculations can act as a catalyst for collectively redefining our relationship to reality.” To live towards future means possibility, responsibility and many stuff you would add as well. Let us open up them that can be dreamt by designing futuring.

TONY FRY, DESIGN FUTURING (OXFORD: BERG, 2009). ANTHONY DUNNE AND FIONA RABY, SPECULATIVE EVERYTHING (CAMBRIDGE, MASSACHUSETTS: THE MIT PRESS, 2013).

“

Critical design can often be dark or deal with dark themes but not just

for the sake of it……We view people as obedient and predictable users and consumers. Darkness as an antidote to naive technoutopianism can jolt people into action.

ANTHONY DUNNE AND FIONA RABY, SPECULATIVE EVERYTHING (CAMBRIDGE, MASSACHUSETTS: THE MIT PRESS, 2013).

”

PRECEDENT PROJECT 1

GARDENS BY THE BAY, SINGAPORE

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Gardens by the Bay is one of the largest garden projects of its kind in the world. Ultimately, the site will total 101 hectares comprising three distinct gardens – Bay South, Bay East and Bay Central. Located on reclaimed land in Singapore’s new downtown at Marina Bay, the site will provide a unique leisure destination for local and international visitors. Taking inspiration from the form of the orchid, Grant Associates’ masterplan is a rich fusion of nature, technology and environmental management. Stunning architectural structures are combined with a wide variety of horticultural displays, daily light and sound shows, lakes, forests, event spaces and a host of dining and retail offerings. The whole plan has an intelligent environmental infrastructure, allowing endangered plants, which could not normally grow in Singapore to flourish, providing both leisure and education to the nation. Between 25 and 50 metres in height, the 18 Supertrees designed by Grant Associates are iconic vertical gardens, with emphasis placed on creating a “wow” factor through the vertical display of tropical flowering climbers, epiphytes and ferns. At night, these canopies come alive with lighting and projected media. An aerial walkway suspended from the Supertrees offers visitors a unique perspective on the gardens. The Supertrees are embedded with sustainable energy and water technologies integral to the cooling of the Cooled Conservatories.

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GUANGZHOU OPERA HOUSE ZAHA HADID ARCHITECTS

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PRECEDENT PROJECT 2 GUANGZHOU OPERA HOUSE ZAHA HADID ARCHITECTS

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The design evolved from the concepts of a natural landscape and the fascinating interplay between architecture and nature; engaging with the principles of erosion, geology and topography. The Guangzhou Opera House design has been particularly influenced by river valleys – and the way in which they are transforcmed by erosion. Fold lines in this landscape define territories and zones within the Opera House, cutting dramatic interior and exterior canyons for circulation, lobbies and cafes, and allowing natural light to penetrate deep into the building. Smooth transitions between disparate elements and different levels continue this landscape analogy. Custom moulded glass-fibre reinforced gypsum units have been used for the interior of the auditorium to continue the architectural language of fluidity and seamlessness.

The combination of the design with natural landscape and light well shows the construction’s sustainability principle, the building exterior has modern but smooth natualized line shape which also highlight the futuring consideration.

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A.2. DESIGN COMPUTATION “The theoretical foundations of a digital architecture appear in a richflowering of exhibitions and publications at the beginning of the new millennium. By this time writings of the digital in architecture had become the de facto locus of architectural theoretical discourse.” — — Theories O f The Digital In Architecture

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Software was identified as the tool for designers to realize a generated idea in brain, but with the level of digitalization being gradually improved and prevalented, design becomes the thinking of architectural generation through the logic of the algorithm. Design computation informed by performative design, tectonic models and digital materiality. According to Theories of the Digital in Architecture, working within the variability of parametric algorithmic design and the tectonic richness of the material shift of the last decade, the integration with performance analysis software is seminal. This is producing the digital linkage of form generation and perfomative form finding.

RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE.

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HEYDAR ALIYEV CENTER

FREARSON AMY, 2013 <HTTP://WWW.DEZEEN.COM/2013/07/11/HEYDAR-ALIYEVCENTRE-BY-ZAHA-HADID-ARCHITECTS/> [ACCESSED 13 AUGUST 2015].

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PRECEDENT PROJECT 1

HEYDAR ALIYEV CENTER ZAHA HADID ARCHITECTS

FIG.2

Architect: Zaha Hadid Architects Design: Zaha Hadid, Patrik Schumacher Project Architect & Designer: Saffet Kaya Bekiroglu Baku, Azerbaijan 2007-10 May 2012 74 m (243 ft)

The Center, designed to become the primary building for the nationâ&#x20AC;&#x2122;s cultural programs, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future. The Center houses a conference hall (auditorium), a gallery hall and a museum. The project is intended to play an integral role in the intellectual life of the city. Located close to the city center, the site plays a pivotal role in the redevelopment of Baku. The Heydar Aliyev Center represents a fluid form which emerges by the folding of the landscapeâ&#x20AC;&#x2122;s natural topography and by the wrapping of individual functions of the Center. All functions of the Center, together with entrances, are represented by folds in a single continuous surface. This fluid form gives an opportunity to connect the various cultural spaces whilst at the same time, providing each element of the Center with its own identity and privacy. As it folds inside, the skin erodes away to become an element of the interior landscape of the Center. Responding to the topographic sheer drop that formerly split the site in two, the project introduces a precisely terraced landscape that establishes alternative connections and routes between public plaza, building, and underground parking. This solution avoids additional excavation and landfill, and successfully converts an initial disadvantage of the site into a key design feature.

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HUFTON + CROW, GALLERY, 2013 <HTTP://IMAGES.ADSTTC.COM/MEDIA/IMAGES/5285/246E/E8E4/4E22/2500/0150/ LARGE_JPG/HAC_INTERIOR_PHOTO_BY_HUFTON_CROW_(6).JPG?1384457244> [ACCESSED 13 AUGUST 2015].

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PRECED CARBON-FIBRE PAVILION UN

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DENT 2 NIVERSITY OF STUTTGUTT

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A robotically woven carbon-fibre pavilion based on the lightweight shell encasing the wings and abdomen of a beetle is the second structure revealed this week from the team of architects and engineers at the University of Stuttgart. It is based on the development of a robotic fabrication process for modular, double layered fibre composite structures, which reduces the required formwork to a minimum while maintaining a large degree of geometric freedom. This enabled the transfer of functional principles of natural lightweight

A robotic winding method was developed to fabricate each of the fibrous modules, which were impregnated with resin for addition strength. Two robots wound the fibres around the custom-made steel frames, and could be adapted to suit the propositions of all 36 necessary geometries. Undoubtedly, the pavilion is mostly a digital generation, as the designer introduced, coreless filament winding does not only save substantial resources through the needlessness of individual moulds, but in itself is a very material efficient fabrication process since there is no waste or cut-off pieces. the inspiration has many aspect, fistly, the computation of design makes the construct process more automatic and time-saving. Secondly, by adopting sustainable material, the architecture pollution is hopefully being resolved to some extent in the future. In additional, the digitalization makes the design full of possibility, that is to say, the tedious architecture outcome may gradually lose its way.

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A.3. COMPOSITION/GENERATION

n terms of generative design, computation is its meat, ideas of designer generated or developed basing on which have obvious time making. According to Computation Works , architects use the computer as a virtual drafting board making it easier to edit, copy and increase the precision of drawings, this mode of woking has been termed ‘computerisation’. ‘Computation’, on the other hand, allows designers to extend their abilities to deal with highly complex situatiins.The most impressive part of working with computers and digital fabrication machines may be they provide inspiration and go beyond the intellevt of the designer. Peters provides an example, which is also my personal real experience, “when an architect writes a computer program to solve a design problem, further options can then be explored through modifications to the program - sketching by algorithm.” Algorithm is a train for designers and sometimes they do not even know the 28

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destiny, however, the view on the road may be surprises them even without any expectation in the very beginning. Another good news of design computerisation, in my opinion, is it lower the treshold of design industry. I am not saying that it is easier to design and just depend on computer operation. For example, in the past, people who wants to be a designer must or better equipted with handdrawing skill, which ask for specialist academic education. However, as Peters states, “as networks, both digital and social, now allow for the access to knowledge generated by others. Events such as Smartgeometry, and online forums such as the Grasshopper community, allow designers to gain knowledge of digital tools and codes.” Let’s predict boldly, computation design could soon give us a easy participated design era, if you have interesting to handle the algorithmic procedures and have willing to realize your big ideas, odd imaginations, then you willc be a designer.

“

We are moving from an era where architects use software to one where they create software

BRADY PETERS AND XAVIER DE KESTELIER, COMPUTATION WORKS.

”

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KHAN SHATYRY ENTERTAINMENT CENTRE, ASTANA

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PRECEDENT PROJECT 1

KHAN SHATYRY ENTERTAINMENT CENTRE

Khan Shatyr Entertainment Centreâ&#x20AC;&#x2122;s 150 metre mast successfully erected The most critical phase in the construction of the Khan Shatyr Entertainment Centre in Kazhakstan was successfully completed yesterday with the erection of its 150 metre-high tripod mast. The 2,000 tonne structure was lifted into place by four cranes in a process that took two weeks. The project is intended to provide a new civic focus for Astana and is situated at the northern end of the new city axis. The structure rises from a 200 metre diameter elliptical

base and its massive volume will provide a sheltered environment and contain an urban-scale internal park, shops, cafes, as well as a wide variety of entertainment amenities, including a spa, sports centre and an indoor beach. The vast tent-like cable net structure is clad in ETFE, allowing light to wash the interior spaces while sheltering them from extreme weather conditions. At the core of the building is a large flexible space that will form the cultural hub of the centre, accommodating a varied programme of events and exhibitions. The remaining phases are due to complete by July 2009.

The Khan Shatyry Entertainment Centre in Astana will become a dramatic civic focal point for the capital of Kazakhstan. The soaring structure, at the northern end of the new city axis, rises from a 200m elliptical base to form the highest peak on the skyline of Astana.

â&#x20AC;&#x153;

When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, hen computation can become a true method of design for architecture.â&#x20AC;?

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IN PROGRESS: INFINITY TOWER/SOM Architects: Skidmore, Owings & Merrill Civil, Electrical, Mechanical, Structural and Plumbing Engineering: SOM Site Area: 3,026.50 m2 Project Area: 111,484 m2 Building Height: 307m (73 stories) Area: 0.0 sqm Project Year: 2013

Dubai’s Infinity Tower, a 72-story skyscraper designed by Skidmore, Owings & Merrill (SOM), began construction in 2006 and is finally nearing completion this year. The major characteristic of the tower is the way it twists up into the sky, as each floor is rotated 1.2˚ to create a full 90˚ twist from bottom to top. In order for a building to endure, the exterior form must be a direct expression of its structural framework. The powerful helix shape created by the rotating floors emphasizes SOM’s design philosophy and utilization of cutting-edge techniques. SOM shows the great power of design through Infinity’s unique spiral shape that reflects the everchanging shapes of the deserts, winds, and seas that surround it.

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A.4. CONCLUSION

The definition of design has long been a controvercial topic among not only designers, but public who care about or focus on the design trendency in nowaday’s society. For architects, the computerisation makes them more possibly to design futuring and design sustainabily. Computational designers are more than just creators of complex 3D models, they distil the underlying logic of architecture and create new environments in which to explore designs and simulate performance. Some one, like me, might have the worry that whether the popularizing of algorithmic will decrease the human activeness during the design process. It may be a heliscoper helping us to strech eyesight, maybe it is a tool that makes designer so much addict into unconcious result and let them become “lazy“, who knows?

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Frankly speaking, I was not that into software using, which takes time and when I haven’t absorb the handling skill well, the design process turn to a tedious and easygo-wrong procedure fighting.

A.5. LEARNING OUTCOMES

Luckily, after learning the Part A reading and experience the grasshopper progressily, the thing becoms different. I’m afraid I still not, say, interest in it, let alone being attracted by it, but at least I could calm down and sit in front of the laptop to try to understand the software logic and transfer it to my idea and origin of thought. What impressed me most was one time when I trying to follow the online tutorial to add a component, but unexpectly I add a wrong one, the result is not bad, actually it is the most fantastic linear partern I’ve made ever. So no matter Rhino or grasshopper, I finally persuade myself to get along with them, after I grasp most of the logic and could well operate it, thing will be different.

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A.6. APPENDIX ALGORITHM

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MIC SKETCHES

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References ÂŠ Iwan Baan, Guangzhou Opera House / Zaha Hadid Architects, 2010 <http://www.archdaily. com/115949/guangzhou-opera-house-zaha-hadid-architects> [accessed 13 August 2015] Amy, Frearson, 2013 <http://www.dezeen.com/2013/07/11/heydar-aliyevcentre-by-zaha-hadid-architects/> [accessed 13 August 2015] Dunne, Anthony, and Fiona Raby, Speculative Everything (Cambridge, Massachusetts: The MIT Press, 2013) Fry, Tony, Design Futuring (Oxford: Berg, 2009) Hufton + Crow, Gallery, 2013 <http://images.adsttc.com/media/ images/5285/246e/e8e4/4e22/2500/0150/large_jpg/HAC_Interior_photo_ by_Hufton_Crow_(6).jpg?1384457244> [accessed 13 August 2015] Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture Peters, Brady, and Xavier De Kestelier, Computation Works

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PART B CRITERIA DESIGN

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Table of Contents B.1. RESEARCH FIELD

B.2. CASE STUDY 1.0

B.3. CASE STUDY 2.0

B.4. TECHNIQUE DEVELOPMENT

B.5. TECHNIQUE PROPOSAL

B.6. LEARING OUTCOMES

A.6.APPENDIXALGORITHMIC SKETCHES

REFERENCE

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B.1. RESEARCH FIELD

omputational Geometry involves study of algorithmis for solving geometric problems on a computer. The emphasis is more on discrete and combinatorial geometry. Most geometric algorithms are less than 25 years old.

interest in the geometric components of architecture, they have certain regulations and are enable to be assembled to create varieties of art effect. Now I am quite curious about after combining with computational algorithms, how the design process and the result could be; what kinds of differences might be generated and what possibility and potential could be discovered.

n Computational Geometry, designers would deal more with straight or flat objects, as lines, line segments and polygons or simple curved objects as circles, than with high degree algebraic curves.

ccording to Mark de Berg, as a designer, the geometric algorithm often goes through three development phases. In the first phase, when trying

MARK DE BERG, COMPUTATIONAL GEOMETRY (BERLIN: SPRINGER, 2000). 44

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to design or understand an algorithm, it is often helpful to ignore some degenerate cases. I suppose I am just in this phase, while I attempting to deal with geometry algorithm, it seems like collinear points could even becomes a nuisance. In the second phase, we have to adjust the algorithm designed in the first phase to be correct in the presence of degenerate cases, beginners tend to do this by adding a huge number of case distinctions to algorithms. The third phase is the actual implementation. At this phase, designer needs to think about the primitive operations, testing the operation and implement them.

By searching the report of Institute of Geometry, I found that the implementation of freeform shapes in architecture is an area which encompasses great challenges in engineering as well as novel design ideas, and which consequently has high public exposure. However, the geometric basics of doubly curved surfaces realized as steel/glass constructions with planar faces remained largely unexplored. Planar quadrilateral faces and truly freeform geometries seemed mutually exclusive. But resently the high potential of optimized mesh geometries has been realized: the aim of the present research project is the computation and interactive design of meshes with specific properties relevant for the construction process. They are not only capable of realizing the entire

spectrum of freeform shapes, but at the same time provide the basis for a multilayer support structure with planar faces and optimized joints without geometric torsion. Undoubtedly, the computational algorithm provides us a way to solve the problem.

SEGMENTATION OF CURVED SURFACES: FROM LEFT TO RIGHT: FLAT PANELS (MURINSEL, GRAZ), SINGLE-CURVED PANELS (TGV TRAIN STATION, STRASBOURG), AND DOUBLECURVED PANELS (ST. LAZAIRE METR´O STATION, PARIS).

HELMUT POTTMANN AND OTHERS, ‘ARCHITECTURALGEOMETRY’, COMPUTERS & GRAPHICS, 47 (2015), 145-164 <HTTP://DX.DOI.ORG/10.1016/J.CAG.2014.11.002>.

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B.2. CASE S 46

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STUDY 1.0 - MATSYS GRIDSHELL CONCEPTUALISATION 47

INTRODUCTION MATSYS GRIDSHELL This 4-day workshop at SmartGeometry 2012 focused on the design and construction of a wooden gridshell using only straight wood members bent along geodesic lines on a relaxed surface. Using parametric tools, the design was developed and analyzed to minimize material waste while maximizing its architectural presence in the space. In addition, a feedback loop was designed between the parametric geometric model and a structural model allowing for a smooth workflow that integrated geometry, structures, and material performance.

journey because the model got beams (curves) and crossing knods easily to be explored and it contains the skill of control the bending radius which might relates to my next step experiment. My aim is to discover the transfermation possibilities and to explore how far could a existing object be pushed into another result. Matsys Gridshell has the beauty of archy interlaced structure, I would attampt to enlarge this effect while grope for another structural or paramatric beauty and rationality.

I select this case to start my iteration

Matsysdesign.com, ‘SG2012 Gridshell « MATSYS’, 2015 <http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 26 September 2015].

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ITTERATIO

SPECIES Curve RebuildCurve - Loft PointOrientated - Line V

Geodesic MultipleCurves Cicles - FacetDome

PopGeo Delaunay Edges - SurfacePlanePolygon

Extrude DelaunayMesh - Lunchbox patch hexagon WbMedge -offset

SurfaceBox - MorphBox BoundingBox -substrate 50

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ON MATRIX

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vvws

This one disorange the whole existing structure into the totally new one, which seems like a birdnest, it has the potantial to construct something messy but buld which has unique character. The one generated by the FaceDome component also rebuild the original structure but compare to last one, it is more ordered, which looks neat and attractive. On some extent this one is the closest one to the original object, but it generate more inner space while combining the geometry with the structure.

I first tried to use trianguler shape to morph on the MG, however later I found it is necessary to build the box on the existing surface first, I learnt a lot from doing this species.

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SELECTED CRITERIA

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B.3. CAS 54

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SE STUDY 2.0 - CANTON TOWER CONCEPTUALISATION 55

The Canton Tower is Guangzhou’s most important new building and will represent the 10 million inhabitants counting metropolis as a cool, progressive and exciting city. Guangzhou is now ready to host the Asian Games that will take place in November 2010. The world’s tallest TV tower - reaching 600m in height, is bypassing Toronto’s CN tower, and is hoped to attract 10 000 visitors daily. The idea of the tower is simple. The form, volume and structure is generated by two ellipses, one at foundation level and the other at a horizontal plane at 450 metres. These two ellipses are rotated relative to another. The tightening caused by the rotation between the two ellipses forms a ‘waist’ and a densification of material. The structure consist of a open lattice-structure, built up from 1100 nodes and the same amount of connecting ring- and bracing pieces. Basically the tower can be seen as a giant 3 dimensional puzzle of which all 3300 pieces are totally unique. Architect Mark Hemel comments: “Recent State of the Art fabrication and computerized analysis techniques allow designers to create much more complex structures then ever before.

MATSYSDESIGN.COM, ‘SG2012 GRIDSHELL « MATSYS’, 2015 <HTTP://MATSYSDESIGN.COM/2012/04/13/SG2012-GRIDSHELL/> [ACCESSED 26 SEPTEMBER 2015]

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ITRODUCTION

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THE MAIN BODY OF THE TOWER

Use the same center location

On t

curve at very beginning, then

fixed by the Area component

top c

use Area component to locate

to draw the rectangle, use

Bou

the center, then rotate the curve

Dom to define the top and

a sol

and enhance to the top, after

bottom rectangle plane and

finish the bottom and top curve,

then loft to a column.

ShifList component to make the diagonal crossing curve.

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VIEW PLATFORM

Draw a basement which is a

connect them and then use

INNER CONE

REVERSE ENGINEERING

ANTENNA

the foundation of the

Antenna is divided into three

colomn rectangle, use

part according to the column

ndarySrfs to extrude into

diameter. The tecnology is

lid as a view platform.

similar as the main body, draw the rectanguler and create diagnal polyline.

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SPECIES

Curve-MoveLoft - Hexagonal Structure - Circle - Convex Hull

Loft - Isotrim - Dispatch BoxMorph -

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ITTERATION MATRIX

B.4. TECHNIQUE DEVELOPMENT

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SPECIES

RebuildSrfs - MeshSrf - ListItem

Lumchbox RebuildSrfs - Streamfillter - ReplaceItem

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ITTE

ERATION MATRIX

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SPECIES

Voronoi Contour -

Move- Rotate

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ITTERATION MATRIX

SLECTION CRETERIA This iterration result focus on the line presentation, the elegant linework create a stylish and triaquil visual effect, which respond to my site’s plants, especially grass feature.

This object is not the final result of ‘“Rebuild Surface”itteration, but when the feed value of U is 9, the feature is symmetric which is out of expectation, but it looks quite nice.

This itteration adopted the contour component which is relatively simple but the outcome is a natural configuration which looks like the trunck , it is suitable to set in my site.

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I tried to make a crossing structure that could be stabily stand, after modified several times, the goal is achieved, I added platform on my first crossing itteration result to make it has founction. However the platform did not fit with the connector, which makes it keep on collapsing. After I enlarge the size of slot, it finally done, but to achieve the model, I did not follow my itteration shape, it seemes has not enough paramatric meaning combined.

I tried another method that give up the cross structure, just printed out bottom and top with slot to insert the soft surface, and the surface could be casually change shape when twist the top and bottom. I use paper to try the conceive, the other problem appeared, how could the soft surface carry the load? And I got inspiration from the arm cast. It could be both standable and enable to bend.

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SLECTION CRETERIA

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My interest was at the bridg bridges themselves, but the

Some of them make it possi trees, some provide the ove However, most of them are

which obstruct the view of s

When I was doing site visit, scenery under the bridge, a

while enjoy the river beauty

to get the same view with b

running and playing on thes

the handrail with the simila

curious of what it looks like

bridge on the upper air offe

view and this view is direct

which is especially obvious So my proposal is to create

top view of the Merri Creek

bridge.And beside the surro

could be observed, I got ins

design something with the p

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ges on the site, not the view they create.

ible to get close to the rhead view of the river. set with safe handrail,

some people

, I myself could hardly see the couple riding the bicycle passed me

y, and I have to tiptoe and to jump

bicyclers. I noticed that kids are

se bridges, some of them just grasp

ar height as themselves, they are

e under the bridge, that is to say, the

ers a chance for people to have an air

tly deprived by both the handrails,

s to kids whose has height limitation. something for kids to obtain the

k by utilizing the height of existing

ounding community, the kid tower

spiration from it and thinking to

pipe-shaped tunnel built on the

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B.6. TECHNIQUE PROPOSAL The kid tunnel is usually a foldable toy, what Iâ&#x20AC;&#x2122;m going to do is use the same concept that attract children to creep inside and explore the other side of the tunnel, but build on the foundation of the bridge, windows on the surface and the transparent room are designed at the top of the tunnel. These are some selected iteration results, and I selected D to do the model test, which

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could be bended to change the direction of the tunnel, or added with the opening on the surface, and the folds could also be the chance for kids to climb and play with. Next step Iâ&#x20AC;&#x2122;m going to consider the porosity of the tunnel semi-closed instead of fully closed.

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B.7. LEARNING OBJECTIVES AND OUTCOMES

In this session, I got many experience of using The other thing I learnt is that computational the computational tool to discover the design

tool should always be the tool which must be

possibility. The itterations was quite useful

placed behind the subjective initiative and

and meaningful, before this process, I was

creativity, when I started to learn grasshopper,

trying to go through all the textbook I have

my thinking lane was like what I can design

and dare not to start to try a component by

with this itteration result, however, I should

myself, but when I begin to do the itteration,

reverse it to I want to make something for

I on earth begin to think independently as

the site to solve the problem that I noticed,

well. Some rules are gradually explored and

and the computational tool is powerful helper

being utilized, for example, if the aim is to

stand by me to go through the process.

morph some shape on one object, we need the planes on every surface of the object, and to accurately locate the plane, we need to find out the center of the surface first. It is all about logic, after doing ages of itteration exercise, I gain not only the knowledge of parametric, but the new way to think, because of this new computational logic.

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Last but not least, I am grateful to have Chen as my tutor who does huge assistance for this interesting but tough subject , and direct me into the correct way on time. By communicating with him, I also understand that as a designer, how it is important to ask questions and talk with people.

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B.8. APPENDIX - ALGORITHMIC SKETCHES

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References Berg, Mark de, Computational Geometry (Berlin: Springer, 2000) Bishnu, Arijit, ‘Introduction To Computational Geometry’

Pottmann, Helmut, Michael Eigensatz, Amir Vaxman, and Johannes Wallner, ‘Architectural Geometry’, Computers & Graphics, 47 (2015), 145-164 <http://dx.doi.org/10.1016/j.cag.2014.11.002>

ArchDaily, ‘Canton Tower / Information Based Architecture’, 2010 <http://www.archdaily. com/89849/canton-tower-information-based-architecture> [accessed 26 September 2015]

Matsysdesign.com, ‘SG2012 Gridshell « MATSYS’, 2015 <http://matsysdesign. com/2012/04/13/sg2012-gridshell/> [accessed 26 September 2015]

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