Studio air journal final

AIR STUDIO 2016, SEMESTER 2, Tutor: Matt Qian Rong Li 760650

Table of Contents 4 Introduction2   6 Design futuring 12 Design computation 22 Composition/ generation 34 Patterning 36 Case study 1 46 Case study 2 52 Technique development 66 Prototyping 70 Design proposal 74 Brief 78 Form finding 94 Final proposal drawings 106: Design sequence 108: Prototyping 122: Final Model

Introduction

My name is QianRong (Rebecca) Li from Southern China. The first time I was exposed to the study and vision of architecture was in first year of university. My interset for architeture is developed through the past one and a half year of engagement with architectural design. Through participating with design studio I am opened to an understanding f what it means to be creative and the techology invoved behind the scene.

In the Digital design and Fabrication studio, the process of completing a sleeping pod I gained an understandig that a well designed pieece can be simple. As cheme & steching (2011)mcommented “a perfect model does not contain as much infromation as possible, but as little as necessary Engaging with air studio, I aim to explore deeper views hidden in a piece of design and the orientation of future design.

A 4

CONCEPTUALISATION

Part A

CONCEPTUALISATION 5

A.1

DESIGN FU

UTURING

PROJECT: Wrap Skyscraper ARCITECT: Keeyong Lee DATE:2007 LOCATION: South Korea, Seou

FIG.2 SKYSCAPER WRAP AMIN, 2009

Wrap Skyscraper, designed by Keeyong Lee from South Korea, targets the chanllenge of exploring whether it is possible to allow skyscraper and horizontal city to to coexist. This experiment proposes a possible understanding the “dalectic of sustainment”1. This project implies an aim to prevent further damage to agricultural system and human settlement pattern.

Stragegies to minimise further climate change - Combining the developement of technology to devlope a surface that is wraped with solar celles to transfer solar energy into electircal energy 2 -maximising long lasting material that can enternally surronds the building facade3 -inviding ETFE to increase 20% of energy transformed from solar energy4

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Wrap Skyscraper, Admin, December 2009 << http://www.evolo.us/competition/warp-skyscraper/>> 3. Ibid 4. Ibid 5. Ibid Fig 1: Wrap Skyscraper, Admin, December 2009 << http://www.evolo.us/competition/warp-skyscraper/>> Fig 2: Ibid 8

CONCEPTUALISATION

FIG 2: ELEVATION OF WRAP SKYSCRAPER

CONCEPTUALISATION 9

PROJECT: Cloud City ARCITECT: urban Future Organisation, CR Architect + Design DATE:2014 LOCATION: Shenzen

Cloud city, a joinot group desgin

by Urban Future Organization, CR Architeture + Design and computing tean of Chalmers University of Technology, is a winning concept pf the Shenzhen Super City Competition.

The design aims to transform gardens into â&#x20AC;&#x153;green lungsâ&#x20AC;?5 that connect public spaces inside the skyscaper.

This design aims to cooperating with nature to provided a possible future6 Strategies adopted: -contain machines that harvest rainwater

- parts of the Cloud City store carbon and filter particles from air -locolised production of food

This proposal encourages future designers to consider methods of reducing global carbon footprints.

As Shenzhen, China, is facing the problem of havey air pollution, the diverse strategies of this desgin suggestes a possible solution.

-power city with solar energy

5. An Urban Utopia In the Clouds Won the Shenzen Super City Award, Beckett Mufson, sep 2014 << http:// thecreatorsproject.vice.com/blog/an-urban-utopia-in-the-clouds-won-the-shenzen-super-city-award>> 6. Ibid Figh 3: An Urban Utopia In the Clouds Won the Shenzen Super City Award, Beckett Mufson, sep 2014 << http://thecreatorsproject.vice.com/blog/anurban-utopia-in-the-clouds-won-the-shenzen-super-city-award>> Fig 4: Ibid

FIG4: SITE VIEW OF CLOUT CITY 10

CONCEPTUALISATION

FIG3: PERSPECTIVE OF CLOUD CITY

CONCEPTUALISATION 11

A.2

DESIGN COMPU

12

CONCEPTUALISATION

UTATION

CONCEPTUALISATION 13

PROJECT: ICD/ITKE Carbon-fiber pavilion ARCITECT: Institution of Building Structure and Structural Design DATE:2013-2014 LOCATION: Germany

The ICD/ITKE carbon-fiber pavillion complete by a team of architects and engeneers of the University of Shuttgart and Institute of Building Structure and Structural Design. They colaborate with biologist to rethink about morphogenesis and techtonics that can create a lightweighted perfrormance structure.

Based on the internal structural properties of beetal shells(elytra) they discovered that a lightweighted material system can be machanically created by “natural fibre composite”1: - a biomimetic principle of “double layered structure”2 forming the upper and lower shell of the beetle is entangled continuousely by fibre - the mechanical property of fibre prefrom as reinforcement of the structure providing stability - such structural characteristic forms a practicle techtonic principle - glass and carbon-fibre are translated from structural elements of the elytra - the pavilion expresses a possibilty of construction an extremely lightweighted and material efficient structure - a such small structural system of elytra can be addopted to create a large scale pavilion that “covers an area of 50 square meters”3, yet the totoal wieght is just 593kg4.

“NATURAL DESIGN IS MORE THAN IMITATING THE APPEARANCE OF THE ORGANIC.”5 1. University of Stuttgart unveils carbon-fibre pavilion based on bettle shells, 26 June 2014 << http:// www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/>> 2. Ibid 3. Ibid 4. Ibid 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Figure 1: University of Stuttgart unveils carbon-fibre pavilion based on bettle shells, 26 June 2014 << http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/>> 14

CONCEPTUALISATION

Fig 1: Carbon-fiber web pattern CONCEPTUALISATION 15

Fig 2: Robotic fabrication7

Fig 3: Mofule layer8 16

CONCEPTUALISATION

Fabrication technology and processes is also a cricual part of the forming this succesful prototype.

As The pavilion is formed by woving carbon-fbire: - Robotic machine is used to wove carbon-fibre into hollow cylindical volume - This â&#x20AC;&#x153;coreless filament windingâ&#x20AC;?6 innovates material efficiency as there are no waste or cutoff pieces during fabrication - The development of such technology also reduce the need of labor - The winding accuracy is formulated in robots

Fig 4: Cloase- up diagram of a robot9

6. University of Stuttgart unveils carbon-fibre pavilion based on bettle shells, 26 June 2014 << http:// www.dezeen.com/2014/06/26/icd-itke-pavilionbeetle-shells-university-of-stuttgart/>> 7. Ibid 8.Ibid 9.Ibid Figrue 5: Ibid

Fig 5: Overall view of the Pavilion

CONCEPTUALISATION 17

PROJECT: Guangzhou Opera House ARCITECT: Zaha Hadid DATE: 2010 LOCATION: Guangzhou, China

FIG 6: OVER VIEW OF GUANGZHOU OPERA HOUSE

Zaha’s Guangzhou Opera House is based on the concept of erosion derived frome the natural landscape feature: the Preal River. The principle of this concept revolves the geology and topography, as the shape of the opera house “resembles two pebbles on the bank of the river”1.

In other words, the architecture is a representation of the landform of the Guangzhou land. For example: different chamber and zones of the Oper House is divided by “fold line in this landscape” 2. These lines cuts dramatically drawing unique foldings on the ceiling that reconstructure geological moulding in permanent materials.

18

CONCEPTUALISATION

“The additional information needed to complete the goal statment must be...adapted from generalized presedent, metaphors, and symbol”’3 1.Guangzhou Opera House by Zaha Hadid Architects 2. Ibid 3. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

CONCEPTUALISATION 19

Ideas of a rastional design such as this opera house is still proposed by human, although technology have aided the possibility of creating an futuristic solution according to the current social or cultural context.

As the opera house is situatated in the culture centre of Guangzhou, it innovate the connectionn between urban context and cultural tradition.

Nevertheless, without the development of new technology and materials, this architecture would not have completely succesfully as it is.

For instance: - The cladding of facade is a combination of “glass and granite panels” to form a parametric surface -Black granite is used to form rough appearance of the finishing texture “that reinforce the idea of pebble” being deposided on the bank of the river -The connection and orientation between a multilevel building is visually acheived byvisible view of the main atrium as the whole structure is “guided by the spine and strutual frame (fig 7).

FIG 7: STRUCTURAL FRAME

20

CONCEPTUALISATION

FIG8: INTERIOR OF OPERA HOUSE

CONCEPTUALISATION 21

A.3

COMPOSITION/

22

CONCEPTUALISATION

/GENERATION

CONCEPTUALISATION 23

24

CONCEPTUALISATION

FIG 1: EXTRUDED BRIDGE OF SELFIDGES DEPARTMENT STORE

CONCEPTUALISATION 25

PROJECT: Selfrideges Department Store ARCITECT: Jan Kaplicky, Amanda Levete DATE: 2004 LOCATION: Birmingham. Britain Selfridges department stores is a project aimed to expend retail ground in the urban space and “create pederstian areas”1.

Almacenes Selfridges, Brimingham, is a futueristic design. The fifteen thousand aluminum discs embedded a series of algorithmic caculation occured prior to the construction of this mesh.

As this “continuous hermetism” is booleans with several windows, the accuracy and precision of each structural connection is crucial. Hence, with the help from “algorithmic recipe”3 the shape and form of these structures can be correctly calculated to acheive as much passive lighting as possible for the interior of the department store.

2

Nevertheless colleboration between engeneers, architect and builder is crucial, apart from technological computation in order to “obtain an innovative shape”5 with a reasonable amount o buget. For instance, steel frame barcing is present in both structructual compositon and concrete slab, adopting traditional techniques of construction.

Apart from construction techniques, the selection of material is also essential for a rational design. The facade, a continuous mesh of circular plate, derived from the “chain-mail dresses of Paco Rabanne”6, is shaped in “polished and anodized aluminium of 660mm in diameter”7. This type of material production is desired economically.

The main feature of this department sotre is the extruded bridge over the street that is only plotted by a strip of glass and stainless steel.

Although the “futuristic mesh”4 is a complex composition. A simple algorithmic instruction constructed from softwares such as grasshopper, can be repeated to from a fluid object such as this.

1. Fernández-Galiano, Luis. 2004. Británicos : the British scene. n.p.: Madrid, España : Arquitectura Viva, c2004., 2004.

UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost (accessed August 13, 2016). p54 2. Ibid 3. Ibid 4 Ibid 5. Ibid 6. Ibid 7. Ibid

26

CONCEPTUALISATION

FIG 2: ALUMINIUM DISC MESH CONCEPTUALISATION 27

PROJECT: Kunsthaus Graz ARCITECT: Peter Cook, Colin Fournier DATE: 2004 LOCATION: Birmingham, Britain

FIG 3: LIGHTING FROM THE INTERIOR

Kunsthaus in Austria is a refurbishment project initiated by the flooding event occured in 1827. In order to revitalise the economic and community aspect of the neighbourhood, this new cultural centre serves multi-purpose including “commerial building, meant to be a meeting place”8, and restrurant.

formunated prior casting as the curve of the building results a different geometic twist on each panel. I think the accuracy and precision of the panel is again an important aspect to this successful asthetic and practicle property of the “blue skin”10 facade.

This is the first iron casted building in Europe.

Such an inovated structure is essentially added by alogrithmic computation. For example, the “wavy blob”9 cladding panels on the facade of Kunsthaus is digitally

In addtion, another facinating feature of the cultural centre is the skylight that is design in a the form of ducts which emerge from the “skin”11 of the architecture. The connects artifical light with natural light that enters the upper floor of the interior space.

28

CONCEPTUALISATION

I think this is a conventional design as it maximise the lighting of internal environment, which serves efficient lighting intot this commercial building.

Through digital modling, architectes can conveniently adjust the design of their architecture. On grasshopper, a few algorithmic inputs could product a series of output that repeats to pattern a complex shape. We can see that the help from 3D modling tools such as grasshopper can create forms such as “a fluid blue cloud”12. This blue cloudof Kunsthaus need to “hover above ground and bend”13 before colidding with the surrounding building. Hence I think modelling digitally according to data from the site analysise provides a success construction of this building.

FIG 4: SETTING OF THE KUNSTHAUS

8. Fernández-Galiano, Luis. 2004. Británicos : the British scene. n.p.: Madrid, España : Arquitectura Viva, c2004., 2004.

UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost (accessed August 13, 2016). p54 9. Ibid 10. Ibid 11. Ibid 12. Ibid 13. Ibid Fig 3. Fernández-Galiano, Luis. 2004. Británicos : the British scene. n.p.: Madrid, España : Arquitectura Viva, c2004., 2004.

UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost (accessed August 13, 2016). p47 Fig 4. Ibid

CONCEPTUALISATION 29

CONCLUSION

Overall, through readings and president research I found the conncetion between design futuring, design computation and generation. These concepts will guide my potential design briefe to create a both practical and sustainable piece of architecture.

In terms of sustainablity, it is essental from a small scale to a globle scale. Such as comfortness of the interior environment and the carbon footprint of materials and construction process. Exuting a design that turns away from global warming involves technological professions from different accadmic disciplines. Advancing technologies that recycles renewable natural resources, such as harvesting rain water, or producing long lasting material is a crucial focus in engeneering and scientific researchies.

In addition, design computing softwares encourages researchers from various district to colleborate and participate in a design project. In order to discover new material system and tectonic that allow effective use of resource and budget. These new discoveries altimately innovate sustainable projects.

Nevertheless, the ability to test and adjust a design before construction is eased by 3D digital modelling tools. Some asthetic quality of the design maybe obligated by some exsiting objects on site. Through calculating the geometric properties of the design, certain problems can be resolved to allow further progress to fabricaton.

30

CONCEPTUALISATION

LEANING OUTCOME

1. Artchitectutral design is not merely about design solusions but can also be innovative and inspirational projects.

2.Digital modelling tools ease the process of testing the practical and structural aspects of the design prior to construction. This benefits the accuracy and sustainabilty of the architecture, not only for its asthetic aspect 3. Computational technology provide the advantage of finding out inspiration from transdisipline knowdeges such as structural integrity and lightweightedness of beetle shells 4. Algorithmic tools assist architects to think logically about materiality and relationships between structural property and physical appearence in a mircroscale 5. Through using grasshopper, I found that groups of inputs can be repeated in various ways to form many different complex forms

CONCEPTUALISATION 31

B Part B

32

CONCEPTUALISATION

CONCEPTUALISATION 33

B1: Patterning Theory of Patterning: Patterning is a basic component across almost every forms of architecture desgin t o be feasible with human activites. In fact, patterning is a language that contain rules to convade meaning in architecture, from scoial concepts to religous practice.

The sense of complexity in algorithmic patterns springs out from a particular set of shapes organised in repititative manner. Discoverng the pattern or order underlaying in an architecture or a design provides, we can consider as, solution or informative answers that “reflect on mode of life, customs or behaviour”1.

Forms of architecture relying on the concepts of patterning includes Christain Churchs, Islamic Mosque and living architectures. They are patterns that reflect on the client’s daily life style or religous practice within the Church or Mosque.

To breakdown rules behind patterning, it is the ideology of “antipatterning”. In which, with the aid of design computation, a collective genuine knowledge of the formantion of certain patterns can be adquired. Yet, these collection of knowledge usually are a collective group of mastaks in pattering that are discovered after breaking them down. Hence, it can be future guide to avoic the same mistakes.

Some classical organisation of patterning include formal, ornamental, decorative and geometric, in a repetitive manner to generate that can be structural, sequential, distributed or progressive. Using parametric design tool, variations of the possible orders of repiting units can be broaden.

1. Archdaily, Nikos Salingaros, “A theory of Architecture Part1: Pattern Language Vs Form Language”, Retreived from < http:// www.archdaily.com/488929/a-theory-of-architecture-part-1-pattern-language-vs-form-language> 2. Islamic Art, “Abrab Influenc”, Retrieved from < http://www.visual-arts-cork.com/islamic-art.htm> 3. Islamic arts and Architecture, Sebastian R Prange, “Tiles of Infinity”, Retrieved from < http://islamic-arts.org/2012/tiles-of-infinity/> 4. Infections: Parametric Patterning and Material Behavior, Tug˘rul Yazar and Fulya Özsel Akipek, 2014

34

CONCEPTUALISATION

Historical Art of Patterning: Islamic Mosques are classic examples of hisotrical patterning art that adtempts to convade Islamic practive and conventions to the prayers and speaking to them with religous motifs.

The complex everending decorations on floor and ceiling of a mosques comprised of shapes that are arranged periodically and non-periodically. For non-periodical patterned, there are more than one shapes that are colleborating. Traditionally, Islamic ornaments contains a geometic patterns of polygons and and stars as a represention of human and animal forms.

These geometric patterns are abstract form of visual art in Islamic decorations derived from the influence of Arab. For example: the Topkap Scroll, intertwin a repetition of â&#x20AC;&#x153;five-and ten point starsâ&#x20AC;?. We can begin to see how patternation can be adopted to create a visual narrative in Islamic culture.

Fig 1

Woking out these geometric organisation of repiting units, people can starte generation much more complez and evocadtive structures in three dimentions. For instance, the ornament on the ceiling of the Hall of the Kings inside Alhambra. This complex decorative patterns follows a lgocial geometric order that repeatingly spread out from the centre of the vaulted arch. By manipulating these basic order of geometry, algorithmic computation such as grasshopper can aid to construct a relationship between these patterns and the surface of an object or architecture. Hence, thse complex decorative ornaments can be rapidly created with appropriate material.

Fig 2

Similarly a much more modern version of these patterns repicating of a modern architecture surface is explore and manipulated in case study 1 Fig 1: Topkap Scroll Fig 2: Geometry of Topkap Scroll Fig 3: Hall of the Kings Fig 3:

CONCEPTUALISATION 35

B2: Case study 1 De Young Museum Design Concept De Young Museum, named after M.H. de Young was entirely redesigned from its original form, after the Lorna Prieta earthquake in 1989, by Swiss Architectures Jacques Herzog and Pierre de Meuron.

The façade of this museum is unique for its “variable perforated screen exterior”1, which consist a pattern of dimples and pores with varying radius.

This shading system mimics the pattern formed when light shines through trees.

Through algorithmic design, the pattern of this series of varying perforated circles are translated from images taken at different angles under trees. Such algorithmic process reflects how image sampling could aid creating a feasible pattern to achieve the desired effects. Hence, using patterning techniques the architects aim to represent the experience of passing through forests surrounding the site in permanent material. This architectural expression merges with forests on the site, “like an ancient indigenous structure”2.

In addition, the architects have selectively chosen copper as the material for the unique façade. The purpose of this material to allow copper react spontaneous with oxygen and change colour over time: from bright rose red into dark brown and eventually become earthly green to blend in with its historical natural surroundings3.

Parametric Influence In order to determine the size and order of the perforated circles, the aid from parametric software is requited to customize this complex arrangement of circles. Image sampling is very likely to be used to replicate the view of looking up at the sky “obscured by trees”4 as the light penetrate through the set of circles.

FIG 1: IMAGE SAMPLYING

FIG 2: PERFORATED AND PATTERNED DIMPLES

1. Zahner, “M.H de Young Memorial Museum”, Retrieved from, < http://www.azahner.com/portfolio/de-young/> 2. Ibid 3. Arcspace, “de Yong Museum Herzog & de Meuron”, Retrieved from < http://www.arcspace.com/features/herzog--de-meuron/de-young-museum/> 4. Zahner, “M.H de Young Memorial Museum”, Retrieved from, < http://www.azahner.com/portfolio/de-young/> Fig 1 and Fig 2:Arch daily, Adelyn Perez, “M.H. de Young Museum/Herzog & de Meuron, Retrieved from, < http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron> Fig 3: source < http://www.azahner.com/portfolio/de-young/>

36

CONCEPTUALISATION

FIG 3: DE YOING MEMORORIAL

CONCEPTUALISATION 37

SURFACE DIVISION Surface dividsion consist of U and V controls the roll and collumns of refference points.

By changing the number of UV, the density of surface division can generate varying result of image sampling patterns U =100, V=100

U =15, V=13

U =19, V=73

HEXAGON

\PENTAGON

RECTANGLE

CHANGE BASIC SHAPE Originally, circles are remapped onto the surface according to the surface division points. By changing the circles into a differemt shape, I can test out how different shapes can be ordered according to the same arrangement

38

CONCEPTUALISATION

U =48, V=37

U =73, V=16

SQUARE

TRIANGLE

CONCEPTUALISATION 39

POINT ATTRACTOR Attractor point affects the pattern of circles by remapping the distance between the refference point to points on the surface, in this case it is the points of surface divisionInterchanging image samplying with attractor point, more variations of circle sizes are generated.

ATTRACTOR PONT 1

ATTRACTOR PONT 2

ATTRACTOR PON

EXTRUSION DIRCETION An accidental finding of changing extrusion direction using attractor points has create a series of dinamic structures. It works by remapping the distance between the refference point and points on surface onto the height of each circular extrusion

1 ATTRACTOR PONTS

2 ATTRACTOR PONTS LEFT WARDS 40

CONCEPTUALISATION

2 ATTRACTOR PONTS

2 ATTRACTOR PONTS RIGHT WARDS

3 ATTRACTOR PO

3 ATTRACTOR PON

NT 3

ATTRACTOR PONT 4

ATTRACTOR PONT 5

ONTS

1 ATTRACTOR PONTS LEFT EDGE

2 ATTRACTOR PONTS MIDDLE

NTS

CONCEPTUALISATION 41

IMAGE SAMPLING As image sampling controls the radius of circles with the intensity of brightness, hue and tone of the image, these data can be plugged into expressions that provide different sides hence different patterns of cirlcles

42

EXPRESSION: X*Y /2, Y=0.184

EXPRESSION: X^3*Y , Y=0.121

EXPRESSION: X*Y-0.2 , Y=0.435

EXPRESSION: X*Y-0.2 , Y=0.265

CONCEPTUALISATION

EXPRESSION:

: X^3*Y , Y=0.409

EXPRESSION: X*Y +0.1, Y=0.8

EXPRESSION: X*Y +0.1, Y=0.81

CONCEPTUALISATION 43

Case Study 1 Successful species

AIM OF ITERATION:

Algorithmic design and iteration is a helpful yet require a thorough understanding of how some basic system works and interelate to produce complex patterns.

Through iteration, I would like to discover intriging pattern and possible connection method that is feasible to be manufactured in realife. Using parametric design system, I also want to discover inovative structure that could produce a self sustainable structure. In addition, I want to examine patterns that can abstructly represent some characteristics of the heritage such as urban lanscape expension, to merge a modern design with its gothic architecture surrounding.

SELECTION RULE

In order to select the most approriate and useful species that inspires me into my final desgin. I provide myself a set of check list that guide me through the selection process. It is important to critically select a system that can provide an oppertunity to initiate a direction towards my potential desgin. Hence, I would select my successful species according to: the capability of making, the athetic quality and the possibility for further development.

FINDINGS GAINED

After iteration, I expended by finding on possible patterns to represent growth. This provides a further potential to create a scupture or facade that consist of asthetic and historically informattive patterns.

44

CONCEPTUALISATION

A repeatative arrangment of rigid structure such as rectangles in two directions can create complex system that interconnets with each over. This provided me an idea of how connection can be made my locking one structure to another CAPABILITY OF MAKING ASTHETIC FURTHER DEVELOPMENT POTENTIAL

There is an intersecting repetition of cells that can create a seemingling protruding surface. This provides a potential to generate a visually three dimensional structure with a two dimentional pattern CAPABILITY OF MAKING ASTHETIC FURTHER DEVELOPMENT POTENTIAL

Comparing these outlines of these large circles conneting together to the separated small circles, the two dimensional pattern creates a sense of motion. This innovates me to produce a pattern that provides a sense of motion to represent the spread of urban development CAPABILITY OF MAKING ASTHETIC FURTHER DEVELOPMENT POTENTIAL The extrusion direction inspires me to realise a three dimensional structure can be created in patterning by connetion points that can stabliase tubes in two directions or more and bend each tubes into a frame that outlines two dimensional shaped surface CAPABILITY OF MAKING ASTHETIC FURTHER DEVELOPMENT POTENTIAL CONCEPTUALISATION 45

B3: Case study 2 Mar-quee Design Concept Mar -quee (marh-kee(z)) is an ornamental canopy that erracts at the entrance of thearter to guide the signal the location of entrance. Its classic feature is defined by a spread of clustered light globes.

The structure of the instation is formed by geometric arranging repeating triangular panels encase a naked rectagular column then spread from the centre at a high degree on the ceiling.

This arragement acheives high light visual quality. These lights â&#x20AC;&#x153;complements the flower patternsâ&#x20AC;? starting from the bottom of the column to its capital.

Design Concept Development Drawing inspiration from Mar-quee as a prsecedent, I intend to incroperate a pattern that has a motion of spring out from the centre. This further implifies the concept of growth occured on the site. In addition, the geometric arrangement of triagles furher developed the structure of triangular framing that was considered in case study one.

46

CONCEPTUALISATION

CONCEPTUALISATION 47

Reverse Engineering

Step 1: allocate two rectangle as a referrence for the base of the column

48

CONCEPTUALISATION

Step 2: divide the two curves and connect the perpendicular points together

Step 3: Divide the vertical line as a refference for cruve around the lines then selet the set of points required to scale and use nurb to connect them creat a smooth curve

Step 4: The nur curve is then divided again to create a list of point hence certain items arre selected a cross refferenc with some additional poin and input into Delaunay Mesh

rb

e

and ced

Step 5: Circle CNR is used to create a series of circle which then controlled by point attractor to adjust the size

Step 6: These circles are remapped onto the series of sufaces

nts

h

CONCEPTUALISATION 49

Reverse Engineering Outcome andEvaluation Reverse engineering has allowed me to understand the logically how algorithic systems works to greate a complext geometric object. I found that I was think about the construction formation process of the object while I was figuring out the steps that takes me to complete my reverse engineering. The outcome of the final model of Marh quee is not entirely successful. My eveluation toward my final outcome would consider the folding on the column as a failure. Although a basic shape and form of the ornamental column is created, some detail fold did not successfully produced to become similar to the original piece of work.

However, the relatively successful aspect of my reverse engineering would be the geometic patterning of the triangular pannels that spread out from the centre at the captical of the ornamental column.

50

CONCEPTUALISATION

CONCEPTUALISATION 51

B4: Technique Development Aim of achievement through disecting and altering basic components of the algorithm: Apart from changing some basic components including curve division, surface division, I also want to add some extrac alterations to the structure of my reverse engineering object to widely explore the variation of patterning generating from the original art of patterns. By Manipulating the number of curve division, I want to completely alter its geometric form and create a innovative structure based on the basic geometric principles of Marh Quee Through developmenting my second set of iterations, I want to further development the possible patterning that expresses the idea of historical urban spread on the site of Abbotsford.

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CONCEPTUALISATION

Species selection critiria In order to select the most appropriate species that I develope, I would adhere to the flowing: 1. The Possibility of fabricating 2. The Possibility of further development 3. The ability to express the theme of urban spread

CONCEPTUALISATION 53

SPECIECS 1 CHANGE BASE REFFERENCE SHAPE IN STEP 1

BOTTOM

CIRCLE

HEXAGON

TOP

CIRCLE

54

CONCEPTUALISATION

HEXAGON

OCTAGON

TRIANGLE

OCTAGON

TRIANGLE

CONCEPTUALISATION 55

SPECIECS 2 CHANGE COUNTS OF CURVE DIVISION

VERTICAL LINES DIVIDE COUNT =9

VERTICAL LINES DIVIDE= 6

DIVIDE COUNT ON BASE POLYGON =10

DIVIDE COUNT ON BASE POLYGON =2

DIVIDE COUNT ON SCALING CRUVE =7

56

CONCEPTUALISATION

VE

DI

ERTICAL LINES DIVIDE =12

DIVIDE COUNT ON BASE RECTANGLE= 1

IVIDE COUNT ON BASE POLYGON =4

DIVIDE COUNT ON SCALING CURVE =2

CONCEPTUALISATION 57

SPECIECS 3 CHANGE COUNTS OF CURVE DIVISION

OCTREE GROUP 1

POPULATION COUNT GEO =N 2 S= -1

58

CONCEPTUALISATION

OCTREE GROUP 2

P

POPULATION COUNT GEO =N 2 S= -2

P S

POPULATION COUNT 3D =N 0

POPULATION COUNT 3D =N 5

POPULATION COUNT GEO =N 2 = -8

POPULATION COUNT GEO =N 2 S= -9

CONCEPTUALISATION 59

SPECIECS 4 EXTRUDING CURVES IN X, Y, Z DIRECTION

UNIT X= 15, UNIT Y= -7, UNIT Z= 0

UNIT X= 9, UNIT Y= 2, UNIT Z= -20

U

UNIT X= 0, UNIT Y= 7, UNIT Z= 0

UNIT X= 0, UNIT Y= 9, UNIT Z= 0

U

UNIT X= 0, UNIT Y= 0, UNIT Z= 50 60

CONCEPTUALISATION

UNIT X= 9, UNIT Y= -16, UNIT Z= 14

UNIT X= 0, UNIT Y= 3, UNIT Z= 0

UNIT X= 0, UNIT Y= 0, UNIT Z= 12

UNIT X= 0, UNIT Y= 0, UNIT Z= 3

CONCEPTUALISATION 61

SPECIECS 5 POINT CHARGE

62

1 POINT CHARGE, PIPE RADIUS=1/2, CURVE DIVISON (N)= 2

2 POINTS CHARGE, PIPE RADIUS=1/2, CURVE DIVISON (N)= 2

3 POINTS CHARGE, PIPE RADIUS=1/2, CURVE DIVISON (N)= 2

3 POINTS CHARGE, PIPE RADIUS=3, CURVE DIVISON (N)= 2

CONCEPTUALISATION

2 PO CUR

4P CU

OINTS CHARGE, PIPE RADIUS=3, RVE DIVISON (N)= 2

POINTS CHARGE, PIPE RADIUS=1/2, URVE DIVISON (N)= 2

2 POINTS CHARGE, PIPE RADIUS=3, CURVE DIVISON (N)= 2

4 POINTS CHARGE, PIPE RADIUS=3, CURVE DIVISON (N)= 2

CONCEPTUALISATION 63

SPECIECS 5 BOX MORPH

BOX MORPH: UNION, SURFACE DIVISION: U=11, V=8

BOX MORPH: UNION, SURFACE DIVISION: U=11, V=8

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CONCEPTUALISATION

CONCEPTUALISATION 65

B5: Prototyping and Material testing Inspiratinal species Species 3

Applying oc-tree onto my reverse engineering, a pattern gradually disperse and increase in scale inspired me to produce my first prototype. The boxes spring out from the middle induce a sense of growth, from small to large in a microscale and macroscale. Such pattern explores the pattern as a possible facade patterning on the potential design

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CONCEPTUALISATION

Species 2

By changing the number of divided points on the base curve, a more dynamic order of the pannles is created. This structure explores a possible primary frame work of my final design as triangles are structurally stronger. For instance such structural frame can establish as sketetal support of the stage

INITIAL DEVELOPEMENT Prototype 1 Eveluation:

Material used at this stage of prototyping box board. The structural intregrity is low and the asthetic uality is much lower than expected due to material used and joints.

In addition, it is difficult to create a joints that connect these grid in three dimension. Hence this prototype has failed in its structural capacity and asthetic

Pin Joint

Tage strips are used to test put fixed joints between each square frames

CONCEPTUALISATION 67

Prototype 2 Learning from my first prototype I decided use strews to create network of patterns. I attampt to represent triangular panels in the form of frames. In order to produce a joint that can connect structures in three dimentions, pins are impimented as a fix joint.

Comparing to my first prototype, the structural integreity is much more sophisticated as the material is much more self sustainable. This proptype can be further developed into structures in a larger scale.

The asthetic level of this prototype can be improved as itâ&#x20AC;&#x2122;s pattern feels messy visually. In addition some rotation joint can be concidered to crerate a movable structure Triangular grid

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CONCEPTUALISATION

B6: Site Analysis and proposal Brief for Abbotsford Convent is to consider growth system to propose a mix mode event space that engates with the rich history of the heritage buildings. Implimenting the computation skills for algorithmic desgin method that we have practiced in the past few weeks, we are asked to generate a parametric design consist of patterning and incorperate them into our architecture

Abbotsford historical background |Abbotsford Convent formerly known as Scared Heart was a one of the 11 heritage building constructed gradually for the fomer organisation-Convent of Good Shepherd. This former organisation was responsible for the wellbeing and safty of women asylums. The purpose of these 11 gothic buildings was to provide residental space, education and working opertunity for women aslyums. In turns, Abbotsford is one of the buildings that were constructed to rescue scared hearts

Site Analysis

As Abbotsfor is a rectangular court, the movement of pedstrian will be concentrated around or in the middle of the court. In order to maximise the flow of pedestrians during event a movable structure will be convient to adjust for different events.

In additon, the connection between the outside and inside of the site can also effect the flow of pedestrian. It should to located to optimise pedestrian circulation to ensure safty during crowed events. Sunlilght intensity is another issue to be consider in the desgin as the court is open to sun expose. For events to run smoothly basic comfort requirement be present.

RESERVED RURAL LAND

RESERVED RURAL LAND

CONCEPTUALISATION 69

Desgin proposal As the themes of our desgin should relate to a symbiotic relationships, urban and natural form, the historical development and periodic construction on the site is an important aspect of the need for urban development to dominate rural land. Hence, a growth of urban infrastructure is reflected in the historical development of and around Abbotsford. As outside Abbotsford there is still a patch of rural land reserved, this implise there is a limit to which the growth of infrastrcture can spread. Ultimately, I want to utilse parametric desgin, material and patterning to abstractly server as a represenation of the spread of urban development on the rural landscape that was ones on and around Abbotsford Convent.

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CONCEPTUALISATION

B7: Learning outcome OVERAL LEARNING OUTCOME: Concept of parametric desgin Computation desgin assisted me to explore a wider range of output patterns developing from an existing order.

Using parametric computation, some simple change to the basic algorithmic definition can produce a series of generative deformation. Through exporing a larger sense of patterning, I also learnt how parametric desgin has a close relationship with material and joints in order to allow patterning units to become coherent.

Finding on creativity Creating a prototypes seems difficult at the beginning, yet the experience of trail and error provided a large range of opportunity to discover how patterning could be created in a rather logical and simple repeating manner.

Not only does design requires precedent to build on and inspire my to come up with ideas, but also requies the need to experiemnt with a struture by changing its property based on what is already existing The importance of selective decision Over the large range of iteration that were created, a selection the most suitable and appropriate version required to be critically analyised based on the level of help it can provide.

CONCEPTUALISATION 71

C Part C

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CONCEPTUALISATION

CONCEPTUALISATION 73

C1.0 Brief

BRIEF: To desgin a multi-mode event space that covers outdoor cinema, performance, food and bar.

The space allow people to do different activities at various times of the day The design should reflect on the siteâ&#x20AC;&#x2122;s history

DESIGN AGENDER To use patterning and parametric design to movable objects that reflect on the idea of urban development based on the seqenicial construction of the eleven buildings

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CONCEPTUALISATION

INTERIM PRESENTATION FEEDBACK After the interim presentation, I have gained more inspiration for the development of my design proposal.

Initially, I was considering to use static patterning as an abstract representation of the historical urban infrastructure of and around Abbotsford convent, yet a much more engaging method of design my suggested by my tutor and the judges. This provided me a deeper understanding of parametric design and the essence of the Game of Life mentioned in the lecture. Instead of a sculpture, I was advised to have a set of movable furniture such as couches and allow the users of the space to attach them together. This is a mimic of urban development as pieces of residential, education and commercial architecture are placed together to form an urban environment. Such urban development is reflected in construction of the 11 historical buildings that serves these basic purposes. In addition, a gaming rule can potentially be introduced as a new piece of furniture can be introduced after two or more furniture are attached together. This rule then posts a question: When will the growth end?

CONCEPTUALISATION 75

C1.1 Research

INVESTIGATION Using the concept of patterning developing arrangements of cubes in a dynamic and flexible way, I was using tetras and the game of life as the initial idea. Taking some basic ideas from the life game, it is essentially about life and death. Hence, the concept of growth can be further explored. To provide a guide for users to construct the furniture space, each piece of furniture would be shaped in four basic groups of cubes that then can be connected (fig 1).

With relative simple groups of pattern a network of complexity and dynamism can be produced. Up on the inspiration of the precedence (fig2), rather than purely movable couches, I want to use movable groups of cubes that connect to form tables, chairs and stage as well as cinemas that together forms a pixelated still maintain efficient pedestrian flow Furthermore, the lighting requirements at night is also a factor to consider for my design. In terms of safety issues, a spread of cubes is quite dangerous during the night especially when lighting equipment is limited on the site. Thus, I would like to adopt lighting effect as a secondary representation of growth.

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CONCEPTUALISATION

Fig 1: Pixel cloud intallation, by Marcos Zote.

1.

To achieve a feeling of walking through a micro community or islands of

Fig 2: Lincoln center, by Bureau Betak 1.

Connecting cubes in three dimensional ways can create not only horizontal spread but also vertical growth 2.

Using white material allow flexible use

Taking the essences from the precednce, I was inspited to not merely construct furnitures out of cubes but also stage and cinemas that together from a pixelated space

CONCEPTUALISATION 77

C1.2 Form finding PATTERNING

As the desgin is to allow people to form different a system of patter my joining groups of cubes together I begain to from the basic groups of the cubes to find out what will happen.

REFLECTION After the first two trail, I immediately realise that the variation of patterns is not dynamics as the there is not rule present to control how the these groups can be connected together. Therefore the results become very similar each time.

As a result I decided to construct some rules to produce a second set of trails.\ Rules of assemblage: 1.

Any open area the cubes create cannot be enclosed 2.

Once two open space are produced by the system of cubes, need to start a new system With a rule, although there is more restriction, people are influence to consider when to stop and where to begin again

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CONCEPTUALISATION

REFLECTION The dynamic variation of these patterns has clearly enhanced by adding a rule.

However, there are still irregular narrow openning that is present at that is forming narrow spacing that prevent people from further joining them together.

Ulitmately, the basic cube groups are had transformed in it’s shape: Transformed groups:

The basic groups that remain the same are:

A single cube considered as a separate group because it provides flexibility. I can allow the grwoth to “turn in different directins”

CONCEPTUALISATION 79

PATTERNING IN GRASSHOPPER As people are able to form any pattern they want. I attampt to for my own pattern in grasshopper. I was interested in forming patterns from urban sprawl map. This can provide an oppertunity to reform urban space that then can be used in the court.

IMAGE SAMPLING AND CULL PATTERN For the following patterns, I have used image samplings to generate each iterations. Then I use cull patterns to remove any unwanted cubes

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CONCEPTUALISATION

MODE 1

BARCELONA URBAN FORM

CONCEPTUALISATION 81

82

CONCEPTUALISATION

Cinema Food and bar Stage

CONCEPTUALISATION 83

MODE 2

PARIS URBAN FORM 84

CONCEPTUALISATION

CONCEPTUALISATION 85

Cinema Food and bar Stage

86

CONCEPTUALISATION

MODE 3

ABOTTSFORD CONVENT HISTORIC URAN FORM CONCEPTUALISATION 87

88

CONCEPTUALISATION

Cinema Food and bar Stage

CONCEPTUALISATION 89

SAFTY CONSIDERATIONS: Having these cubic furnitures to be dispersed around the site. It is important to ensure the safty for pedestrian flow is maintained.

Hence I decided to introduce a lighting patterns that could light up inside the cubes at night

RULES FOR LIGHT 1. cubes that are connected will produce a series circuit that can light up the next cube.

2.

However, there circuit will break if too many groups cubes are connected 3.

After these cubes are connected, people can see how many series of cubes can light up at night 4.

If area wants no light, more cubes can be joined together to ensure they do not light up at night

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CONCEPTUALISATION

CONCEPTUALISATION 91

SIZE INVESTIGATION

SIZE SELECTION REASON In order to achieve a pixelised space construction with cubes, each cubes are to be same size.

To satisfy the height and width of all the chairs, tables, cinema and stage, 500mm is the most suitable basic height. Each groups of the cubes can create variable heights and width. This maintains the minimum height to be 500mm and maximum height at 1500mm.

The heights are desgined to allow comfort and saftey when users are sitting, leaning or standing on it.

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CONCEPTUALISATION

CHOOSING ITTERATIONS TO CONTINUE

CRITIERIA FOR MAKABLE ITTERATION: 1.

As the pattern is able to express the history of the site 2.

Patterns that is extremely dispersed 3.

Able to be flexibly fit to the site 4.

Minimal changes occurs after removing some of its cube to fit to the site 5.

Pattern most suited to the pedestrian movement in the site

After considering these aspects I have decided to choose the patterns generated from the site map of Abbotsfort (mode 3). I am interested to find out how the layout of the space will feel when people walk around the in the pattern generated from the surranding and the site itself.

CONCEPTUALISATION 93

C1.3 Final Proposed drawings SITE PLAN

SCALE BAR 1:500

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CONCEPTUALISATION

10

20

50

100

PLAN A

A

FOOD AND TABLE STAGE BAR CINEMA

B

B

C

0

5

10

15

C

20

CONCEPTUALISATION 95

SECTION A-A 96

CONCEPTUALISATION

SCALE BAR 1:25

0.5

1.0

1.5

2.0

5.0 CONCEPTUALISATION 97

SECTION 2

SECTION B-B 98

CONCEPTUALISATION

SCALE BAR 1:25

0.5

1.0

1.5

2.0

5.0 CONCEPTUALISATION 99

SECTION 3

SECTION C-C 100

CONCEPTUALISATION

SCALE BAR 1:25

0.5

1.0

1.5

2.0

5.0 CONCEPTUALISATION 101

102

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CONCEPTUALISATION 103

104

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C1.4 Design sequence

INITIAL PROPOSED DESIGN

INTERIM FEED

INITIAL CONCEPTIAL

SECOND PROPOSED DESGIN

GRASSHOPPER ITTERATION

SELECTION FOR FINAL PATTERNING

DETERMINE THE SIZE OF THE CUBES

SELECTION THAT MOST SUITED FOR SITE HISTORY AND PEDERSTIAN MOVEMNT

INVESTIGATE STANDARD TABLES AND CHAR HEIGHT

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CONCEPTUALISATION

FIN FIN

D BACK AND INVESTIGATION

DETERMINE SHAPES OF BASIC CUBE GROUPS

INSPIRED DESGIN PRECEDENCE INSPIRATION

NAL PROPOSED DRAWINGS NAL DESIGN

CONCEPTUALISATION 107

C2.0 Prototyping

JOINTS BETWEEN EACH SQUARE PANELS TO FROM CUBES To form a joint at the corner of each square plates to ensure that the plates are fixed at right angles, I first attampted to use simple pin and light weighted L plate

PROBLEM 1.

The the pin too narrow to keep the L plate stable 2.

There is too much rotation at the joint

108

CONCEPTUALISATION

CONCEPTUALISATION 109

ATTAMPT SOLUTION I decided to replace pins with bolts.

The nuts and bolts are able to fix the L plate to the square panels tightly This reduces the extra weight that the L plate is added to the panel

PROBLEM 1.

As the L plate dosenâ&#x20AC;&#x2122;t have a sharp coner, the plates are difficult to joint togeter 2.

The head of the bolts is too thick that the plates can not sit stright by itself 3.

The total cost of all the L plates and bolts require the model is too much that it is out of my buget

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CONCEPTUALISATION

CONCEPTUALISATION 111

ATTAMPT SOLUTION I decided to make my owm L plates.

I used a thick card board to slice a fold to create a sharp folded corner L plate.

A strong compression support is added to maintain the shape when supprting each square panel.

PROBLEM 1.

Making these plates at each corner of the plate to form a group of cubes is not time efficent 2.

If to make a group of three cubes 24 plates are required

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CONCEPTUALISATION

ATTAMPT SOLUTION To maximise the number of surface that is able to connect to the corner joint, I decided to change the L plate to triangular form.

This enable me to connect three plates to one joint hence increases my work efficiency

CONCEPTUALISATION 113

114

CONCEPTUALISATION

CONCEPTUALISATION 115

JOINTS BETWEEN EACH GROUP OF CUBES

Taking the joint idea from my puzzle investigation at the begining, I attampt to recreate them into 3D

PROBLEM 1.

The joint cause the pattens to become messy as small recthangles strart to appear from the top view of the joint 2.

A joint that is less visible is need for aesthetic 3.

It is difficult to achieve joining cubes in three dimensions

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CONCEPTUALISATION

CONCEPTUALISATION 117

JOINTS BETWEEN EACH GROUP OF CUBES

I then developed a sliding joint that connects each cubes together without showing the joint as the pin is able to slide into the panle of another cube

SOLUTION 1.

This allow joint to be made in three directons 2.

Upward growth of cubes can be acheived using

118

CONCEPTUALISATION

CONCEPTUALISATION 119

120

CONCEPTUALISATION

CONCEPTUALISATION 121

122

CONCEPTUALISATION

CONCEPTUALISATION 123

C3.0 Final model Produced by laser cutting

124

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CONCEPTUALISATION 125

126

CONCEPTUALISATION

CONCEPTUALISATION 127

128

CONCEPTUALISATION

CONCEPTUALISATION 129

130

CONCEPTUALISATION

CONCEPTUALISATION 131

C4.0 Reflection

LEARNING OUTCOME AND OBJECTIVE Parameteric design was quite a challenge but inspiring tool for design thinking. For example, I begain to think about testing various outcome by making small changes to algorithmic definitions such as surface division and image sampling.

It allowed me to explore different possible itteration for one particular design concept.

However, the connection between algorithmic desgin and its capability to practically construct it was at times critcal and confinging.

An extensive exploration on patterning, I was exposed to the critics of joint forming and developing a 2D pattern into a 3D spacial patterning. This project allowed me to understand the importance of joints between elements that forms the design. This is the key relationship between computational design and capability of making. The accuracy and measurements that form a successful joint takes time and multiple trails.

Overall, from producing a pixelated space, I have learnt that one simple shape, such as square can form flexible patterns that is able to not only expand in two dimension but also in three dimentions. Nevertheless, the flexibility of patterning is defficult to explore with out parametric computational design tools

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CONCEPTUALISATION

CONCEPTUALISATION 133

Reference List:

http://blog.bureaubetak.com/post/60646906552/ lacoste-rtw-ss14-saturday-september-7th-2013 http://www.archdaily.com/356993/ pixel-cloud-installation-unstable http://www.treehugger.com/sustainable-productdesign/my-other-car-is-a-bright-green-city.html http://tarfana.myblog.it/2011/12/21/ kerrigan-surname/ http://abbotsfordconvent.com.au/ visit/visitor-information

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CONCEPTUALISATION 135