AIR STUDIO 2016, SEMESTER 2, TUTORS STUDENT NAME
Table of Contents 4 Introduction2   6 Case study 1 16 Case study 2 24 Techniqual developement 36 Prototyping 39 Site analysis and proposal 41 Feedback and learning outcome 42 Appendix
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.
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Part B
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CONCEPTUALISATION 35
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
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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:
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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/>
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FIG 3: DE YOING MEMORORIAL
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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
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U =48, V=37
U =73, V=16
SQUARE
TRIANGLE
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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 42
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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
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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
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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
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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.
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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 47
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.
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Reverse Engineering
Step 1: allocate two rectangle as a referrence for the base of the column
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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
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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.
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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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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
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SPECIECS 1 CHANGE BASE REFFERENCE SHAPE IN STEP 1
BOTTOM
CIRCLE
HEXAGON
TOP
CIRCLE
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HEXAGON
OCTAGON
TRIANGLE
OCTAGON
TRIANGLE
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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
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VE
DI
ERTICAL LINES DIVIDE =12
DIVIDE COUNT ON BASE RECTANGLE= 1
IVIDE COUNT ON BASE POLYGON =4
DIVIDE COUNT ON SCALING CURVE =2
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SPECIECS 3 CHANGE COUNTS OF CURVE DIVISION
OCTREE GROUP 1
POPULATION COUNT GEO =N 2 S= -1
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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
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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 62
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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
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SPECIECS 5 POINT CHARGE
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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
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SPECIECS 5 BOX MORPH
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BOX MORPH: UNION, SURFACE DIVISION: U=11, V=8
BOX MORPH: UNION, SURFACE DIVISION: U=31, V=32
BOX MORPH: UNION, SURFACE DIVISION: U=11, V=8
BOX MORPH: UNION, SURFACE DIVISION: U=31, V=15
CONCEPTUALISATION
BOX MORPH: UNION, SURFACE DIVISION: U=11, V=15
BOX MORPH: UNION, SURFACE DIVISION: U=12, V=22
BOX MORPH: UNION, SURFACE DIVISION: U=3,2 V=7
BOX MORPH: UNION, SURFACE DIVISION: U=42, V=21
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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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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
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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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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
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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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B7: Presentation feedback and learning outcome INTERIM PRESENTATION FEED BACK: After the presentation this week, I have gain more inspiration for the development of my design proposal. Initally, I was considering to use a static patterning as an abstruct representation of historical urban infrastruction of and around Abbotsford Convent, yet a much more engaging method of desgin was 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. In stead of a sculpture, I was adviced to have as set of movable furnitures such as couches and allow the user of the space to attach them together. This is a mimic of urban development as pieces of residental, educational and comercal architecture are placed together to form an urban environment. Such urban development is reflected in the construction of the 11 historical buildings that serves these basic purposes. In additon, a gaming rule can potentally be introduced as a new piece of furniture can be introduced after two or more furnitures are attached together. This rule then posts a question of when will the growth end? Such intriging and engaging patterns can be constructed out of this â&#x20AC;&#x153;gameâ&#x20AC;?.
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.
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APPEN
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NDIX
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