Machine Aesthetics V0 by Roy Liao

Crafting Machine m a c h i n e c r af t i n g

Charles Zhang I Roy Liao I Atefeh Sadat Zohourian 598081 256108 565262

Paul Loh

David Leggett

Acknowledgements We are grateful with the help from mentor Paul Loh and David Leggett of LLDS - Power to Make. We were truly inspired by their insight of sense of design and utilization of material. We were able to get access to the 3-axis CNC router and workshop, which allows us to create all the experiments in our design process.

Contents

0.0 Introduction 1.0 Touchstone 1.1 precendent studies 1.2 recipe 1.3 digital crafting

2.0 Facade as a Craft 2.1 spatial model 2.2 crafting paramatric facade 2.3 cultural model

3.0 Facade Prototype 3.1 cities without FACADE 3.2 design proposal

4.0 Reflection

5.0 Appendix 5.1 biography 5.2 credit 5.3 grasshopper definition 5.4 bibliography

introduction

Form-Finding Parametric modeling means efficiency and precise. It simplified the process of form generation into digital scripts, facilitates the popularization of remarkable forms. However, the origin of parametric design, in our understanding, is not just the logic and program. Similar to the relationship of tools and craftsman, the innovation in thoughts and creation of methods is the initial motivation. What we are exploring for is the basic inspiration of design. We are not seeking technique but a way to link the digital method and reality world. Face with the battlefield of Parametricism, architects has some kind of similarity with the people who first leave the cave in innocence era. We re-explore the character of material in new shape; re-create tools to test the potential and limitation of matter and form. The possible design quality behind script is what we aimed to achieve.

Work In a System Coordinate with the parametric working method, we desire to mold a system which sysnthesis the form finding process and material articulation. This systematic gesture can be treated as the base of our machine aesthetic. Such value will be coherence in our design of touch stone, spatial model, culture model and faรงade prototype. In this system, tension and compression of material, visual and private quality of space will be represented in the media of force and field. They concentrated in the flow of our faรงade and the altering space enclosed in it.

Parametric design has different meanings ranging from social to mathematical connotations, mostly related to a measurable variation. The term “parametric design” associates the general action of the design to the adoption of “parameters”. …, the word “parameter” refers to data that affect a situation. The use of this term in computational design came up … with the emergence of methods to describe curves through parametric equations. Rodrigo GARCIA AL VARADO, Jaime JOFRE MUÑOZ

Touchstone The start of making objects in regarding of precedent studies. The defining moment of the studies give a hint to the touchstone design and a lot of later design is directly reference back to the touchstone, which we consider this is an important stage and objects in our project.

touch stone

1.1 Precendent Studies In this studies, we look at the relationship of the exterior and the interior as well as the use of material in respect to this aspect. Casa da Musica has a dominant exteriority sit in Portal Portugal. However, the form generated in respect to the surrounding context and also the program arrangement and materiality emphasis this gesture. The central auditorium act as a core of the building and it address the plaza which is the joining point of the city grid. Each of the opening response to different view of the surrounding, such as the small auditorium, considering as the main function of the building, facing the cemetery where the architect consider it as an important landmark. The drawings shows and explore this idea generated by the building.

Type: Concert Hall Location: Porto, Portugal Year of complete: 2005 Architect: OMA 05

touch stone

Analytical drawings

This drawing addressing of view to the urban context through the form of architecture. The sceneries act as the driving force in form shaping, program arrangement and also material arrangement. 06

Analytical drawings

III. materiality - connection between outside and inside + public and private The aspect of the view shaping the form and arragement of programs.

The translucent material used, to confirm the relationship between the main auditorium and other sub-program and the subprogram and the exterior surrounding. 07

touch stone

1.2 Recipe

The interest in this project for us is about how the Casa da Musica addressing the view through spatial function and architectural arrangement. The view connect the interior space with the exterior and shows which part of the city is important to the function, occupant and the architect. The overlap view from main program (auditorium) through other programs (eg, education space) eventually outside shows the strategy that tighting and emphasizing the relationship between the core and the exteriority. The recipe is base on this logic to address desire view and avoid some views. The information you get from different view point is different, this is similar when you are in the Casa da Musica auditorium, seeing different window you will get different information in regarding the spatial function and views behind.

A. Choose base point inside a volume (representing inteior factor) B. Create points outside the volume (representing exterior factor) C. Connect the points to address views D. Make the connected line with tube solid or void for the volume The three pieces was created sperately base on the recipece and rules that was setup. It all address the relationship between the standing point and view point. The view point is adjustable so that the shape can modify towards a desire view.

increased vision angle

recipe

-basic shape

Matrix for ‘Fragmented View’ -basic shape

Matrix for ‘Fragmented View’

Matrix for ‘Fragmented View’ Matrixfor for‘Fragmented ‘Fragmented View’ -basic shape Matrix View’

Matrix for ‘Fragmented ‘Fragmented View’ -basic shape Matrix forMatrix ‘Fragmented View’ for View’ -basic shape

-basic shape shape -basic

-basic shape -basic shape

matrix of fragmentation

matrix of rotation

Matrix for ‘Fragmented View’

14.08.2012

Matrix for ‘Fragmented View’ -basic shape

-basic shape

Matrix for ‘Fr

Matr

14.08.2012

This is the shape for touchstone after discussion, the diagram shows the possibilities of the volume generation which can help to frame the desire view of Matrix for ‘Fragmented View’ the surrounding.

14.08.2012

touch stone

Matri

Matrix for ‘Fragmented View’

Matrix for ‘Fragmented View’ Matrix for ‘Fragmented View’

Matrix for ‘Fragmented View’

14.08.2012

Matrix for ‘Fragmented View’

14.08.2012

Matrix for ‘Fragmented View’

14.08.2012

Matrix of view distance and orientation. 11

touch stone

Making procedure

Panelization

Moulding 1

Moulding 2

Trying to create the double curve surface by meshing the surface and creating openings on the fragments.

Use CNC milled foam to make form work for the surface, and plaster casting to create the desire shape.

Move to testing a controlable molding system to create double curve surface.

Difficulty we face to make this touchstone is all focus on the double curved surface of the volume. We are attempt to smooth and continue suface for the twisted box while precisly placing the openings on the surface as well as the desire thickness of the box. 13

touch stone

Panellization

At the first place, with the lack of understand to the CNC machine and materiality we decide to use a more easier method to achieve the double curved surface. The panellization system can compose the double curved surface easily, but fix angle and strictly join can not reflect the formation of a force twist the box naturally. The result is not what we expected, the lacking of proper joint system and consideration in material thickness make this approach fail.

Plywood 14

Matrix for ‘Fragmented View’

touch stone aperture: 1/6

aperture: 1/10 amplitude: 100

amplitude: 50

amplitude: 100

amplitude: 0

amplitude: 50

aperture: 1/6

aperture: 1/10

aperture: 1/3

amplitude: 100

for ‘Fragmented We Created different kind of surfaces to test out the effect for plasterMatrix molding. WeView’ use the Matrix for View’to original shape that we created and inaddition we produce two more kind of‘Fragmented surfaces test the properties of CNC machine interms of creating mold for plaster. aperture: 1/6

aperture: 1/10

attraction line distance: 100

attraction line distance: 20

amplitude: 100 Matrix for ‘Fragmented View’ 1/6 amplitude: 100 aperture:

aperture: 1/10

amplitude: 0 amplitude: 50

amplitude:

attraction line distance: 20

transformat

aperture: 1/3

transformation:hexagon

amplitude: 50 amplitude: aperture:50 1/3 amplitude: amplitude: 0 0 attraction line distance: 100

aperture: 1/6 Matrix for ‘Fragmented View’

aperture: 1/10

apertu

aperture: 1/3

amplitude: 100 attraction line distance: 100‘Fragmented Matrix for View’

attraction line distance: 20 amplitude: 50

transformation:hexagon

amplit

Matrix for ‘Fragmented View’

100 aperture:amplitude: 1/6

aperture: 1/10

amplitude: 100

aperture: 1/10

amplitude: 100

aperture: 1/6 amplitude: 100

attraction line controlled: square

aperture: 1/10

attraction line distance: 20

amplitude: 50 attraction line distance: 100

amplitude: 0

aperture: 1/3amplitude: 50 attraction line distance: 100

19.08.2012

soften subtraction amplitude: 50 attraction line distance: 100

amplitude: 0 attraction line distance: 20

transformation:hexagon soften subtraction

attraction line controlled: square

attraction line controlled: circle

line controlled:transformation:hexagon square

attraction line controlled: circle

attraction line controlled: square

transformation:hexagon

soften subtraction

transformation:hexagon soften subtraction

amplitude: 0 attraction lineattraction distance: 20

soften subtraction attraction line distance: 20

aperture: 1/3

attraction line distance: 20

transformation:hexagon soften subtraction

amplitude: 100

attraction line distance: 100

transformation:hexagon aperture: 1/6 attraction line controlled: square

amplitude: 0attraction line distance: 20

19.08.2012

attraction line controlled: square

19.08.2012

transformation:hexagon soften subtraction

attraction line controlled: circle

amplitude: 0

attraction line distance: 20

19.08.2012

transformation:hexagon

transformation:hexagon soften subtraction soften subtraction

attraction line distance: 10019.08.2012

aperture: 1/3 amplitude: 50

attraction line distance: 100

attraction line distance: 20

amplitude: 0 attraction line distance: 20

aperture: 1/3 amplitude: attraction 50 line distance: 100

Matrix for ‘Fragmented View’ 100 aperture:amplitude: 1/6

amplitude: 0

aperture: 1/3

19.08.2012 amplitude: 50 attraction line distance: 100

aperture:amplitude: 1/6 100

amplitude:attraction 0 soften subtraction line distance: 20

amplitude: 50 1/3100 attraction lineaperture: distance:

aperture:View’ 1/6 Matrix for ‘Fragmented

aperture: 1/10

50 line distance: 100 aperture: 1/3 amplitude: attraction

amplitude: 100 Matrix for ‘Fragmented aperture:View’ 1/6

attraction line controlled: circle

amplitude: 50

amplitude: 0

attraction line controlled: circle attraction line controlled: circle

soften subtraction

attraction line controlled: circle

transfo

Molding 1 Mold making procedure of the twisted box with fragmented views.

Plywood

Plaster

Insulation foam

Soft blue foam 17

touch stone

The natural bulging caught our interest, nature force cast an unexpected nice continuous finish. 18

The effect created is appropriate and able for further develop in the sense of tiling. 19

touch stone

Molding 2

First prototype of parametric mold that is able to control the distance and position of modes.

Plywood 20

Plaster

Insulation foam

Soft blue foam

After the form work molding, we are very interested in the pillow surface that we managed to create. We decide to explore more on how can we create variation in one mold and asking ourselves, are we able to control the double curve surface apart from using the CNC milling method. We make formwork with ply wood as it is a tiling system so it is able to stack up to make a wall. For the surface, we use a pin system to generate the surface and openings. The pin is able to adjust the cliping distance and the grid on the blue foam is use to locate the pin. This for a simple parametric system for the mold. Although this is considering as a parametric mold, the blue foam is pin through and no longer reusable. We decided to design a mold that is fully parametric and precise.

touch stone

Paramatric controlled mold

parametric component ruler frame B (vertical displacement)

ruler frame A (horizontal displacement)

pine wood stool plate pressor pine wood frame nut bolt

ruler frame B (vertical displacement)

ruler frame A (horizontal displacement) pine wood stool plate x

A more refined parametric mold which allow the reuse of the mold to produce multiple variation of products.

pine wood frame

soft blue foam

pine wood stool plate

basic container

leaking protection

ruler frame B pine wood stool plate pressor

bolt

assembling

pine wood stopper

ruler frame A

parametric control

ďŹ nal parametric casting mold product

touch stone

Paramatric mold: 3 compress disks 3 axis control variable radius of the disk reusable membrane media Precise measurement

touch stone

Touchstone potential

Potential use of the touchstone, it can be produced according to spatial necessity. For example addressing public and private space and also desired and undesired views and light penetration.

As a parametric design, the openings are adjustable according to the viewpoints and the pattern of light and shadows which is according to the design demands; even the smoothness of the whole surface is an elective feature.

touch stone

1.3 Digital Crafting

by Ching Yu Liao

Since industrial revolution, the mass production age emerged. The uses of machine to produce replicated products dictate the world. Everyone is using similar item produced by different manufacture. The beauty is about speed and minimal of crafting. Like other industry, architecture also brought to a new era by this phenomenon. Architecture is designed and produced is a similar way all around the world by taking the advantage from the machines. This brought architecture to the age of International Style. Architecture goes closer to an art of producing and more far away from an art of crafting. “Craftsmanship” started to fade away in the field of architecture. However, the technology become more advance and give us the opportunities for “digital crafting”. Nowadays, everyone get access to CAD software and it is become more users friendly. Ideas can be simulate and develop in virtual space, any three dimensional form can be achieve even without physical limitation. As a result, ideas and imagination can be limitless but this brings us back to an essential question: How can it be produce as a physical object? The emerging of machines such as 3d printer, laser cutter and CNC machine provide a medium for digital craftsman to become a real craftsman. CAD designed object can be produce easily and become more complex, this arose another problem: Are we designing? Or the computer itself designs? Nowadays, many artist or archi-

tects rely on the constraint provided by the software to design, they produced similar objects and architecture. Those object are complex and stunning at the first glance but when more and more similar objects or architectural pieces are produced following similar rules and using same software it is not a health trend in the realm. “Aesthetic” is achieves by slight adjustment in a similar system and spaces is designs by adjusting to its best outcome in the virtual space. This is danger for designer approaching another “international style” era not only in architecture but also in other realm where products look alike in terms of spatial effect, construction method, formal experience and even materiality. In addition, information transfer is lightning fast today it is very dangerous designers are overcome by information and forget the essential meaning of design (to achieve aesthetic as well as function) and craft (the art of making process). Not to be overwhelm or control by the system or the software, as designer we should be able to design a system to design. It is the system and logic it make sense for a design, each system and logic is specific behind a project rather than duplication and alteration. This approach will bring us back in similar to designing by pen and paper and also bringing us to a digital crafting age. Crafting is a process of making, testing and trial, the repetition of the process and the perfection through the process is the art of

crafting. In digital crafting, similar approach is taken with the help of machines, in todayâ&#x20AC;&#x2122;s technology it is easy to make, test and remake as an individual designer. Therefore crafting can be re-alive after a long period of ignorance by some designers. The crafting approach in designing is more realistic and human rather then come up a form and thinking of how to make it. The main idea is the development of taking account the making method alongside with the design process to gradually approach to perfection so that the final outcome becomes a crafted object. Designing in regarding to digital crafting is not about producing a complex stunning but meaningless object. The fascination is the idea and story behind the object and the values of the outcome in terms of cultural, contextual, spatial and technical. Designers should take the â&#x20AC;&#x153;digital craftingâ&#x20AC;? approach in their designing process so that the value and meaning is different and unique. To conclude, designing with the help of programs and software is convenience but it is also a trap if the thinking behind using the tool is not clear. In the future, it is more towards about designing a system behind a design. It is becoming more risky when the computer and program become powerful, even designer can press a button to come out a design or software that can analysis the digital model and create the most efficient joint system by inputting desire materiality and

fabrication method. However, keeping the digital crafting logic in mind the outcome would be consider as art for mankind. Refernece: Treadaway, C, Digital crafting and crafting the digital, University of Wales Institude Cardiff, UK. The role of digital technology in architectural design process, Indonesian Institue of Architects, West Java, 2009.

Society can only evolve with the simultaneous ordering of space. The elaboration of a built environment, however haphazard, precarious, and based on accident rather than purpose and intention, seems to be a necessary condition for the build-up of any stable social order. Patrik Schumacher

facade as craft The development of logic for the building as a craft in terms of facade, spatial and materiality. The brief was carefully examine with the urban situation and the proposal of integrating business mode with Sofitel as well as the insertion of a market lane to engage public users. The spatial and and technical idea was develop at the same time refering back to the touchstone.

facade as a craft

2.1 Spatial model

The soft transformation of the surface in touch stone inspired us that through the interaction of forces in the space architectural form can alter its character to address the issues of what it is facing. The motion of surface plays like the clay in craftsmenâ&#x20AC;&#x2122;s hand. Can react into the shape we want.

A craft is a profession that requires some particular kind of skilled work. In a historical sense, particularly as pertinent to the Middle Ages and earlier, the term is usually applied to people occupied in small-scale production of goods. The traditional terms craftsman and craftswoman are nowadays often replaced by artisan and rarely by craftsperson. - http://www.wikipedia.org/

stretch

clip

C.ZH

Abstracted characters of continuous transforming surface

Bulging and hollowing space give the public and private defination of the surface 33

facade as a craft

Strategy addressing the site issue

Craft Victoria is located in the southeast corner of Melbourne city, a relative quiet site. The connection of it is monotonous (only can be accessed from flinders lane). For developing the potential of the site, we treat craft victoria as a market corridor connect from Sofitel shopping center to flinders lane and finished in spark lane. We wish to use the integration of craft victoria and the district environment to enhance the cultural atmosphere of the site. The leaping bridge will become the landmark of crafting culture.

Bridge emerging from facade

facade as a craft

Strategy of interior space

Space arrangment accrording to the public and privacy factor

Spatial charactor

Transformation process

facade as a craft

Spatial model 1

To illustrate the effect of transforming surface according to the force, we use nylon and steel frame to create an operational model. The motion of surface in this model shows that the appreciation of the character of space it created. 38

facade as a craft

Spatial model 2

Timber waffle modle provide a precise description of the space, this gives us a testing ground of what do we looking at and what we donâ&#x20AC;&#x2122;t want. The solid and non controlable spatial formation weaken the expression of interation of force developed from the first spatial model. This lead us to think of what can we do about how to make it precie at the same time fluid. 40

facade as a craft

Culture core

In our scheme, we create one powerful force to penitrate the whole floors. The force is related to the transportation and cultural center of the building. Such space connects the whole building with a continuous surface as the same time tighting the program arrangement and circulation idea.

Interior Transportation

facade as a craft

2.2 Crafting paramatric facade by Chuncheng Zhang

Nature’s main process of creation is morphogenesis, which means splitting one cell into two cells. This process has no thoughts and no central co-ordination. These cells can either be identical and distinct with each other (Lewis Thomas, 2008). In microscale, it is DNA making judgments of the cell about where to fold and where to change. DNA is a basic organic compound, but we can simples treat it as a script too. What happened in the cell is when the micro environment changed, it will change the status of the chemical inside the cell, and such input will active different fragments in the DNA and then these code of inheritance will alter the direction and transformation way of next self-replication. The description of morphogenesis above interprets the generation process of natural product. It has the basic idea of the basic elements we need in a form generation system: transformation rule that describe where to change and a fundamental way of how to change. The simple example is that when we fold one sheet of paper, it would become two similar pieces. And we could choose where to fold the sheet, and by doing so we could differentiate the transformation. Through this simple process, we could create a standard of forms and we could take this process and create 3 dimensional process. But rather than folding this thing by hand, we could bring this in computers and coded them in algorithm. We can not only 44

fold them but also in other type of various alternation methods. In this sense, the systems we choose become the key of design. “The term ‘Parametricism’ implies that all elements of architecture are becoming parametrically malleable and thus adaptive to each other and to the context. Instead of aggregating a few platonic solids (cubes, cylinders etc.) into simple compositions - like all other architectural styles did for 5000 years – we are now working with inherently variable, adaptive forms that aggregate into continuously differentiated fields or systems. Multiple systems are correlated with each other and with the environment. All spaces should resonate with each other because within Postfordist network society all activities need to be networked and stay in continuous communication with each other.” (Patrik Schumacher, 2012) In traditional architecture practice, architects use their experience to design forms which control the power and order of space, the classical example is the Palladio’s Villa Capra (Palladio, 1552), the beauty of the building comes from Palladio’s experience of the ratio of shape and balance of the form. However parametric architects utilize digital simulation to find out forms, the essence of it is opened the gate for computers to adopt artificial logic of forms. In the work Kartal-Pendik planning (Zaha Hadid Architects, 2006), designer use surrounding

buildings as the existing context, use computer scripts to create a network that connects important factors in the shortest path. The quality of design turned to come from the quality of scripts designed by well understanding of elements behind the project and use proper rules to create forms. The parametric can not only mimic from nature, but also the totally new, artificial force field and human defined logics. Any parameters of the object such as geometry, position, color and transparency are related to the condition of generation process. Order is hidden behind forms. Our façade is designed for craft victoria headquarters. What we believed that we should present in our façade is the connection of the context of craft to parametric design. Craft is created by hand, the direct participation of artist, but the architectural tool we use is the parametric designing process which is using computer to creating form. The barrier seems distinct but actually shallow. As the craft is the accumulation of the force and fabric from artist’s hand we use the force of environment to making the same procedure. Our transformation base is from our test of the membrane and plaster. The pressure from outside pin and liquid plaster work together and created an intriguing continuous

surface. Through this alternation flat membrane become a parabolic surface. The wave crest and trough generate different characters from one average surface, some expose on exterior and some hidden in shadows. It gave us a basic idea of what can be happen in form when force is applied. “Force on the membrane” deducted an unimaginable effect of surface. It becomes the physical reaction system of our façade addressing public and privacy elements happening both in and out. The idea of craft is a seed. It drives the whole generation system but the process is not like drawing a portrait or carving a sculpture. It is like a procedure in nature, growing plant or developing embryo. The simple idea of craft will grow in parametric architectural language. The digital transition is natural.

tions. These characters are condensed in a code strip and help us to generate a most adaptive form of the building according to the system we developed.

References: Lewis Thomas, 2008, The Lives of a Cell: Notes of a Biology Watcher, Paw Prints. Patrik Schumacher, 2012, Platform for Architectural Projects, Essays & Research, Issue 4, University of Westminster

The craft gesture appeared after the creation of script. Our input of the environment and function requirements for Craft Victoria become the pin in the our mold machine generating special surface of craft victoria. Suitability of the environment is the priori conditions of this process. Thus, the parametric exploring is not going away from the crafting context and environment but combine them with parametric technology into a higher level.

Rather than saying the form is control by computer operation, we believe that the form is generated by self-generation and evolution. We do not draw the shape exactly but set up rules to grow it by gradually input of information. The code is happening like the metal disk of the music box, it define where show rise and where should fall. The pin in this “metal disk” representing the force from outside world such as light condition, view from pedestrian and attraction to the next building and the force from interior, for example the requirement of large exhibition and the visual context of various func45

facade as a craft

2.3 Culture model

Surface in a script

Cultural model continued the experiment of the spacial model. We define the publicity and privacy based on the function of the building, and turn this information into different colour tones as the input for the script to run.

Script generates bulging and hollowing in the basic surface we create

facade as a craft

Space in waving floor

The space generation idea is clear and we start to develop more on how these spatial idea can be apply and contribute to the use of the space. several spatial types were formed at this stage in regarding to the function, privacy and publicness of space and also in consideration of how the exhibition space works since it was the one most important function.

Utilization of the waving interior

facade as a craft

Physical cultural model

MDF 50

Plaster

Latex

Sand

From the development of our touchstone, we decide to continue the with the similar making process for the cultural model. Ambitiously we try to make the whole facade in one piece in 1:25 scale. At the same time, this is the first time to use latex as our casting material because we love the physical behavior of it that it can create natural double curved surface and minimal surface. We are all very into the form shape by the mould. However, failure occur when we started to cast, the under extimation of the force by the plaster itself lead to this failure. All the plaster swell at the bottom due to latexâ&#x20AC;&#x2122;s properties and it was unable to fill up the whole mould.

facade as a craft

Making Process

facade as a craft

... We underestimate the pressure from liquid plaster, the huge bulging of the latex contained the so much palster that makes us cannot cast the whole mould. ... The improvement is urgently required. To fight for the presure of liquid we have three proposal. (sand, stick, pin)

Improving ideas (Stick)

facade as a craft Improving ideas (Enhanced Force control)

Improving ideas (pin)

… Parametric tools are algorithmically based, and therefore offer increased computational control over design geometry during design activity. Their adaptability and responsiveness to changing design criteria and requirements make parametric models especially useful for design exploration in complex and dynamic design settings… (ipek GÜRSEL DÍNO)

facade prototype In technical consideration we decide to make a 1:25 facade prototype continue developing our casting technique at the same time consider the prototype as a tool to test of the spatial and physical property of the facade. A more specific strategy to design the facade and construction method is also considered at this stage to make this project more comprehensive.

facade prototype

3.1 Cities without FACADE

by Atefehsadat Zohourian

ARCHITECTURE? Is it a social construction or it is facts determined by inexorable laws of physics, economics, buildability and climatology? The former have emerged from hypothesis which discussed architecture as a cultural fabrication and an embodiment of political concepts dissociated from natural laws, statics and climatic demands. The second one is about architecture which should be understood as much a physical construct as it is a social one. In this regard, we need to distinguish culture from technology which means, things would be differentiated from objects. Building envelope as the oldest and most primitive architectural element, demarcates inside and outside, natural and artificial. When it comes to faรงade, in addition to its crucial environmental and territorial roles, it operates as a representational device. In most buildings, even if physical security is the priority, the political performances of architecture is located in the plan or in the section, and this is just because of the understanding the envelope as a surface. Envelope, an incorporation of construction issues and representation converged in the design of physical limit of a building, involves the space crust- affected by the scale and dimension and also affected by its permeability to daylight- and respects to sun, wind and views. Moreover, the faรงade as the skin

of a building resists the pressure of the interior transforming its energy to something else; simultaneously it registers the violence of both spheres (inside and outside). Despite all these facts, there are new attitudes toward architecture which tend to spatial continuity cause architects to engage with borderless space, in other words space of flows; this attitude evolve outlooks of architects on faรงade. With respect to envelope technology, in this stage the different between the roof and the walls has disappeared and fenestration is no longer a crucial building problem. So it is important for architectural entities to develop various attachments to a multiple reality instead of remaining the inevitable products or representational ideologies Even if the walls and roof disappearing, reflection and silent analysis can affect our experience and sensibilities in the same way as before. The building envelope is still the primary regulator between public and private, inside and outside. To open ourselves to this perception and to perceive architecture spaces which form the frame of measure for lived time, we need to become the subject senses. The passage through time, light, shadow, color phenomena and material participate in the complete experience of architecture. This is the way that we realize the materiality of the details which form architecture.

On the other hand, in line with technology development, architects experience new approaches toward building design. For example, by virtue of the experimental continuum of enmeshed space, we perceive distinct objects as a whole. And as a matter of phenomenology, this is generative forces that are inducements to set architecture apart from natural science. Another criticism about contemporary architecture is that constructions often do not let us be in touch with the poetry and predictability of everyday changes, for instance we lost the haptic realm of architecture or even the perception of subtle mathematical properties. The reason, for that, is in bird’s eye view which is typically used by architects. Therefore, here is the reason that why it is proposed to construct urban spaces on perceptual principals, allowing for movement between the absolutes of architectural intention and the in definitive urban assemblage. Focusing on formation rather than form is another topic of concern. With respect to digital technology, there is a new outlook which is in contrast with the broadly aesthetic one that tends to impose form on building materials instead of letting forms emerge according to certain programmatic requirement. In this approach, architecture would be the result of computing forces.

But how might these operations be facilitated by the digital domain? Regarding the computer aided design, many architects used structure to operate parametrically as self-organizing systems which is not sufficient to fulfill the habitants need; in order to cover all the needs, it is necessary to have programs to make the whole design more logical. In this way, computers can be used as a generative instrument which is a part of the design process and architect as a controller would overseas the formation of architecture. The desire for timelessness which is caused by the cultural demand of stasis resulted in formal architecture. In order to advance this essence of discipline, an ethic of motion should imply to the form, so it would be shaped by the collaboration between envelope and the active context in which it is situated. In this way, topology allows for a multiplicity of vectors, and therefore, a multiplicity of times, in a single continuous surface. This is the key for building to persist for eternity. Because topological entities are based on vectors, they are capable of systematically incorporating time and motion into their shape as infection . The possibility of an animate field opens up a more intricate relationship of form and field than has been previously possible.

Rather than an entity being shaped only by its own internal definition, these topological surfaces are inflected by the field in which they are modeled. If an entity is moved in space, its shape might change based on the position within gradients pace even though the definition of the entity remains constant. To optimize the design process, mass production would be a good approach. But it is needed to advance the method to have customization. Customization will enable the automated production to differentiate each artifact from those that are fabricated before and after and will enhance the process to have the ability to differentiate to, distinguish architecture based upon site, use, and desire. Finally, with the hope of creating the utopia, it can be concluded that it would be more efficient to design a process of designing instead designing a building or even inventing production systems. Reference: Zaera-Polo, Alejandro. “The Politics of The Envelope.” Log 13, no. 14 (2008): 193-207. Holl, Steven, Juhani Pallasmaa, and Alberto Pérez Gómez. Questions of perception : phenomenology of architecture / [Steven Holl, Juhani Pallasmaa, Alberto Pérez-Gómez]. n.p.: San Francisco, CA : William Stout, c2006., 2006. Leach, Neil, David Turnbull, and Chris Williams. Digital tectonics / edited by Neil Leach, David Turnbull, Chris Williams. n.p.: Chichester : Wiley, c2004., 2004. Lynn, Greg. Animate form / Greg Lynn. n.p.: New York : Princeton Architectural Press, 1999., 1998. Kieran, Stephen, and James Timberlake. Refabricating architecture : how manufacturing methodologies are poised to transform building construction / Stephen Kieran, James Timberlake. n.p.: New York : McGraw-Hill, 2004., 2004.

facade prototype

3.2 Design Proposal

facade environment

As far as the surface of the building has a kind of double existence intervening in two disparate worlds, it is needed to analysis exterior factors as well as interior ones. 62

winter solstice daylight condition

09.30

10.30

11.30

12.30

13.30

14.30

15.30

16.30

In order to have the phenomenal properties of the transformation of light through material which present poetic tools for making spaces exhilarating, it was necessary to check the pattern of light and shadow. 63

facade prototype

Generation process

3 spot light

Bridge View View View

Entrance

Connection to SOFITEL

Directing Pedestrain

As an architecture which is the result of competing forces, the building envelope is affected by different factors; one of them is 4 the pedestrians who come through the in front building (SOFITEL company).

Open View and Absorb Sunlight

In addition, ones who are passing through the Flinder Lane would have some energy which penetrated the building skin and cre5 ated the entrance.

Opening regarding to desire views and lighting condition. Natural light is desire for craft display and also the view from the pedes6 train can be organise to maximise the exposure of craft objects.

Street view

Open for Street View

Rhenometric Analysis

Star light

Final Product

Facade Generation

Bridge View View View

Entrance

Connection to SOFITEL

Directing Pedestrain

Open View and Absorb Sunlight

Street view

Open for Street View

With a view to fulfilling the measure for lived time in both interior and exterior sphere, different openings embedded on the surface of the building envelope; so it would be possible to manage daylight and views through the building, create some frames to concentrate energy and exhibit some features inside building. In line with viewport citizen would be encouraged to visit the exhibition.

Rhenometric Analysis

Star light

The use of rhenometric force field idea in creation of star light to enhance the interior experience.

Final Product

By virtue of some small holes which are acFacade Generation cording the magnetic field surrounded the main openings, generative forces visualized on the faรงade as a screen. By virtue of some small holes which are according the magnetic field surrounded the main openings, generative forces visualized on the faรงade as a screen.

facade prototype

Enhanced mould test (sand) In terms of previous faliure in the cultural model, we make a few solution to restraint the swell of latex to achieve the surface we want at the same time maintain the smoothness of the object. There are three method we come up: the sand method, pin method and the waflle method. They all have different pros and cons, this test allow us to further develop our skill in casting and bring forward to the prototype model.

MDF 66

Plaster

Latex

Sand

The first one which named sand method based on natiral force exerted by sand and plaster weight. 67

facade prototype

Enhanced mould test (pin)

MDF 68

Plaster

Latex

Bolts

Another way is the pin one whose shapes controls mostly by pins and the plaster pressure exerted to membrane. 69

facade prototype

Enhanced mould test (waffle)

MDF 70

Plaster

Latex

The other method which is called waffle frame, is not as parametric as the other two ways but it can be used in some places where there is not too much parameters to shape the outcome. 71

facade prototype

Prototype mould family

With respect to all previous points, different methods tested to find out the best way to embody a programmatic architecture which registers the impulses of human habitation and adapts to them. Three systems were designed and mixed together for the making of the prototype model.

interior wall

ground block upper block mould

roof

entrance mould middle block

facade prototype

Prototype model

MDF 74

Plaster

Latex

Bolts

MDF

Plaster

Latex

Bolts 75

facade prototype

Prototype model

MDF 76

Plaster

Latex

Bolts

MDF

Plaster

Latex

Sand 77

facade prototype

Prototype model

MDF 78

Plaster

Latex

Sand

facade prototype

Prototype model

Despite of considering some features in mold design in order to create a smooth surface, the outcome did not fulfill the project expectation. So the need for developing the mold for components joints became more urgent. On the right: the final pieces for the facade prototype, which are around 10mm thick.

facade prototype

Entrance block

The making of the entrance is successful by take experience from the previous trial. 82

Bridge Tunnel

In the process of making the bridge we face some problems in fixing the mould together. Although the bridge is make using the same technique as the entrance but it is a much longer piece. 83

facade prototype

The effect that we are looking for to apply to the interior and exterior. 84

Facade effect

The starlight in relation to the rhenometric field on the surface. 85

facade prototype

Street view

The facade and the bridge is acting as a craft object sitting in flinders lane. The iconic crafting sense of the building will surely make Craft Victoria a landmark. 86

Facade prototype

facade prototype

Construction sequence

As the same method for faรงade prototype, in the design of construction sequence, the whole faรงade panelized so it would be more economic and also easier to carry the precast components to the site. 88

Construction sequence

The precast panels are easy to tilt up and require less formwork in constructing the facade compare to insitu method. 89

facade prototype

Formwork must use for bridge construction due to the large span to the opposite of the street. 90

The completion of the facade. 91

facade prototype

Cutaway axonometric Insulation

INSULATION (Thermal Mass)

CONCRETE BLOCK

shop

core

liabrary

workshop

CONCRETE BLOCK

“Star light”

CONCRETE BLOCK

REFLECTIVE METAL TUBE LIGHT DIRECTING TUBE LED LIGHT

INSULATION (Thermal Mass)

CONCRETE BLOCK

Connection joint

RESERVED HOLE

STEEL CABLE RESERVED HOLE JOINT PLATE

Entrance door

CONCRET PANEL STEEL FRAME

GLASS WINDOW GLASS DOOR

Showcase

exhibition hall SHOW CASE INTERIOR WINDOW

SHOW CASE EXTERIOR WINDOW

CONCRET BLOCK

cafe