794103 Sandy Kwok air journal final by Sandy Kwok

STUDIO AIR 2017 SEMESTER 1, JULIUS(STUDIO 7) KWOK TSZ YI 794103

CONTENTS PART B CRITERIA DESIGN

B.1 RESEARCH FIELD...................................37-49

INTRODUCTION...........................................4-5

B.4 TECHNIQUE: DEVELOPMENT.............72-91

PART A CONCEPTUALISATION

B.5 TECHNIQUE: PROTOTYPES.................92-102

B.2 CASE STUDY 1.0..................................50-65 B.3 CASE STUDY 2.0..................................66-71

A.1 DESIGN FUTURING...................................7-17

B.6 PRELIMINARY...........................................103-107

A.2 DESIGN COMPUTATION........................18-27

B.7 LEARNING OUTCOMES............................108

A.3 COMPOSITION/GENERATION..............28-33 A.4 CONCLUSION.............................................34 A.5 LEARNING OUTCOMES..............................35 A.6 ALGORITHMIC SKETCHES(EMBEDDED IN EACH SECTION

B.8 ALGORITHMIC SKETCHES(EMBEDDED IN EACH SECTION)

PART C DETAILED DESIGN C.1 DESIGN CONCEPT......................................................111-149 C.2 TECTONIC ELEMENTS &PROTOTYPES........................150-163 C.3 FINAL DETAIL MODEL...................................................164-189 C.4 LEARNING OBJECTIVES AND OUTCOMES.................190-197

REFERENCE..............................................198-199 LIST OF IMAGE.........................................200-201

MANY THANKS TO MY GROUPMATE-YILAN ZHAO AND STUDIO LEADER- JULIUS

INTRODUCTION

I am Sandy, studying Third year in University of Melbourne, major in Architecture. In my spare time, I enjoyed hiking the most. Considering as a vigorous exercise, hiking is beneficial to both mental and physical health. But more importantly, I can immersed myself into the spectacular panoramic views in the mountaintop and grasp the opportunity to do some sketching, a great source of inspiration. In the wake of my visit to the Zaha Hadid Exhibition held in Hong Kong in 2017 where demonstrated her complex thoughts about architecture’s form and relationships, I was immediately obsessed with the potential and capabilities of digitalization. The exhibition vividly presented Hadid’s work by means of Virtual Reality, offering visitors an interactive gallery experience. I particularly admired her amazing notion of continuous experimentation and idea of breaking the conventional boundaries throughout the progress and transition of her building design , ranging from the very first internationally acclaimed project ‘The Peak’ to the renowned Heydar Aliyev Center. Her vision of redefining architecture by form-finding and capture imagination through sketching and computation is mesmerizing and prefigures the qualities and importance of technology and innovation to the improvement of architectural design.

Digital architecture dominants the contemporary world comprehensively. The emergence of compound, disproportionate design caught the eyes of everyone around the world. It is an era which people commences with project that associated closely with digitalization. For me, as an architecture student, undoubtedly, it is a high time to learn about the genesis of digital design. I have got some experience in digital design during my first two years of undergraduate study. I explored the qualities of triangulation by employing and combining range of triangular components, with predetermination of the geometrical growth in the context and applied additional parameter like lighting conditions for one of my previous studio work. I accommodated the spatial and contextual volume as a dome-like shaped triangular structure with the help of Rhinoceros. I am not very skillful and knowledgeable upon the subject but I am passionate to undergo further research and study in an attempt to generate interesting outcomes in the future. By testing digital findings with physical prototypes, I begin to understand how to assess the outcome of a complex solution for example its spatial, aesthetic or programmatic qualities to the specific project. Specifically, I learnt about Rhinoceros, CAD and currently investigating the possibilities that may arise from Grasshopper.

CONCEPTUALIZATION

A.1 DESIGN FUTURING

DESIGN FUTURING

Nowadays, the notion of sustainability is omnipresent as a result of the anthropocentric, unsustainable mode of living. It is an extremely overarching issues that every single human should care about, not to mention architects. Prior to acting and over-exploiting resources, design need to take multiple factors into account. In general, designers should understand and interpret anthropologically, engage the complexity of design as a world-shaping force and ongoing improvement to the community. The deterioration of climatic conditions due to greenhouse gases and absence of awareness towards the ‘catastrophic’ consequences could be alleviated by design. First, design can consider a focus on biocentric configuration which stating the interrelationship of artifice, mind and nature. Second, in conjunction with the eco-design, the design should be socially, ethically reliable and feasible, encouraging the artefactual world and community to keep pace with the progress.

Figure 4:

CONCEPTUALISATION

Design The designer and designed objects, images, systems and things - shapes the form, operation, appearance and perceptions of the material world we occupy. Therefore, it is of paramount importance to consider design as anthro-directive, profoundly secular and omnipotent practice(Fry, Tony 2008). How can a future actually be secured by design? Desiner need to change the way of thinking, understanding ‘dialectic of sustainment’ Engaging the act of designing by dealing with human, environment, community and apply appropriate advanced knowledge of technology to break through the limitaion and pursue the adaptive and responsive character.

MORPHOSIS

EMERSON COLLEGE

The domestic zones frame a dynamic core exclusively intended for social interaction, learning and boosting creativity. Served as a learning center, the activity-based, community-oriented aimed at creating a dynamic nodes of conglomeration and visual appeal. The two slender residential towers are connected by a multi-functional platform, offers a high permeability and interdependence for educational purpose. The sculptural housing consists of classrooms and administrative offices are shaded by undulating, fish fin-like metal scrim which generate accordingly to the parameters like orientation, style, materiality and contexts via digital ways.

Figure 1: Th overall view of the Emerson College which shows the different components of block which assembled to become a entity.

Figure 2: The dynamic activity spaces in between the blocks with connection to facilitate the multiple usage and function for users, notably students.

Figure 3: This semi-public space constructed a rich dialogue between education and the concerns of creativity, learning and social interaction

CONCEPTUALISATION 9

Figure 4: East and West facing glazed curtain walls are screened by horizontal shading system where series of undulating metal scrims/fins angle open or closed to adapt the light, temperature and angle of sun.

CONCEPTUALISATION

Significantly, the designer prioritized the value of sustainable design and community responsibility. As reiterated in the reading of Design Futuring, the focus of design should always be economically, environmental and culturally harmonized. Architects need to deal with human beings: the issue of living, acting and engaging the world and the notion of development should not be surpassing the importance of environmental conservation and community wellbeing as a whole. In particular, the application of advanced technology in this project enabling the appropriation of sustainable attempts. First, the use of automated sunshade system to minimize heat gain meanwhile maximize daylight and view for users. Second, employment of recycled and rapidly renewable building materials. Third, installation of efficient water fixtures as a long term effect. Fourth, large-scale passive valence system for energy savings in heating and cooling. Fifth and most importantly, a well-managed monitoring system for all strategies aforementioned. In brief, the pursuit of sustainable design should start off with understanding different factors anthropologically and engaging, adapting to specific conditions ranging from climate, usage, program and culture)

CONCEPTUALISATION 11

DANIEL LIBESKIND

JEWISH MUSEUM BERLIN

This project constituted a tight relationship with the site and inhabitants. The building is outwardly freestanding and independent, visitors must walk through an underground passageway from the entry area in the adjacent baroque old building. Hence, visitors are there left with a sense of insecurity and disorientation which demonstrates a new way to control and lead the journey of visitors. And perhaps most significantly, it is a museum to record a is a new ways of recording history through a building in modern context.

Figure 5: The ‘zig-zag’ formation of building with titanium-zinc facade, contrasting to the old traditional library building.

‘The Voids’ The interior is composed of reinforced concrete, different materiality than exterior in an attempt to establish the symbolic features of darkness, physical emptiness(the loss) associated with the destruction, annihilation of Jewish life but meanwhile restore a trace of light epitomize hope. -A mind-blowing, emotional journey through history, effectively translating human experience into an architecture

Figure 6/7: The internal spaces of the library

CONCEPTUALISATION

SKETCHBOOK-TASK 1

In view of the piece-Arrival on Platform Humlet by Percy Grainger, this charming and startling music appears to reflect sounds and echoes from another space, explore a kind of boundary between the reality and the fantasy world that illustrated inside individuals. Kick start with Children Choir performance, the lively, vigorous melody stirring your imagination, of a mysterious submarine atmosphere, the movement did not come to a climax, but persistently repeating the playfulness and create gradually stronger rhythmic figure as the progressive addition of instrument and percussion, lifting spirit of magical, dreamy qualities. Converting the magical sensation through grasshopper in an attempt to bring forth an interesting sculptural-like seating area for relaxation. It is desire to create anti-rational, contrasting to normal world while fully integrate to neighbourhood as an object for users to experience in their own ways rather than giving the properties behind.

The qualities of a fantasy submarine world is the setting which falls unobtainable. reconfigurable anatomy of complex living organisms that would not normally get in touch with. And to offer a mysterious world of natural illusion-based system that undergoing changes with form in different perspectives

Intention of developing exotic and ineffable metamorphosis of turbulence

The alienated strange bioluminescence of a sea creature

CONCEPTUALISATION 13

CONCEPTUALISATION

CONCEPTUALISATION 15

BUBBLE NEST PLACE WHERE REALITY AND FANTASY CLASHES

CONCEPTUALISATION

CONCEPTUALISATION CONCEPTUALISATION 17 17

A.2 DESIGN COMPUTATION

COMPUTING What is computation? Architects used to digitalize existing procedures with entities or processes that are preconceived in the mind of designer. Computerization is the way of utilizing computer as a virtual drafting board for editing, copying and increasing the precision and ease of design. Likewise, computation enable designers to expand their creativity and abilities via highly complex situations. It is the process of information and interactions between elements which constitutes a specific environment, providing a framework for negotiating and influencing the interrelation of data sets of information for the generation of complex order, form and structure. Indeed, computation is used for processing information through an understood model perhaps expressed by algorithm, allowing the exploration of new ideas.

The emergence of computing in design was comprehensively complex and non-monotonic. A typical example is Guggenheim Museum by Frank Gehry which demonstrates analog in design and digital in production. By utilizing paper model, the museum is interpreted, transcribed, digitalized and came alive in the virtual environment. Digital morphogenesis provide conditions of multiple singularity in a continuum evolution. The prominence of biomimetic, nature-based, human-oriented, innovative materialized approach reshaped the expression, performance through exploiting computational geometry and analysis of digital designs((Peters, Brady. 2013). Gemini, by Neri Oxman, designed through mapping the load of human, make use of the computer-based process which allows material changes in accord with the networking 3D in the basis on stress test and algorithm that analyzes geometry.

Digital design formulated by complex, non-euclidean geometry actualized through computing and give rise to non-standard â&#x20AC;&#x2DC;mass customizationâ&#x20AC;&#x2122; (Peters, Brady 2013). New form of logic of digital design technology enables the creation, modulation and differentiation of design componenets. It is obvious that parametric design for instance validates the tectonic and material creativenessand easily developed for performative behaviors such as structural and energy performance in response to the climatic condition. Computation is redefining the practice of architecture(Peters, Brady 2013). Architects are developing digital tools that create opportunities in design process, fabrication and construction. Attributed by variability of parametric algorithmic design, tectonic richness of material shift and integration with performance analysis software(first reading), computing greatly allows the different manipulation of form in compliance with the human comprehension, control the accuracy of outcome(rational) meanwhile interpret through the set of instruction variably(creative)(Kalay, Yehuda 2004). Computational approach currently tends to be the development of parametric families of components and in the requisite control of data. This new design tools served as bridge between virtual design environment with physical environment for further exploiting building systems and building environments Computation comprised of performance analysis and knowledge about material, tectonics and parameters of production machinery in design which allows for performance feedback at different stages in design process. Specifically, it benefits performance-oriented design for more responsive designs by exploring new design options and analyses various architectural approach during experimentation. Digital model act as an effective tool for referencing to the feedback between users, building and environment in digitla model and reflected in changes in the building and its performance. In short, Computation and computing facilitate the sharing of codes, tools and ideas, building of algorithmic though is the accumulation of ideas, stimulating the ongoing progress to design and construction industries.

Figure 8: Showing the detail and top view of Gemini by Neri Oxman, 2014

CONCEPTUALISATION 19

GERBER ARCHITEKTEN KING FAHAD NATIONAL LIBRARY REFURBISHMENT AND EXTENSION

This is a project for refurbishment and extension to the existing King Fahad National Library In Riyadh where the development and interpretation of contemporary computational design techniques intuitively are inspired by the traditional Arabic architecture elements- mashrabiya shown in figure 10(Katodrytis, Mitchell 2015) Particularly, the design of small repeatable components together with the large surface geometry provides infinite potential for environmental and sustainable building, The prominence of facade layering in contemporary glass building contributes to the continuing environmental challenges of building to a region as it focuses on the adaptability, iterations and geometric configurations, controlling the constraints evoked such as climate resistance while creating desirable flexibility among candidate solutions(Oxman, Rivka 2015). In this case, from figure 17, the library spaces are surrounded by three-dimensional, light exterior parametric skin supported by tensile-stressed steel cable system which refracts light and provide shading.

Figure 9: From the diagram, the existing library area will become the central nucleus which surrounded by the light structural facade system

Figure 10: The various pattern of traditional mashrabiya which applied in alignment with stained glass, providing ornamental and enclosure act to the interior space.

CONCEPTUALISATION

Figure 11: Reinterpret culturally inherited patterns with advanced technological solutions metallic skeletal structure facade. The joint and steel-cable component is designed to adjust to various geometries and allow subtle external configurations of the membrane.

It is a huge advantage to apply contemporary computational design techniques where enable the creation of more sophisticated and delicate results in reference to traditionally preserved art and concept. Simultaneously, it improves the social, environmental and cultural perspective through a more dynamic and interconnected design procedure.

Figure 13: The project prioritized environmental concerns as well as anthropologically-driven criteria(reading 1) As shown in the photo, daylight in addition to the white membrane is largely conducive to the overall relax ambience as it diffuses calmly into the space.

Figure 12: The facade effectively combined a ventilation and cooling system comprising of a layered ventilation strategies to enhance thermal comfort and reduce energy consumption.

Figure 14: View of the facade system from interior of library depicting relationship of tensile shading system and the glazed curtain wall to existing building.

CONCEPTUALISATION 21

Evan Douglis Studio Flora_Flex Evan Douglis illustrates the beauty, intricacy and opulence inherent in flowering plant morphology as a model for surface variation. The computational design technique in this case dedicated to the developing of a more robust and biomimetic approach in figure 16. Additionally, computational strategies further evolve the architectural understanding and control over complexity, assemblies for generation of more complex scripting outcome.

Figure 16 : Oblique view of wire-frame mesh view depicting the involuted surfaces compared to the main unit.

The power of digital design helps emergence of attention to surface, behavioral variation and the connection within. Particularly, the contemporary design strategy maximizes the desirability, use and intricacy of the Flora_ Flex which combines the concept of skeleton morphology, topology, optical effects, growth patterns into a parametric derived membranes. The repetitive module of design augments the illusory properties of a surface which undergoing continuous distortion or flux in relation to a changing picture plane. Corresponding to a primitive ambient isotopic surface, the circular and helical rotation of the projected flanges produce a similar ocular vibration, necessary to generate the appearance of an anamorphic surface. Modular system: reciprocity between unit and field The digitalization allows the development of combining options for intended complex solution and differentiation of skin and system. This project gives a sense of surprise and conceive of a metamorphosis and interest in floral ecology. It is obvious to recognize how the computational arrangement of modular pieces constitutes the expression of changing porosity and surface excess specifically. Figure 15: Elevation of the modular system showing wide variety of symbiotical and topological expressive results by means of computational options.

CONCEPTUALISATION

Figure17: The oblique view of the image showcased the ceramic materiality of the modular componenets. The pursuit of utilizing contemporary material by the studio in favor of a more durable, light mass production of material.

The project in this stage was merely the preliminary phase of the design, scripting within system will allow greater flexibility and exploration to the modular system. This project brings forth a important message that modern computational techniques do give rise to innovative manufacturing process and explored the unlimited possibilities with animate materials to response which basically fosters â&#x20AC;&#x2DC;out-of-the-boxâ&#x20AC;&#x2122; creativity yet responsive and argumentative in any discourse.

CONCEPTUALISATION 23

SKETCHBOOK-TASK 2

The aim of design is to transcribe and interpret the inner struggle of the character which encompasses sensual, geometric qualities of architecture. The setting of the photograph is on Congo War in Africa. With the use of 16-millimeters colour infrared lens, the imagery established an illusionary, dreamlike, peculiar and sense of sublime particularly as the usual green foliage is replaced by the violet and pink. The qualities of insecurity evoked as big contrasts appeared with the character who intends to camoflagued himeself with plants while exposed in a way with the sharp yellow cloths and vertically held gun. In conjunction with the physcial appeal, the inner mind of the character is what the uncertainty posed. Whether he is going to rescue or destroy, is unknown, as he is facing backwards, the condition of his psychological behavior inspired and became the main elements of the design.

Figure 18: One of the photo in Richard Mosse Enclave series

CONCEPTUALISATION

The program of the design would be a sightseeing tower. The irregular, fluid frame creates a loosely packed atmosphere where users encounter different qualities of spaces by means of size, direction, depth and arrangement of openings. There is only one path, up or down, clearly, but the experience will vary among individuals and dependent on the usersâ&#x20AC;&#x2122; emotion/attitude, pace and climatic issue.

Development Sense of roughness, imperfection due to the termination of structure

Not compatible with the notion of fluid, irregular structure

The opening appeared systematically as the final outcome of the structure is predictable in the basis of input(line)

The qualities presented in this structure is rather aggressive and violent, loosing the emotions of absurd

CONCEPTUALISATION 25

UNCERTAINTY SANDY KWOK YILAN ZHAO Visitors are led to the deep inner

space of the character, taking the spiral stairs as the medium, walking through the journey of the struggle and insecurity in your perception, immersing yourself into the temporality of unknown.

CONCEPTUALISATION

SIGHTSEEING TOWER

CONCEPTUALISATION CONCEPTUALISATION 27 27

A.3 COMPOSITION/GENERATION

SHIFT FROM COMPOSITION AND GENERATION Architecture is experiencing a shift from drawing to the algorithm as the method of capturing and communicating design(Peter, Brady 2014) In retrospect, changes in belief and realization of design throughout history is important. From long time ago, architecture is developed through studying and understanding the system of proportion through a simple application of orderly templates for examples the arrangement, quantities of columns. Admittedly, craftsmanship dominated the details and qualities of results at that time. Then, arising from the concept of new spirit and principle in controlling over design during Renaissance period, a set of representation tools via scaled drawings and models is used for discussing the details, dimensions and proportions of building, thus performing as a mode of communication. The expansion of more sophisticated methods of presenting accordingly, allow designers come up with intricate design by careful investigating the three-dimensional and volumetric qualities (Kayla 2004). Currently, in the modern era, development attributed by dramatic material shift, abstraction of concept(figure 21), biological or nature influence and the integration with performance of analysis and programming software(parametric modelling, scripting, algorithm thinking). The emergence of complex, fluid, organic forms in accordance to comprehensive programming and generative process attempted to formulate new direction: proposing possible solutions efficiently.

Parametric modelling: A new form of the logic of digital design technology which is associative and dependency between objects and their parts-and-whole relationships, enabling the creation and modulation of the differentiation of the elements of a design. Scripting: The language to write programs for customizing their design environments in existing architectural design software. Numerous leading practices form internal multidisciplinary research units developed expertise in exploiting computational geometry in the mediated generation and analysis of digital designs.

Figure 19 : Number II A by Jackson Pollock. One of the most recognizable drip painting in the Abstract Expressionist movement that resulted from a complete immersion of creative process and left a legacy towards abstraction of design.

Algorithmic thinking: Algorithm encompassed features of a finite set of rules or operations that are unambiguous and easy to follow, ensuring definiteness and effectiveness. Definition: â&#x20AC;&#x2DC;algorithm is an unambiguous, precise, list of simple operations applied mechanically and systematically to a set of tokens or objects.â&#x20AC;&#x2122; The operations correspond to state transitions where the states are the configuration of the input that changes as operations are applied to them (Robert 1999). Nevertheless, the method for informing the steps to computer may be harmful as it prohibits the notion of virtual machine but reinforced idea of computational theory of mind. Also, the interconnection between algorithms and computation is significant. Problem appeared when the abstract descriptions of computing devices demonstrates real computing devices-virtual machine.

CONCEPTUALISATION 29

GENERATIVE DESIGN Generative design is a form finding process which mimics natureâ&#x20AC;&#x2122;s evolutionary approach to design. Designers set design goals as input as well as other parameters like materials preference, manufacturing method or cost limitation. It thereby explores all range of possibility for solution, and capable of testing the feasibility from each iteration. It is beneficial for designer who intends to investigate a greater variety of potential solution and select the best within. The abstraction and information become the new principal elements in generative design The process of developing from idea to final outcome is now take place through the systematic platform with sets of rules which interprets and generates by computer. Indeed, the challenge behind is twofold: how to abstract a vague idea and how to enter an idea into computer in a formalized way.(book) This takes issue with the problem-solving manner from designer(week two reading one). One way is to decompose the vague idea into concrete, simple â&#x20AC;&#x2DC;recipeâ&#x20AC;&#x2122;. Then, formulate individual steps in a programming language via computer. New possibilities Evaluation is a very important stage as computer may not be able to generate satisfactory results. Owing to the interaction between result and designer, the generative technique clarified with iteration and develop the final outcome. it is interesting to understand the possibilities of generative design such as emergence, simulation and tools. An example depicting the emergence characteristic is the flocking behaviors of birds(lecture 3 which unpredictable complex resulted from simple algorithm represent the swarming or branching qualities(the logic behind). On the other hand, the simulation of natural processes is imperative for transfer ideas, concept from one field to another for creating satisfactory results. Moreover, customized generative program allows designer to create individualized tools which can explore new variety and possibility of visual design mediums.

CONCEPTUALISATION

IDEA

Abstraction

RULE/ALGORITHM change rules Formalization

SOURCE CODE

DESIGNER change parameters

Interpretation/ Generation by the computer

IMAGE/SIMULATION Evaluate and select

Figure 20: Diagram of generative design process.

TOYO ITO

SERPENTINE GALLEY PAVILION

Figure 21: The intersecting lines formed range of traingles and trapezoids, gave a sense of infinitely repetition

Generative design indeed deal with the hyper-complex design briefs and prevent self-indulgaence and stylistically driven formal language. Toyo Ito distinguishes the ‘generative order’ to the growth mechanism of trees.(Book) Develops a rather complicated order which derived from the repetition of simple rules. In detail, the random pattern proposed was in fact obtained from an algorithm of cube that expanded as it rotated With the generative design approach, some people asserted that it disconnects architectural outputs from its context and users and lead to a decrease in spatial quality and building’s integration with the urban environment. Yet, in this project, the abstract tree’s shape responds directly to its surroundings, blurring the boundaries of interior and exterior spaces, favouring the generation of sensoral, recognizable qualities of design for different groups of users. The footprint of the design also derived from the contextual parameters such as street view alignment, neighboring context while the techniques inevitably supported the innovation in spatial solutions for community.

CONCEPTUALISATION 31

JĂźrgen Mayer H.

METROPOL PARASOL

Figure 22: The Bird view depicts the way that the design incorporated , engaged and stretched out architecturally within the context.

Figure 23: Detailed photo showing the connection of element, formulating a interesting spatial arrangement below.

CONCEPTUALISATION

Function as an organic urban space in the context of dense medieval city centre of Seville, Metropol Parasol stands for stimulating a multiuse social and cultural hub. This innovative bonded timber-constructions with polyurethane coating, redefine relationship between historical and contemporary city archaeologically JĂźrgen Mayer concerned human factor and incorporated elements of art and sculpture all together in the project. The complex sculpturallike shapes are computerized design and construction without repeating elements. In favour of the creation of complex, undulating structure, generative techniques enable the expansion of possible solutions with certain applied algorithms, suggesting a higher degree of flexibility in responding to particular social, contextual parameters.

Figure 24: Interweaving waffle-like crown wooden structure is supported by reinforced concrete, forming canopies and walkways below..

Figure 25: Also known as las setas(the mushrooms), Metropol Parasol has gained its reputation as the icon of the city with the 30m-high pillars and undulating honeycombed rood.

CONCEPTUALISATION 33

A.4 CONCLUSION Architecture always shaped the world. Throughout time, architecture witnessed the shift of materiality, style, value and genesis from the particular period or place. Digital architecture arose, it reshaped the world, recognized the traces of process in generating contemporary cities. By highlighting the importance of sustainable initiatives intended to counteract the challenges ahead, designers need to explore how computational design and new technologies are being innovatively employed for the world socially, economically and environmentally. After reading the book of Design Futuring, I personally agree to the statement of prioritizing the sustainability from any other concerns. It is very reflective on how we overexploiting the resources and introduces the appropriate reaction that designer should pose to alleviate the burning issue. One of the ways simply is by computational design techniques. By adding parameters into the programming, a huge variety of candidates solutions will come up for designer to select. Design is not creating an environmentally-friendly results in the expense of aesthetical values or vice versa, the advanced generative approaches can explore a harmonious and responsive ways for the contemporary digital architecture basis and thus benefits inhabitants and the entire community.

CONCEPTUALISATION

A.5 LEARNING OUTCOME Prior to the study of computing, I considered it as ways of designing ‘fancy’ stuffs. What I imagined is designer completely relied on the programming without the efforts of designing and it is a randomly operating methods. Nevertheless, computing is an ideal tools for generating adequate or desirable languages for the modern world. It is a goal-oriented medium which simulating interesting form, creating a ‘easy’, direct sequence of algorithm through computation. After this few weeks practice through reading, researching, working with Rhinoceros and Grasshopper, I start to understand its reason of significance. I demonstrate the ability to apply basic methods in computational design gradually through tutorial tasks, including the abstraction of vague ideas into algorithms, take nature into account and the different ways of utilizing the software. Also, I become more aware to identify the environmental and social problems accordingly and evaluate problem-solving strategies with the solutions. For my past design, I put too much attention towards the aesthetic and rational values within, neglecting the context and influence towards users. In fact, architecture is designed for human, I should develop more understanding for an anthropologicallydriven and environmentally-caring approaches.

CONCEPTUALISATION 35

CRITERIA DESIGN

B.1 RESEARCH FIELD

BIOMIMICRY Biomimicry is the emulation of lifeâ&#x20AC;&#x2122;s natural forms, patterning and engineering (Gruber, 2011). Biomimetic architecture seeks solutions for sustainability in nature, not by replicating the natural forms, but by understanding the rules governing those forms. Designers tends to seek inspiration from nature for discovery on new material and new material behaviors in an attempt to respond dynamically and adapt the environmental conditions. The investigation over the intricate complex appearance, organization of patterned skins and structures in nature, also behavior.

CRITERIA DESIGN

Fabrication conceptual approach is actually a device developed for each project by means of which we remain invisible as authors. ... It is a strategy that gives us the freedom to reinvent architecture with each new project rather than consolidating our style.â&#x20AC;&#x2122; ____ Jacques Herzog

CRITERIA DESIGN

FABRICATION & MATERIALIZATION

In view of the computational design approach at Herzog & de Meuron, there is a significance of performance for the generation of geometry and material configurations. Thus, the fabrication and installation should be considered thoroughly for realization of design.(Kolarevic, Branko and Kevin, 2008). Incorporating parameters in customised digital tool can make design more efficiently constructable and integrate with the current advanced technological discipline in architecture.

What constitutes an ornament in a contemporary context? Ornamentation can be decorative or applied, functional or integral and mimetic or imitative. Referring to contemporary approaches, decoration is used functionally to hide things. One example would be the de Young Museum with the integrated ventilation system on facade. The technological capacity to design and manufacture materials encourages employment of different composition, properties and appearance, and by means of digital parametric design and production, it can offer variation and liberation in terms of spatial layouts, components dimension, material composition and surface articulation, synthesized a new and intelligent way in approaching â&#x20AC;&#x2DC;out-of-the boxâ&#x20AC;&#x2122; architecture.

CRITERIA DESIGN

Effects

Physical: structural Perceptual: thermal, acoustic, comfort performance

Material Affects

Perception: meanings Experience: feelings or reflection

Figure 26: In De Young Museum ,the copper skin will take on an anticipated patina overtime, which the green color will eventually blend the dotted field of tree canopies of building skin with greenery of park. It opens a new quest on how material could change their properties dynamically in direct response to external and internal stimuli.

RESEARCH STUDY 1: ZA11 PAVILION

Conceptual Design Implications The final design consists of 746 unique pieces, which develop into a free-form ring that is subdivided into deep hexagons. This particular geometrical configuration allowed for the sheltering of the different planned events. It appears to be dynamically arranged and emerged in relation to the urban context. Opportunities It is an inspirational design as the defining facets of where architecture today seems to be progressing. This pavilion appeared to be structurally compelling and expressive, in favor of serving as a powerful urban activity node.

Figure 27: Pavilion served as a temporary social gathering venure and is unrestrained in terms of functionality.

Fabrication Concerns The realization of the design was made possible by advanced use of parametric design techniques, with the help of which the whole process was controlled from exact geometry generation to piece labelling, assembly logic and actual fabrication (CNC milling).

Figure 28: The hexagonal structure is being outline through the planar surface an creates a sense of drawing-in to the vortex of the pavilion.

CRITERIA DESIGN

ICD/ITKE Research Pavilion at the University of Stuttgart

Conceptual Design Implications Derived from the biological principles of sea urchinâ&#x20AC;&#x2122;s plate skeleton morphology, the pavilion makes use of polygonal timber plates by means of novel computerbased design and simulation methods to illustrate a biological structures. In reference to: -Heterogeneity: inconstant cell size, responsive to local curvature and discontinuities -Anisotropy: directional structure, cells stretch and orient themselves according to mechanical stresses -Hierarchy: two-level hierarchical structure.

Opportunities Integration of performative capacity of biological structures into architectural design can be verified from the resulting spatial and structural material-systems in full scale The development of modular system which allows a high degree of adaptability and performance due to geometric differentiation of pits plate components and robotically fabricated finger joints. The development and realization of the complex morphology of pavilion is a closed, digital information loop between model, finite element simulations and computer numeric machine control Highlighting the issue that form finding and structural design are closely interlinked from which an optimized data exchange scheme will make it possible to repeatedly read the complex geometry into a finite element program in order to analyse and modify the any parts of the design. Figure 29: The pavilion as a resting place

CRITERIA DESIGN

Figure 30: The joints of the plywood sheets are glued together to form a cell.

The external plywood panels are slotted together by using finger joints, similar to the ‘minute protrusions’ of a sea urchin’s shell plates notch into one another To realize and maintain the stability, it is needed to anchoring to the ground to resist wind suction loads

Figure 31: The critical connection on the pavilion

CRITERIA DESIGN

SKETCHBOOK-TASK 3

GROUP 1

GROUP 2

LITTLE CONFLICTS

PEAK 1

TENSIONING UP

For this design, we emphasis on the reciprocal relationship of movement with the body gesture and juxtaposition in groups or rows or clusters or spreading, therefore, in order to record the qualities, we produce lots of sketchy conceptual drawing in understanding the mechanism behind the movement from particular scene and the overall flowing of storyline.

CRITERIA DESIGN

INDIVIDUAL CO

ONFICTS

EXPLOSION OF CONFLICTS

The extraction of movement pattern to a grid plan in viewing the changes of position and magnitude

Imbuing myself into the 1950s American scenario, the West Side Story musical exposed a sensation of rebelliousness, violence and liberation from the setting of the conflicts between two gang groups. It is an evocative and exciting piece which expressed everything with lively dancing and music. In our investigation, the movement pattern and magnitude of conflicts were crucial and determinate the fluctuation and progress of the plot, thus we decided to record the flow-and-action mechanism in the film, with red and black distinguishing the two different groups. It is observable that the intensity of pattern strengthened with the increase in quantities of clashes Also, in the aftermath of multiple individual and smaller scale encounter, the tension surgedwith a sudden explosion of conflicts that involved everyone. What we develop is a pair of fluid, on-going, everchanging patterns which kept on stretching and conflicting in response to the external stimuli, for example the water movement. We try to use Weaver bird add-on to generate optimized flowing qualities with the positioning of anchor points on train station, rive and park. Furthermore, we would like to express the ideology of architecture as a risk. The playfulness and uncontrollable qualities from the video is captured to create an unpredictably movable structure for users to engage with and incite the sense of excitement within the playground area.

CRITERIA DESIGN

SOMEWHERE THEREâ&#x20AC;&#x2122;S PLACE FOR US SANDY KWOK YILAN ZHAO

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It is a’floating structure’ that covered the whole site to create place of risk for users

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B.2 CASE STUDY 1.0

ORNAMENTATION The evolution of ornamentation tends to bring about a new set of beliefs, from the colour scheme of Owen Jones, to opponents Adolf Loos in ornament and crime, it is an era to put emphasis on simplicity of structure and the inspiration from nature. In the present, notably for Biomimicry, is extensively formulating a 3-way relationship as ornamentation are now tie to structure, properties, geometrical outcome and the fundamentals-appearance. The function of ornament Architecture needs mechanisms that allow it to become connected to culture by continuously capturing the forces that shaped society. Materiality in addition is the connection, aesthetic composition and affection of design, which allowing variety of engagement with any given condition. Ornament as contingent In retrospect, ornamentation according to Adolf Loos was a crime as it is as a means of differentiation and unnecessary for modern society that strive individuality. Shift of thinking happened until now as if architecture is to be convergent with culture, it needs to build mechanisms by producing new images and concepts rather than recycle existing ones. Ornament as necessary: affect and sensation Modern example like laser-cut sheets, glass tubes, pleated floor plates, perforated screens, complex tiling and structural patterns are all emerges from the material substrate which processed through modern construction, assembly methods. -Depth: orders building components from deepest to the thinnest: form, structure, screen and surface -Material: intrinsic to interior content, like program image, colour, and extrinsic like branding -Affect: interplay between depth and specific material

CRITERIA DESIGN

SKYLAR TIBBITS VOLTADOM

Figure 32: The voltadom installation over a hallway with ease of assemblage

The project resembled a groups of cellular objects which multiply and grow in interrelationship between pieces to establish a solid border. It extracted the qualities in Biological morphology with a self-replicating system that is adaptable to the given situation and environment. The vaulted ceiling is reminiscent of historical approach but the outcome expands the architectural notion of surface panel from which the depth of cone surface greatly favours the transformation of curved vaults to developable strips. In the context of light, the project extend its aesthetics quality in terms of the continuous flowing composition and light weight materiality.

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DIFFERENTIATION OF RADIUS

RELATIONSHIP BETWEEN INNER AND OUTER RADIUS

OPENING

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CELLULAR AGGREGATION

The overlapping componenets depicted the correlation of cell components

There is a quality of lingerin

PERMEABILITY

TEXTURE

By increasing the size of each elements, this creates an interesting outcome that elements appears turning from several anchor points highlighted in red.

INTERLOCKING CELLS

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ng between elements

The connection parts is corresponding to the textural changes of the outcome with a more jaggy and craggy contents from the right

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VOLUME ARTICULATION

STRETCHING DEPTH & WIDTH OF CONES

The differences shown is this part is on the regularity of cone position and placement

ARRANGEMENT

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The variation and differentiation of volume is expressed with increasing parameters on width and length

PROLIFERATION

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SATURATION

SMOOTHING AND THICKENING

ROUGHNESS AND EXPANDING

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SELECTION

Textural Structural Aesthetic

The main selection criteria is on the capacities and potential of demonstrating a intricately complex surface or volume that differs from the original projects in terms of structural, textural and aesthetic qualities. The following four outcomes highlighted and ignited my own ‘reflection’ and ‘imagination’ of a space, structure, form and experience profoundly. It is my intention in investigating interrelationship and interdependence of groups of elements, and thus, in favour of better understanding and manipulating the developing process, I emphasised on the structural configuration as a whole and the qualities of generating a continuous surface and space in a fluid manner

***** ** *****

This is my favourite iteration as I particularly like how the structure formulated a saturated qualities and is perfectly interlocking with each other, creating a sense of softness. I think it could be applied as a wall elements or sofa in employment as a relatively ‘welcoming’ structure as suggested from its performative appearance.

CRITERIA DESIGN

Textural Structural Aesthetic

***** ** ***

Differ from the first iteration, this wheel-like structure offers the high degree of roughness and stiffness to me. But what is interesting here is the stratifying layers which create the illusion of rotating. I think the spaces created underneath the structure could be dramatically different by means of differenet materiality ranging from timber, steel to plastic, and the pattern could react to light and shadow situation and produce desirable spatial configurations.

Textural Structural Aesthetic

*** **** ***

I have an immediate thoughts for this outcome as the application for canopy design. Its shapes and overall presence is similar to a paper umbrella with the centre point as the stand and encircled with a circular skin of fabric. I could imagine an impressively interesting ground level experience by looking at the interconnecting and intertwining connection of the upper coverings.

Textural Structural Aesthetic

*** *** ***

After viewing numerous fascinating complex form that aroused from the case studies, this iteration absolutely memerized me with its great possibilities in design application. Circular structure is always hard to utilise as often, there is not much differentitation in my opinion. However, from this simple outcome, I reflected upon circle as a clusters of geometrical configuration that can be diffused through the atmosphere while the size of circle diminishing gradually towards the periphery.

CRITERIA DESIGN

SKETCHBOOK-TASK 4

First impression: exaggerating in terms of the colour pattern and use of colour And after reviewing the title- waiting for my life to become a cigarette advertisement, the exposition towards the painting changes to that we think of this painting as a story and the piece just reveals the surface,outermost part of it which seems flawless and attractive. Hence, we had an imagination of how ugly and negativity hat the painting could end or proceed to. Also we digest the qualities of a cigarette or smoke notably with its properties to end and extinct one day. So, we would like represent the passage of time, presenting the decay and gradually termination that posed to life. Moreover, inspired by Peter Zumthorâ&#x20AC;&#x2122;s design, mutability of material enabling the transform and change of material over time, deteriorating through ageing, weathering or use, we start to think of the shift of appearance in the design via the material changes due to may be oxidization.

Figure 33: The contemporary abstract art painting by Michael Gromm

CRITERIA DESIGN

The form is cave-like, with multitude of holes, but transparent envelope to allow people to see through. With passing of time, the spatial configuration and complexity will diminish and is counteract with the growing of a child specifically where the structure continue disappearing and the only thing left is your memory kept in and associated to the space.

I like the outcome from where light is projecting outward bring out the layering and roughness in structural arrangement

In our group, we try to convert the conventional thinking of architecture as a single usage or performing a sort of meaningful functions within. What we rather did is more emotionally triggers the spontaneous situation and action towards a changing structure. I felt that it kind of suggest the self-organzing pattern or the rhythm in nature that there is an end point and this is the incident that you will retain in your memory. It is a great idea to just let it blend to the landscape with the qualities to preserve memory instead of the physical elements

i think one significant issue for design is the determinants through data sets for our project mentioned in class for example topography of site, insect, environment, tree, temperature to visualize data in a more sophisticated way. There is one important design idea: we should not create complex idea in simple form and indicate a specific program for users ,rather , it is a better attitude to interpret the qualities and behaviors or characteristics we gained from the source and through digitalization or parametric modelling, exemplify the interpretation in a broader architectural senses.

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LEFT HERE DECAY SANDY KWOK YILAN ZHAO

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2 YRs

4 YRs

6 YRs

>8 YRs

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B.3 CASE STUDY 2.0

SHELLSTAR PAVILION

One of the biggest objectives for the project is to create a spatial vortex for visitors to feel drawn into the center and subsequently drawn back out to festival site. I particularly mesmerized by the softness and lightness extracted from the materiality and the morphological behavior to varying surface system and arrangement in a fluid and responsive manner. Interestingly, the project traced back to classic example of form finding developed by Antonio Guadi (the reverse hanging method) while explored the elements of shellstar with its corresponding pattern in order to unite surface structure with material. Given the urban context and intention for agglomeration, I think the design pavilion is performed well in the potentials of generating multiple experience for users; one is the display of silhouette according to the cell opening and the intensity, position of sun during daytime, another one is the illumination it reacted to the surrounding conditions.

1.Form-finding 2.Surface Optimization 3.Fabrication Planning

Figure 34 : The shape of Shell star pavilion is fluid and creates a sense of lightness

Use of Grasshopper and physcis engine Kangaroo, the form self-organize into the catenary-like thrust surfaces that are aligned with the structural vectors and allow for minimal structural depths Composed of nearly 1500 individual cells that are all slighly non-planar. In reality, the cells must bend slightly to take on the global curvature of the form. But it cannot be too non-planar as this would increase difficulties in cutting from flat sheet matierals Using custom python scripts, each cell was unfolded flat and prepared for fabrication. The cell flanges and labels were automatically added and the cell orientation was analyzed and then rotated to align the flutes of the Coroplast material with the principal bending direction of the surface.

From the form, the system has a influx and outflow of matter and energy that create the qualities of synthetic living systems

Figure 35,36: The illuminuous distinction of the structure in essence of biological morphogenesis

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Step 01: BASE MESH

Step 02: SUBDIVISION

A simple, low- resolution square mesh as base

Increase the resolution through subdividing the mesh

Step 05: BASE ANCHOR POINT CONFIGURATION

Step 06: HANGING MESH SIMULATION 2.0

Not very satisfied with the result in step 04, I try to figure out an alternative way to denote more sbranches of stand by means of base plane for building up a more complex structure

Simulating the physical interaction of the structure until rest

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Step 03: POINT ORIENTATION??

Step 04: HANGING MESH SIMULATION

Graph mapper to create points of extrusion, triangualar delaunary line is used for outlining the gestural of the form

Apply mass to the node and simulate physical interactions through kangaroo, performing like a shell structure. The play of gravity in this step explores the potential of synthetic curvaceous tolerance to surface

Step 07a: POPULATE CELLS WITH OPENINGS

Step 07b: OPTIMIZATION

After patching surfaces, I find great errors presented throughout the structure, Each cell give rise to its surface by its own language instead of the overall structural consistency, resulting discontinuous surfaces

The generation of surface which optimize the bending and stretching movement of the cell

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Figure 36: CATALYST HEXSHELL is another project explored in a similar manner, but with different materiality which particularly depicted by the tructure generated in step 04. I figured out another ways of generative design from which there is significantly different qualities of outcome expressed in the two pavilion in terms of fabrication methods or materiality

The outcome demonstrated the flowing behavior and continuous pattern successfully of the shellstar pavilion, the articulation of openings in accord with the distortion and bending of structure is also revealed. Similarities: The reverse hanging method is the crux for the simulation of the project, and therefore, the reverse-engineering started with the multiple nodes in ground plane. One of the biggest challenges I faced is the ways of manipulating physics engine Kangaroo in order to create a autonomous concave conditions where control points can be easily managed for any circumstances. Differences: The form and the structure of the reverse engineering( first attempt) is much simpler than the original multiple stand to the base. To modify this situation, I try multiple attempt in optimizing the structure with anchor points, resulting a more dynamic and complex form which is capable of presenting fluid motion and variation of the structure. After researching on the engineering method of the pavilion, it is clearer to me that the characteristics of the shell star is also responsive to the brief. Their intention to create a public agglomeration space by means of generating a mesh in response to the vectors of movement, as shown in figure, it has a tendency and qualities of rotation. I did try numerous attempt in realizing the structure through a relatively complex base, but I was unable to construct a complete structure in Kangaroo, but throughout the reverse-engineering process, I learnt a lot from simulating physical relationship to a structure.

CRITERIA DESIGN

Figure 37: The mode of drawing attention towards the centre with the denotation of mesh responds to the vectors of movement

The concept of self-supporting shell star, unique in the structural performance and formal variation, enaabling the development in spatial fluidity compared to conventional design. Nature offers a luxurious precedent for biomimetic design in terms of the formal and behavioral componenets on top of any aesthetic circumstances. This installation not only respond to lightness, mechanical functions, but also consider the determinants of gravity, specific support points and a convex properties of material. It is the most significant part to vview the context of cellularity in referencce to the emerging structural hierarchies as depicted in figure. To further expand with the concept, I will the definition beyond the cellular aggregation. Exploring qualities of tectonic transformation, stretching, push-and-pull, asymmetry, permeability, additive and subtractive, cumulative, flattening and extruding to captivate the morphogenesis of the project in numerous variation and differentiation of iterations.

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B.4 TECHNIQUE: DEVELOPMENT

REPETITION AND PULLING

Structural innovation from curvaceous, flluid form to a rough, uneven and irregular form

Even though the outcome appears irregular and coarse texture, they are identical and repetitive pieces by pieces

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GRID ORIGINATION

1. Squeeze In

2.Flattening

3.Roughness 74

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3.Rou

ughness CRITERIA DESIGN

TOPOLOGICAL TRANSFORMATION

SURFACE PANELLING

AMPLIFYING

frame-like

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SURFACE TREATING* The different textural application demonstrated various qualities on the top surface

VARIATION IN FORM

CURVACEOUS MAGNITUDE

additive layers of vaults

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HEIGHT AND DEGREE OF STRECHTING

STARTING POINT- MESH EXPLODE AND MESH SUBDIVISION

DANCING & MOVEMENT

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SELECTION

Textural Structural Aesthetic Physical

In addition to the selection criteria from Case Studies 1.0, I explored the physical relationship of the outcome as it is of significance importance to the synthesis of form.

***** ***** ***** ****

The first successful iteration is the frame-like outcome. Involving the contrasting qualities from the original fluid project, this iteration allows me to understand the system thoroughly and carried out examining towards the prototyping task. Moreover, the net-like surface created is adapted physically to the curvaceous form of the structure, favoring opening in spatial articulation

Textural Structural Aesthetic Physical

***** ***** *** *****

This rough, rugged structure is probably the most unpredictably desirable outcome I created. There is a sense of uplifting tectonic forces driving up from the ground, perhaps like something against the gravitational field. I felt that it could act as a massive structural elements with hard and sharp materiality like metal.

Textural Structural Aesthetic Physical

***** **** ***** ***

This outcome is particularly attractive with its physical alignment and disposition, creating a free-flowing and fluid structure which I consider as the replica of water motion. It may be a great opportunities to define it as a facade system. Previously, I investigated in different attempts of responsive facade system. In respect to the materiality, the use of ETFE maybe suitable for establishing this fluent form in compliance with external climatic condition.

Textural Structural Aesthetic Physical

***** *** *** ***

The structure gave me reflection on the multitude of opportunities that exists for metallic materiality and to work synergistically in ways that suggests kinetic effects of a structure.

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SKETCHBOOK-TASK 3

“After a seven days' march through woodland, the traveler directed toward Baucis cannot see the city and yet he has arrived. The slender stilts that rise from the ground at a great distance from one another and are lost above the clouds support the city. You climb them with ladders. On the ground the inhabitants rarely show themselves: having already everything they need up there, they prefer not to come down. Nothing of the city touches the earth except those long flamingo legs on which it rests and, when the days are sunny, a pierced, angular shadow that falls on the foilage. "There are three hypotheses about the inhabitants of Baucis: that they hate the earth; that they respect it so much they avoid all contact; that they love it as it was before they existed and with spyglasses and telescopes aimed downward they never tire of examining it, leaf by leaf, stone by stone, ant by ant, contemplating with fascination their own absence.” ― ITALO CALVINO, INVISIBLE CITIES

Being the very last ‘one-week’ presentation task, our group would like to leave our ‘comfort zone’ and figured out new ways for approaching design. Differ from ‘conventional’ way of extracting ideas based on qualities of the resources, in this case, we try to get inspiration from our own unique reflection, the ambition to develop a philospohy to work on. Hypothesis is a supposition or proposed explanation made on the basis of limited evidence as a starting point for further investigation. We set assumption, break the limit, imitating the action through exploration of the explorer. To start with, we directed ourselves to Baucis. Then, we were tired and lost due to the absence of cities. Next, the way city elevated above ground mesmerized us and our curiosity triggered our thinking of the reason. Given the limited evidence and Marco Polo’s hypothesis, we could not stop ourselves from further investigating and digesting. What if his hypothesis is wrong? There is no sensations of hate, respect and love. What if there is no relationship between the two spaces? What there is physical and spatial explanation for their separation? Our suspicion draws awareness towards the effects of relationship physically formulating the fundamentals of emotional attachment. In other word, the condition is simply because of the behavior rather than any positive or negative feelings towards the ground. This came up with our belief that ‘the generation of any emotional attachment or engagement should contain the involvement of physical meeting, communicating with sense of engagement.’ From the proposed idea, we would like to create a structure which has qualities in activating the emotional engagement of individual to any ordinary places where people pass by maybe every single day. We tends to overpass or neglect our surroundings when is predictable or usual, our experience is fixed and hardly provokes excitement. To further develop from this, I think of characterising possible users as the traveller, whom has strong curiosity, to feel one selves getting lost when reach but attracts to explore, question, predict the form.

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As viewing the site, we elaborated the Rushall station from a transport points to an expendable agglomeration focus. Therefore, we emphasis the core, the focus which acts as the attractor. The diffused structure surround is intended as a media for users to proceed.

To create a intricate system for complex structure, we commence with a polygon encircled by inverted and tilted copy of it, and by magnifying and increasing its density, demonstrating the formation of compound lines, planes which possibly encapsulates range of evolving properties

3- The qualities of geometric forms may highlight the composition of space rather than the ambience.

4- Rigid corners and sudden change of plane direction feel sense of compression against

6- The noticeable changes fall in the pattern and juxtaposition of spaces

5- This is the desirable outcome mainly because of its qualities of extension and diffusion

8- The evolving mechanism starts to generate few categorized space while the centre is being stretched, counteracting the values of un-hierarchical space

THE 4TH HYPOTHESIS

SANDY KWOK YILAN ZHAO

Replacing the existing train station, the new design embodied a mutli-functional activity and transpiration node. The structure adapts to human, as an emotional driver while can imitate human, allowing the entire structure to self-repair, arrange to sense environmental changes. Once you enters, is like accessing an entirely different space, the structure regulate the atmosphere, through (maybe) temperature changes, humidity by means of water vapours or gas, colour differentiation through the omnipresent platform or wall unintentionally brings about the space.

After march through the labyrinth-like, transparent or translucent paths, the traveller directed themselves towards the place but one cannot see. The multitude of platforms cantilevered out and rise up the ground. One start to orient one-selves.

The internal space stimulates one explore, the physical connecting selves an unique emotional attac

eâ&#x20AC;&#x2122;s senses, building up the tendencies to g with the ever-changing area creates onechment which is unique to the person.

I can imagine oneself to gain different feelings in brighter and more open space or a layered and denser inner parts.

The reflection is upon what is the architectural intention, I certainly agree with the notion that design may not always be based on the program or functionality, but the meaning to extract from. That is a very critical and evocative point as it is common to find design to be representing something there is not necessarily a proper or adequate methods to propose from which the structure or outcome is not considerable or making sense. I feel that every design should convey a message or bear some meanings in illustrating a way of how architect understand and would like the building to perform and the users within it. So this brings me another question about the engagement of people in space. It is impossible to control over the behavior of people but maybe architecture can be the platform or medium to reshape the ambience and give rise to emotive and sensoral power to individual or groups.

B.5 TECHNIQUE: PROTOTYPE

FABRICATION

The properties of non-planar in Shellstar pavilion and planar in catalyst Hexshell allowed me to explore more possibilities in material and construction method to optimize the process. The art facade in Indianapolis- May/ September(book-Integrating Innovation in Architecture: Design, Methods and Technology for Progressive Practice and Research p.66) The message I learnt from lecture is that many of the design has to take two important things into account: 1. Complexity in minimal material 2. Installation Relative success and failure usually depends on the budget of the design and the most efficient way in demonstrating a responsive, comprehensive and interactive spatial experience May September facade -outsource to fabricate -use actual material-the aluminium panel size to -reverse-engineer the structure to avoid wastage The examination of the project made me understand the importance of embedding computation in design process to find a solution for a specific design goal instead of explicitly manifested in form and geometry while fabrication way should orient carefully as perspectives of installation will affect productivity and scheme.

Figure 38: The May September facade

CRITERIA DESIGN

1. MOUNTBOARD- SIMPLE FOLDING

The first prototype investigates the structure directly without cutting out pieces. Mountboard is an ideal material for folding since it retains shape while easy to create etching in the edges to accommodate a three-dimensional surface with very simple module. Advantages: The scripting technique enables mass-customized assembly from pieces to formal unique surfacemaking system. It appears repetitive and the assemblage stage could be eliminated since the structure is supporting each other. Disadvantages: It is a big issue that the more complex the structure, the higher the chances of it to break. Also, it could not provide a rigid structural integrity as the materiality is comparatively lightweight and thin. The components are two-dimensionally laser cut and folded according to the etch

Cracks and offset of planes occur when bending stress is high

CRITERIA DESIGN

MAKE TABS

The fabrication allows the production of nonidentical component which were flattened, tagged and organized on to mountboard that were laser cut. Advantages: This system allows more flexible approach and the frame add structural support to the whole structure while Disadvantages: To increase the strength and resistance of structure towards external conditions like bending, sagging, the framing system will need to be re-considered effectively alongside with the inner appearance of structure.

The layout of modules into a continuous surface without breaking

I like how the structure generate this naturally curve system

Capable of bending and the angle can be controlled through the frame system

Frame Faces

Frame and faces generating a performative folding device

CRITERIA DESIGN

2. POLYPROPYLENE

Connection of the structure is being explored in this prototypes. Polypropylene is the definite solution in illustrating the aesthetics qualities of the project without losing the durability and coherence outlined. A secondary fabrication technologies is provided with the connection point. By fixing the corners of each planes, it greatly encourages the form-finding for the structure since the geometry of individual cells could have a high degree of autonomous dependency in respond to physical conditions. Advantages: The real project may use of fabric to captivate the stretching qualities, while in this experimentation, the idea for producing lightweight and continuously interconnecting cellular aggregation pattern is flawlessly expressed. Disadvantages: Pieces are assembled together for creating structure, in other words, they are dependent to each other, failure may occur from extensive pressurized condition in one part of structure.

The inner face of the structure is similar to the second prototypemaking simple tabs, however, with additional connection points, there is a significant flexibility and variation of structural performance that may be restricted from the above attempts.

connection point hides from the top surface

Pieces are installed individually and manually Under lighting conditions, this prototype demonstrates a delicate properties of smoothness and permeabilities which gave a sense of lightness.

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3. MDF- FINGER JOINTS

This prototype is derived from the fabrication methods from the aforementioned ICD/ITKE Research Pavilion at the University of Stuttgart. When I worked on the prototyping, I accidentally neglected the calculation of angle and therefore, it produces a structure that is of low tolerance when subject to external forces. Also, as MDF is an extremely hard material, it is unable to cut over for fixing the errors. So, I considered it as a fail prototype.

There is enormous error from this prototype from which I could not assemble the pieces in to a whole structure because of the requirement of specific and accurate connection orientation and position

CRITERIA DESIGN

3. POLYPROPYLENE/MDF-WAFFLE GRID

The prominence of waffle grid system in pavilion design and fabrication engineering for prototyping brings me to look at its potential and values. Utilising both MDF and Polypropylene, the two contrasting materiality, appearing heavy and light respectively, In terms of the form, a simple interlocking system could offer a rigid and flowing qualities of the design. In terms of connection, the needs of extra and secondary framing and reinforcing system is redundant as the high stiffness conceived by established by the system itself. Nevertheless, the waffle grid may not be ideal for the case study project specifically because of the requirement of multiple attaching points to the ground, and it may offer excessive sense of rigidity to the structure.

CRITERIA DESIGN

Non-woven material is applied as the skin to the waffle grid and it harmonized with the characteristics of polypropylene.

The connection between the non-woven to polypropylene does not show considerable and intricate relationship, which makes this prototype fails.

CRITERIA DESIGN

4. MDF & FIBRE WOVEN

This is possibly the most interesting prototype I made. Thinking beyond the project, I try to demonstrate the quality of structure in another way. Here, by using fibre to link between the outer and inner circle Advantages: Great flexibility presented within the structure. As depicted in figure, the â&#x20AC;&#x153;Tightnessâ&#x20AC;? of the string allows the manufacture of It is compelling how the structure will gain its complexity and performaive differentiation with the increase of string or the connection hole. This is reminiscent of the ICD/ITKE Research Pavilion 2012 which utilised robotic fabrication in production customization. In the context of paradigm shift in architectural design and fabrication, I think the pavilion successfully explores new possibilities through investigation in integrative design computation while achieving material efficiency. It opens up the opportunities for presenting lines in complex structure. Disadvantages: Additional bracing frames are essential to formulate the case study structure.

The fibre give rise to a supplementary aesthetic values to the structure.

Left: The connection between pieces may cause error and displacement as the absence of position holding structure to attach with. Up:

100

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B. CNC

To figure out the way for representing the whole structure, CNC is desirable in creating the form substantially. with nodes attaching to the ground which demonstrating how the standing point holds up the whole structure. CNC relates to the results of the process rather than being the end point of it. It is of high accuracy for making geometrically complex and detailed moulds, then, the mould could be used for casting by means of other materials.(Nick,p.96)The process of CNC exploited the way of manufacturing in radically achieving a high degree of fluid aesthetics. And the most important part is perhaps the benefits of minimizing waste material and maximizing the optimization of non-standard components. As discussed in the lecture, material efficiency is a primary concern for every design and I learnt the application of CNC greatly change the genesis of fabrication technology on its formative and preparatory process for design.

Advantages: As suggested repeatedly from lecture and reading, material efficiency and fabrication effectiveness would affect the design performance. What I saw the opportunities in the CNC approach is its capacities of achieving the properties in a ‘minimal’ manner, as the production relies on digital modelling process which enlarges the precision in installing and material utilizing whereas laser-cutting may not perform well in this aspects as it is still largely dependent on the manpower.

Disadvantages: The mould is merely a preparatory or ‘transitional’ process to the design, it could not be the solution not until the long process of fabrication. But frankly, for this mould, I like how the structure and form articulated delicately reversible, and it has the potential to act as the framing system.

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101

I think the correspondence and relationship of elements is a dominant factor to be considered for the fabrication process of Shellstar Pavilion which based on relative repetition of ‘random’ cell organization. Therefore, I start the prototype experimentation from identifying the solutions for ‘pieces to pieces’. Both mount board and polypropylene has a generally flexible characteristics and favouring easy installation. In view of the occurrence of the pavilion, I prefer the polypropylene attempt as it has thee greatest tendency to capture a lightweight and smooth structure and the technique of connection is also derived from the actual construction(figure). Disregarding the provision of fixed anchors from the real projects, another question for the prototyping is about the position and orientation. I developed understanding of framing system with the waffle grid and CNC routing. Waffle grid may not come to be the perfect solution for this project because it loses the fluid flowing manner and provides a sense of heaviness. What surprisingly outstanding is the CNC mould in considering the fabrication from its support. Prior to the consideration of any fabrication methods, I have been thinking about what should be the medium to express the idea. Ranging from rigid material of MDF, to semi-translucent polypropylene and easy-to-handle mount board, I believe the material choice, other than volumes or efficiency, is fairly important and will instantly affect the overall presentation of the design. In addition, is worth to mention the idea of using fibre in connecting the components. Obviously, it would not be the answer for the fabrication scheme for the actual project, but the intention is to explore a new system of design in the basis of linework rather than surface, planes or volumes.

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B.6 DEVELOPMENT

310° PANORAMIC VIEW

120° BINOCULAR VISION VISUAL LIMIT

VISUAL LIMIT

POOR DEPTH RECPETOR

The primary characteristics our group would like to extract is from the behaviors of feral pig and the reason that made them regarded as feral species. The abstraction of feral pigs destructive behaivors and reason is the focal point of the design and we found compelling of how fencing, vision characteristics or disorder and habiting pattern made their issue matter. This design is the starting point for our group to think of theoretical and non-representational way of digesting the issue. Considered it as an experience-driven area, the design draws out the physiological, social aspects of feral pigs and framed the abstractive idea. Vision of pigs and human varied, the former see the world as a more three-dimensional way while people were limited by the sight. Therefore, our first idea is to present a possible solution to give a vividly panoramic qualities in the design.

The way of behaving, acting and responding of feral pigs is deliberately direct but interesting. From maps and statistics, they spread along water course, proximity to water resources. While can be considered as community-based animal, groups of up to 200 pigs will be agglomerated around water during hot condition. Thus, the diagram from the left is the depiction of feral pigs’ pattern of movement from the site accordingly to the river and tree area. ANIMAL BEHAVIOR

CIRCULATION

From research, we noticed very captivating elements in feral pigs- they are active in nightime and hard on fencing, results from damaging farmers land and livestocks. There are the main drivers to our design and in the pursuit of better manipulating the features of feral pigs, we try to think about the structure as the pig itself, instead of considering any functionality or intended users.

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Abstraction

Tween Curve

Skin

Superstructure

This is a luminous gathering place of spiritual enrichment which comes to alive in the night-time. The ascendant form and materiality of responding to light is essential while fluid form suggests a movement and passage. Glass and marble is truly delicate, inflexible material to accommodate the water movement. The expressive component of different material will react and counteract to the geometry and curvature of structure, from the progressive development on this design, we wish to carry on investigation to the abstraction of pattern and material application as it is essential not only to create the overall shape of the design but also to comply with the demand for maximizing effects and affects to the users.

It is glad to receive valuable comments and inspiration from critics. A structure or building is like resolving a set of questions(reading), designers outline, decompose, experiment and break through to find the perfect language for the specific building. The word “controlled” kept on appearing during this week presentation. This triggered my own reflection on ‘How far should an architect controlled over their design?’ Personally, the analysis section is always crucial but difficult then descriptive one. Interpretation and extraction of particular message from a source is subtle but free as there are countless clues and elements could be regarded to. Therefore, the role of architect as a medium in the way of selective, combination, or critical thinking towards the study is the prerequisites of any design.

CRITERIA DESIGN

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3 2

From the reading of Peters Brady and also the practices through prototyping, I learn that materiality can affect the perception and experience of forms, surfaces and spaces, favouring multi-sensory potential in order to evoke feelings. What we think for thee project is to highlight the sense so I think it will be enhance for our group to start thinking about the material selection.

3 2

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CRITERIA DESIGN

The three montages below showcased the changes in experience by means of framing views throughout the design, which is considered as a conceptual experiential filmology to design with.

Begin with a narrow entrance point, it framed the views

Middle atrium is an open space, and projection of video is on the skin with unobstructed panoramic views

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B.7 LEARNING OBJECTIVTIES & OUTCOME Prior to the study of digital design, especially skills and techniques from grasshopper, I always access a brief based on tracing and superimposing elements that obtained from the site or concept provided. But then, I learnt to look upon different qualities of design from materiality, structural integrity, ease of assembly and fabrication and most importantly the scripting and parametical articulation as a way of approaching design. Throughout the weekly sketchbook exercise, I substantially develop the abilities in generating variety of design possibilities from a given situation. The numerous attempt of developing design process and presentation made me more confident in addressing and interpretation message behind the source while I gained many opportunities to practice in expressing my opinion directly. From the past tasks, I particularly reflected on the importance of refining visual data set as the guidance of design. It is evocative that how people nowadays tends to read representation and interpretation of source rather than the raw data itself. I personally think the reason behind could be the difficulties in analysis, in view of this, I think architecture could served as a means of communicating and expressing relevance of the surroundings which is the part that comprised of meaning. Admittedly, I begin to understand the relationships between architecture and air from the group sketchbook task 5. We abandoned the conventional thoughts about how structural elements like roof, enclosure and base formulated an architecture, rather, the exploration of how architecture can be defined physically in the atmosphere. I have more insights towards algorithmic design and parametric modelling as a consequence of gaining in-depth understanding and manifestation of digitalization, a tool which is capable of accommodating any sorts of crazy and unrealistic approach. As I carried on systematic and formal enquiry towards Biomimicry, I found the concept of biology (grass, flowers, shells, insects) extremely evocative and thanks to parametric modelling software, the continence and self-organizing strategies from biomimetic approach can be achievable. As stated from Architectural DesignProtocell architecture, biology in every living organism has their reason and significance to exist in that way, ‘ there is no “happy accident” of environment as implied by Charles Darwin in natural selection’, nothing existed randomly but with unpredictable sequence of antecedent states. From this reading, I digested how project like Voltadom and shell star pavilion has the capacities and qualities to evolve and emerge as a living organism, from which computational geometry and adoption of different parameters enables the creation of diverse range of ‘species’ to denote the biological growth and maturation of structure in accord with the notion of changing environments and materials with time.

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CRITERIA DESIGN

DETAILED DESIGN

C.1 DESIGN CONCEPT

MID-SEMESTER FEEDBACK

I think the high level of arbitrariness in our interim presentation showed from the absolute control over the pig movement diagram. We provide too much assumption over the route and movement pattern of the pig in advance to searching for data support and referencing. Theories of architectural signification concerning the questions of why and how we associate a certain meaning with a piece of architecture(Handa, R). In order for a piece of architecture to mean something, that meaning has to have been assigned. A piece of architecture should display enough properties, by they the colour, textures, sizes or proportions to evoke a certain meaning in a viewerâ&#x20AC;&#x2122;s mind. change: make efforts to keep the intrinsic properties of architecture intact with significance and signification, encouraging users to give interpretation that is anchored in the pieceâ&#x20AC;&#x2122;s physical, emotional, sensual value with its meaning

The qualities of feral pigs for the interim presentation focused on its unique characteristics of visual disorder compared to human and its nature of heat intolerant and hard to fence. We felt that this three elements could have been better scripted and interpreted before putting directly in the building as the concept

know-how or procedural knowledge, propositional knowledge

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FERAL PIGS (Sus scrofa) ANALYSIS

MACRO LEVEL

-Tracing and pinning distribution region nationally

General description -Generally sedentary animals, but become seminomadic in environment where there are marked changes in the availability of food and water -Heat intolerance -Need for access to daily water and dense shelter: vicinity of watercourses and associated floor plains Morphology -Large robust bodies -With specially developed snouts for rooting up the ground -Omnivorous diet -Smaller, leaner and more muscular than domestic pigs

DISTRIBUTION IN AUSTRALIA

Behavior -State of gregariousness -Basic group consists of one or more sow and their piglets Habit pattern -Dispersed geographically in isolated populations in the north-west, south-west of Australia -Distribution related to location of watercourse, floodplains, grassland -Dense forest coverage in eastern and central part of Australia

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PROJECT PROPOSAL

MESO LEVEL

high numbers appearance medium numbers appearance low numbers appearance

DISTRIBUTION IN VICTORIA STATE

FENCE

MORPHOMETRIC

TRAP

VOLUME

We analyzed the data source through tracing four dimensional and spatial interpretation and conceptualised the oscillating play between point, line and volume.

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MICRO LEVEL Rushall, a relatively self-contained small neighbourhood, deliberately establish a invisible network within. Being the site for the entire semester, we have been explored previously with many possible manipulation of the site capacity. Therefore, we attempted to figure out an appropriate dialogue between the feral pig concepts with the possibilities that could be brought fourth: the engagement, metaphysical embedment and the technical exploration.

Feral Pig Density

Flood Possibilities

Monthly Rainfall

Month

Functional Segregation The highlight of the differentiation over the site indicated the activity zones where

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PROJECT PROPOSAL

Circulation and Transportation Symbol represented varied transport typologies to and from the Rushall district

Flood Condition Investigation over the pattern of pig density with precipitation rate, in addition to the extend of flooding chances over the past few years.

Pig activity has a dramatic effect on creeks and lakes, their rooting behavior ploughs up the area around the waterline. The disturbance of natural vegetation jeopardize the water quality and habitat of small aquatic and terrestrial animals. They also creates erosion and allows the establishment of exotic weeds. One of our intention is to prohibit the destructive behavior of the feral pigs over the Merri Creek and minimizes the environmental impact of our design towards the site context.

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DAMAGE Regardless of the massive economic losses and livestock threats brought by the feral pigs, we focused upon the ecological degradation as a consequence of their opportunistic feeding habits and movement pattern.

Latitude

The opportunistic feeding habits and omnivorous diet allow them to exploit various source and expand their colonization quickly.

Trampling:

feral pigs plough up vegetation and destroys native ecosystem, leaving these areas susceptible to soil loss and erosion.

Rooting:

They root to obtain food, and which, through their rooting journey, their morphologically unique tusks and snouts breaks up and loosens the land surface and cause land interference.

Wallowing:

as feral pig is intolerant to heat, the tend to congregate around water bodies . Then, follows by a vigorous scrub usually against a tree, they get a rubdown and thus habitat and water quality issue arises. Coastal

Inland/Continent Wallowing Trampling Ground Rooting

The result demonstrate that the behavioral differences have distinctive discrimination degree, showing a statistically quantifiable differences between the three destructive manner in geographical basis.

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PROJECT PROPOSAL

CONTROL TECHNIQUES An estimate of the abundance, occurrence and distribution of the feral pigs’ population will assist a development of effective control strategies as the indicator for their presence. According to animal control department, there are plenty of options in alleviating issue ranging from hunting, fencing, poisoning, shooting, trapping and many more. In view of the Rushall’s habitat conditions: abundance of resource, pig density(data base), movement and damage pattern, trapping is considered to be the most appropriate technique. It is a valuable and effective way to control the number and minimise their extent of activity zone in a humane manner. Subsequently, we executed a comparison between ‘fencing’(previously examined) and ‘trapping’.

FENCING

TRAPPING

Characteristics

Rigid technique as the control is inflexible and unalterable

Value

Expensive-large scale prevention

Economical-selective prevention

Effects

Unfriendly method-alter behavior of pig

Human method-harmless to pig, non-risky **

Effectiveness

Low-hard to fence

Flexible technique as it is able to move and reuse **

High-target control

Dynamism/ Capacity

**The qualities of flexibility and humanistic approach of trapping became the significant drivers as for our ongoing development.

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117

Supported by distribution, occurrence and abundance data set, we carried out analytical map CONCEPTUAL which our aim is to interpret the activity pattern of feral pigs, predominantly the major reasons ered as a feral animal. The scheme developed by means of transposing the national data set scale for the YZ plane in superimposition of its new context. It is a exploratory process for us to e in a spatial arrangement that inspired our techniques of form-finding.

118

PROJECT PROPOSAL

pping through method of scaling by which caused them to be considin the XY plane while the Victorian extract the Concept-form synthesis

PROJECT PROPOSAL

119

OPTIMIZATION

DATA COMPOSITION

120

PROJECT PROPOSAL

POINT ARTICULATION

VECTOR DISPLACEMENT

LINEAR JUXTAPOSITION

ISOSURFACING

GROWING

EXAGGERATION

SMOOTHING

PROJECT PROPOSAL

121

DESIGN IN MOVEMENTS 1_SETTING a field of growth points and oppressors from the previous analysis 2_GROWING a recursive branching to morphometrically analyzes the form structure 3_ISOSURFACING the vectors are analyzed based on the distance of from an oppressor, thickening the growth creating pools of thicken volumes and strings that support those large areas, resulting in intensities of smooth volumes and string geometries.

Owing to the numerous possibilities that could be generated in accordance with point relationship, we created many iterations to explore the volumetric qualities and structural articulation. We selected seven distinctive outcomes to investigate. Generally, it is a system of combining isomorphic geometry to create a quasi-(hyperbolic) structure in which the interconnection of points are assembled in either a sedentary(with single-directional paths) or nomadic manner(more complex and multi-directional paths). They all shared some common characteristics including sense of masses, emergence of distortion and linked orders. After that we created our selection criteria checklists in compliance to the qualities of trapping and the overall spatial disposition. The first version of the design is in consideration of a bounded and controlled profile. We looked for sense of integrity and wholeness in the structural synthesis in response to the inclusiveness for a trapping action. Also, the hierarchical essence of the volume is in reference to their grouping feature is another key perspective.

Selected design: We particularly like this design with its distinctiveness in form, away from the extending, sinuous network-like structure, suggesting a clarity in accumulation

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PROJECT PROPOSAL

Our - A S I S RESULT

DESIGN IN MOVEMENTS 1_SETTING a field of grpwth points and oppressors from the previous analysis. 2_growing a recursive branching to morphometricly analize the form structure. 3_isosurfacing the vectors are analyzed based on the distance of from an oppressor, thickening the growth creating pools of thickeded volumes and strings that support those large areas, resulting in intensites of smooth volumes and string geometry.

SPATIAL COMPOSITION

VOLUMETRIC ANALYSIS

PROJECT PROPOSAL

125

O -ASIS UR

Oasis, is an isolated area surrounded by desert; has a water source; supports vegetation and animal life. Life without reliable water sources coupled with constant need to travel between next water sources have been a theme of travel and nomadic lifestyles for groups of feral pigs. In essence, oasis provides a habitat for people passing through or temporarily inhabited in a natural zone. In this stage, we were interested in a concept of ‘Bookcrossing’. Defined as “the practice of leaving a book in a public to be picked up and read by others, who then do likewise.” We want to establish a network of interaction in favor of the communication and linkage between the neighbourhood.

RE-SITE VISIT NOTES SUNNY 12.13 Arrived Clifton Hill (Disruption to train services because incidents) Walked across the neighborhood. Attracted by a blue box hanging over the fences of a house. Yilan: Is that a book shelf? Yilan questioned while pointing towards the blue object. Sandy: ‘Neighbourhood book exchange’... this looks like a book interchanging corner. Yilan: I kind of like this spontaneous communal activity across the neighbourhood. 12.34 Reached Rushall Station. Flock of people cycling along the trail. Yilan: that’s unexpectedly popular cycling path, let’s move alongside the trail. S: Yup, let’s move to the riverside, the sun is burning, can’t stand from the heat. 12.40 Moved towards the river course. A lady sitting nearby the river, reading books. Yilan: Well, I think we should find a spot to sit and enjoy our lunch first. Sandy and Yilan found a flat little spot and start picnicking. Sandy: this area of the site is totally a retreat from the urban fabric, I felt that we are immersed by the nature here, like a micro green habitat. Yilan: Absolutely, I have an idea for our design! You know, as we concerned about the relationship of site, the movable and floating mechanism, why don’t we create a shelter that is flexible and extensible which enhance the individual and collective engagement? I’m trying to draw idea from the book exchange corner we saw just now. Sandy: Sounds fabulous! Do you mean interlinking and redefining the communal interaction in compliance with the sense of unbounded fluidity with our structure? Yilan: Exactly! Like you know ‘Bookcrossing’, popular in these days, a practice of leaving a book in public place to be picked up and read by others, who then do likewise. We can extract the qualities of interchanging mentally and physically in the space. 13.00 Sandy and Yilan started wandering around the side of rivercourse and bridge. Sandy: I found the site is intimately related to each other. Can we maybe pick up a node according to the analysis of key features of the site in response to the nature of feral pigs for constructing a place of conglomeration in humanistic scale? Yilan: Yes, should we humanize our design by means of human-driven structure and materiality? Sandy: I reckon we could develop a scheme corresponds to the analogy of pigs in which they search for food and resources in gregarious manner while incorporate the human comfort measure as the key drivers. Yilan: True, let’s focus on creating a spiritual dialogue between the nature and people; interpersonal connections, by providing an incentive for them to explore and enjoy. 1328. Leave.

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131

Version 1 of the design is fabricated through the 3d printing. Thoughts/Feedback: 1.The additional poles we positioned for structural integrity were not necessary. 2.The inner space demonstrated intricate and fluid features 3.The framing quality was not significant 4.The structure looks unconnected to the surroundings. We digested the suggestion and filtered the remarks from the re-site visit.

Modification:

We re-analyzed and picked up four distinctive elements captured from the site- Greenery, People, Infrastructure and sensual effects. Then, we inserted data set into these 4 points as a vector to reform the outcome. Isolated from urban fabric while immersed in a subtly nature position, we observed different state of human activities performed including cycling and reading. Thus, our aim is to configure the design onto and into the site, neither alter the focal points nor damage the distinctiveness of its conditions, allowing the program appear naturally from usersâ&#x20AC;&#x2122; perception.

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PROJECT PROPOSAL

We began to develop a progress that leads to a â&#x20AC;&#x2DC;humaneâ&#x20AC;&#x2122;, adaptive and flexible approach, as taking in account of the human mental sensibilities and physical configuration and momentum.

PROJECT PROPOSAL

135

ARCHITECTURE AS FURNITURE

We humanized the structure into a modest scale. We extracted partial section of the model here and demonstrates its potential for a seating approach. Not only do we inherit the bodily sitting mechanisms the universal occupation of mankind, but also the need to accommodate the complex â&#x20AC;&#x2DC;sedentary to nomadicâ&#x20AC;&#x2122; modern life in searching of a high level of comfort. Our physical wellbeing, enjoyment and efficiency are dependent on how we occupy and the feeling of the occupancy. There is multiplicity of ways of sitting: here our target is sitting for reading, for relaxation; sitting in casual gatherings, in public assembly, each way of sitting has specific characteristics, resulting in distinctive design logic.

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PROJECT PROPOSAL

THE TAKE IT IN

THE SMART LEAN

Through the generation of vectors of control from the four elements, we modified the script to be more humanresponsive and more relevant to their movement in theTHE appropriate SCRUNCH scale and dynamics. The conception of structure as inflatable design fosters the technical consideration for the sake of encapsuTHE COCOON lating sense of playfulness and fluid application of the structure itself.

PROJECT PROPOSAL

137

TIME LINE(INFLATABLE CASE STUDIES) The ubiquity of inflatable structure is significant in mainstream market, from kid’s toys to military craft.

In retrospect, the emergence of inflatable objects may achieved by the inventors of hotair balloon in the 18th century. Subsequently, designers rediscovered the potential for inflatable technologically.

Figure 39: Warm Air Balloon, Joseph Michel and Jacques Etienne Montgolfier Brothers, 1783

1800s

1950s

However, in the 1960s, Archigram turned pneumatic forms to visionary scheme in challenging and revolutionizing the conventional beliefs of materials in art and architecture. A portmanteau of ‘cushion’ and ‘vehicle’ expressed a vehicle that inflates to become habitable

Figure 40: Soap Bubble Experiment, Frei Otto

In 1950s, Frei Otto was experimenting with soap bubbles through the process of independent naturally occurring forms. He examined the pressure system in retaining equilibrium under surface tension

138

PROJECT PROPOSAL

Figure 41: Cushicle, Archigram(Michael Webb),1964

1960s Until now, artists, scientists, manufacturers and architects incorporated blowups technology in provision of diverse outcome from handful toy, furniture, temporary shelter and walkthrough environments.

The inflatable kindergarten designed and manufactured by Seminar Penumatische Konstruktionen is a 60m2 trial structure consist of 120m2 PVC sheet with a thickness of 0.5mm and 60m2 PVC coated polyester, by means of the simple fabrication, it opened up a range of opportunities as a flexible structure.

This project challenged the conventional design idea for an adaptive architecture with the generation of kinetic design by means of Electroencephalography with advance in soft silicone casting as air muscles. Figure 43: Inflatable Kindergarten, Gernot Minke, 1972

2000s

Figure 44: Soft Pneumatic Pavilion, 2014

Figure 42: Pneumatic Environment, Quasar Khan,1969

‘Deployable structure are structures capable of large configuration changes in an autonomous way. ___________Tibert, 2002

Quasar Khanh, created the inflatable furniture “Aerospace” series, was a remarkable progress towards defining a new typologies to represent the modern mobile, ever-changing life.

PROJECT PROPOSAL

139

No additional support

point support

linear support

point+linear support

Negative Pressure

Positive Pressure

The table demonstrated the classification of low pressure system for our project. We were particularly interested in double membrane structure, which also called â&#x20AC;&#x2DC;cushion structureâ&#x20AC;&#x2122;. The differentiation of pressure system indicated the various performance of inflatable which additional support help to achieve different shape.

Singular

Double

Cross

Irregular

The differentiation of structural system into structural types results from the formation and arrangement of the additional support element. From the diagram, it explained the variety of forms could be achieved from the additional support. In consideration for our prototypes, the double system is analogous to one of the parts from the design.Our aim is to create a structure that reveal infinite possibilities of shape to accommodate the human interactive aspects.

140

PROJECT PROPOSAL

Figure 45: BIG in their inflatable design questioned the methodologies of creating an impermanent, removable and fashionable project.

Can we develop a scheme by using the minimum material while accomplishing maximum capacity of

ENGAGEMENT and EXCITEMENT?

Figure 46: A intriguing diagram showing the benefits of inflatable design.

Transportation is one of our concerns for a mobile and rapidly assembled structures, mostly made of lightweight deployable structures. The objective is to create a design that supports the qualities of transformation meanwhile reliably stable, strong and durable. Apart from the structural interest, inflatable is also a environmentally-friendly approach as it reduced embodied energy of material used, support ease of transportation meanwhile reduce traffic pollution. In addition, as opposition to massive habitat damage by feral pigs, our design minimized site disturbance as the fabrication methodologies is direct and required no heavy equipment or construction, consequential for minimal waste. Last but not least, the recycability and flexibility encouraged re-deployable to other location, in favor of the nomadic movement pattern of the feral pigs.

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141

DESIGN LOGIC

Doubling the systematic behavioral, THE TRIO the posture here presented the possibilities of seating in favour of interaction, by directing the angle of contact towards one another.

THE TRANCE The crux of this posture is on the external focus, anything attracted individual or groups as a medium whiich navigate and orient the attention.

THE MULTI Imagine a place to free yourself from any constraint, these postures concluded the several gestural configuration for people.

142

PROJECT PROPOSAL

THE INTERACT

Doubling the systemetic behavioral, the posture here presented the possibilities of seating in favour of interaction, by directing the angle of contact towards one another.

THE TAKE IT IN The reclined postures support contemplation, about â&#x20AC;&#x2DC;taking inâ&#x20AC;&#x2122; information.

THE SMART LEAN A short-lived posture, people choose to lean to the side to shield their content from others., it could be better supported with a chair that offers greater lumbar support

THE SCRUNCH

THE COCOON This posture is about being casual, comfortable for certain people of a range of duration

This posture is synonymous with long duration sitting, may cause discomfort to majority of people for its negative ergonomic effects.

Stowe Boyd studied the impact of technological device to the way people sit: a system interfaces the human body and their chair. Here, we adopted the anthropological approach and expand the new typologies of comfort in the context of modern living word with consideration to the use of phone and tablets, concluding different types of posture of human in achieving individual and collective interaction and experience.

PROJECT PROPOSAL

143

SUBLIMATION

Eliasson analysed seven paintings by means through isolating and recording the use of light and colour from the work of J.M.W Turner, known for his expressive colorization, imaginative landscape and violent paintings. The experiments carried out to understand the application of colour, pigments to extract sense of ephemera from the painting.

Figure 47: Olafur Eliasson: Turner colour experiments

Inspired by Olafur Eliassonâ&#x20AC;&#x2122;s series of painting and his reinterpretation of colour and light sublimely, we also carried out experimental colorization by abstracting the hue and mixing paint in the canvases. The colour is extracted from its surroundings and our true red 3d print object itself. Differ from blending the colour tone exquisitely as Eliasson, we tilted the canvases in all direction and created the decentralized, meandering paintings. The two colour experiments presented an ambiguous materialization and state of flux which evokes qualities of rich, unpredictable tactility and diffusional phenomenon in the site context.

144

PROJECT PROPOSAL

Then, we further developed the scheme through a series of painting digitally, figuring out the concept of weaving and questioning. We came to a conclusion: In light of the changeability of our design to be adaptable to human activity, by position within urban realm, we could also represent the tendency of variability in accord with the external parameters locally in surface.

NOT too abrupt Abstraction Ambiguousness of form

This led us to the consideration of surface implication over iridescence, a phenomenon of certain surface which appear to gradually change color as the angle of view and the angle of illumination. Biologically, we thought of the effects of iridescence from a soap bubbles, a thin film which interferes with light can produce different colors as we investigate the shift and interference of the reflection and diffraction of colour to the material of the design.

PROJECT PROPOSAL

145

SEDENTARY MOVEMENT PATTERN ELASTIC KINEMATICS SOAP BUBBLE

ANIMAL NATURE

DESIGN BIOMIMCRY

COLOUR

MAPPING

SUPERIMPOSITION OPTIMIZATION

GENERATIVE TECHNIQUE

RIGID

STRUCTURAL THINKING

DEFORMABLE

TYPOLOGIES

FLEXIBLE

COMBINED

NETS FABRICS INFLATABLES

INFLATABLE (AIR CELL) STRUCTURES

C.2 TECTONIC ELEMENTS & PROTOTYPES

MEMBRANE Prior to the commencement of the prototype test, a number of material was investigated. The requirement for pneumatic strength, flexibility and durability restrcit the range of suitable materials. The following show the material that ideally performs in certain aspects for the design. ISOTROPIC MATERIALS

PLASTIC FILM

Availability: PVC as experimental material

POLYETHELENE recyclability

FABRIC

RUBBER MEMBRANE

perimental material

specimens(silicone testing)

Availability: as ex-

very flexible, useful as test

This group of material is for evaluating their capacity upon stretching and weldability, silicone casting technique is inspired by the deformitable rubber materiality

HOLOGRAPHIC MATEIRALS

FAUX LEATHER FABRIC

LAMINATING SHEET

PLASTIC

Instead of structural integrity, the appearance and texture of the material is considered as for surface embellishment. Nevertheless, they are hard to source.

SYNTHETIC MATERIALS

THRMOPLASTIC ELASTOMERS

combining the properties of thermoplastic and rubber: range of colouration, recycability, varying thickness

ETFE

eco-friendlyx, high life span, require minmim energy for transporatation and installtion

Interest in the concept of sustainability which these material celebrated flexibility, lightweight, durability accordingly. Applicable for main industry.

PROJECT PROPOSAL

149

STAGE 1

MATERIAL PVC

FABRICATION

TECHNIQUE

POP UP FURNITURE

ALTERNATIVES Faux Leather fabric 150

PROJECT PROPOSAL

Laminating sheet

Holographic plastic

Silicone

PNEUMATIC INFLATION

Thermoplastic elastomer

ETFE

/DEFLATION

Polyethylene PROJECT PROPOSAL

151

INFLATABLE Tools 1. tape 2. iron 3. pump 4. marker pen 5. scissor

Materials: 1. plastic 2. polyester fabric 3. 0.2 mm PVC 4. 0.5 mm PVC

seal position 1. edge 2. surface

1. Draw the outline.

2. Cut two pieces of the form and connecting pieces.

3. Hot weld the connection and pulling point.

Periphery

Centre

4. Hot weld the edges.

152

PROJECT PROPOSAL

5. Inflate.

6. Seal the opening.

REFLECTION First methodology we applied is the pop-up inflatable.

Sealing properties: Inflatable seal is critical to opt for good quality and stable products. Steam iron is the tool for merging the two pieces of PVC to one. Problem: hard to control the heat transfer, easy to destroy the matieral and heat up undesired location.

Position for air insertion Result

modify

Edges

Unsatisfactory: air tends to go to the weak points

Matieral:

Plastic

Centre

evaluate

Valve

Needs Improvement: Easier to control and give consistent result Sealing problem

Polyester fabric

for next stage: Use of valve for providing a standardized and controllable sealling result

PVC(0.2/0.5mm)

Properties

Thin Layer Transparent

High Flexibility Resist Shrinkage Inexpensive

High bendability Lightweight but strong Durable

Disadvantage

Material is too weak

Ideal material in terms of its texture

Difficult to utilise through steam iron

Pattern: Point VS Strip Two types of patterning are investigated and forming various order and system

PROJECT PROPOSAL

153

SILICONE TEST SILICONE high elasticity high compressibily excellent resistance to temperature change good water proofing Procedure: To employ the pneumatic actuator experimentation. Manuel Kretzer silicone casting procedure: 1.The silicone rubber part A and part B have to be mixed in 1:1 ratio to the mold volume 2.Then, the solution is degassed in the vacuum chamber# until no more bubble appear and add phosphorous powder in a ratio of 1 to 5 of silicone.( The step of removing bubble is important as it ensure no air pressure inside the silicone volume. 3.The Mixture is poured to a clean and dust free mold. And while waiting it to be settled and dried, repeat the step 1-2 without the phosphorous powder, giving a harder solution, forming the base of the actuator. 4.Both soft and hard silicone can now be removed from their casts 5.Using the same mixture, a piece of rubber tube is glued into the soft silicone part and then joined the soft and hard silicone together until is completely airtight 6.The dry device can now be inflated with adapter.

#The absence of vacuum chamber will greatly affect the result of the prototype as it will alter the pressure system

soft part

hard part Figure 48: The beautiful outcome is celebrated by the different elasticity of the silicone rubber under pressure

154

PROJECT PROPOSAL

Figure 49: The result illustrated a inflated structure

Tools 2. Spray 3. Formwork 4. Different dimension chamber 5. Pump

Process

0030 Silicone Part A & B

Mould

1. Part A and B is poured into a container.

hard part soft part

tubing

3. After double mixing the material, it can be poured into the mould.

Specimen

Thickness

2mm

Pattern

periphery

2. Thoroughly mix material with a mixing stick, scarping both the sides and bottom of the container.

4. Prepare an identical part as underside(soft), patterning can be applied here.

5. The two parts are glued together with the aids of silicone and the tubing is adhered to the parts for inflation.

5mm

centre

6. Inflate result.

PROJECT PROPOSAL

155

Acrylic paint perfectly blend with the silicone rubber and form delicate fluid flux manner of finish, this prototype is fairly successful in terms of the colour and pattern experiment to the pieces.

REFLECTION

Second methodology applied is the pneuamtic structure-Double membrane syste. We tested with three types of prototypes with variable in terms of thickness of membrane and pattern. Specimen 1(two pieces of 1mm silicone parts glue together with the edge): highest elasticity of silicone rubber is observed and the capacity of stretching and pulling is significant; the cut pattern successfully control the air flow . Specimen 2: The thickness challenge the elastic properties of the silicone, fail with the inappropriate air direction Specimen 3: After review the second specimen, modification made to increase the cut contact with patterning.

Opportunities &Challenges

Soft robotics by means of silicone rubber offers great opportunities to explore in ever-changing and on-going project; the variety of pattern can give rise to different shape of inflative tendencies. Challenge here is the air bubble. The presence of air bubble(no vaccum chamber) affected the air pressure within and around the silicone parts, indirectly altered the performance of the prototypes. Airtighting is another issue. In Soft Penumatic Pavilion(2014), the silicone design is connected to a Electroencephalography, enabling the changes in structure based on external parameters. Thus, the elasticity and air pressure system should be considered thoroughly for successful outcome.

Future Development

The different level of silicone can be tested and with different scale and dimension.Also, the effectiveness and approriacy of patterning should be revised for achieving better results.

156

PROJECT PROPOSAL

CNC-INSPIRED

1. Poured into the precasted formwork.

2. After the silicone is settled, removed the formwork.

3. Silicone is highly flexible and elastic.

4. Outcome With high degree of elasticity and density

REFLECTION

This is a relatively direct method to extract the negative parts from the design and create a denser solid form.

Opportunities &Challenges

Apparently, this is a easier technique to apply and the resulting prototype demonstrated its elastic properties and the tendencies to express the form, however, it goes against the qualities of flexibility as for a pneumatic structure

Future Development

0030-silicone is used. Different standard and level of silicone content can perform differently in elasticity, modification can be made in further analyzing the magnitude of softness and hardness in conjunction to multiple human activities.

PROJECT PROPOSAL

157

FABRICATION SYSTEM

ISOLATION

STACKING UP

10 1

1 6

SECTIONAL INTERSECTION

The structure is thoroughly analysed in the sectional basis, the system of fabrication is achieved by stacking up inflatable pieces by one by. The flexibility is achieved not only through the structureâ&#x20AC;&#x2122;s lightweightness, but also the careful proposition and application of joinery technique. Particularly, the employment of rigid connection by means of welding

158

PROJECT PROPOSAL

INFLATABLE 2.0 Checklist: Sealing Technique

-Steam Iron+ Wax Paper -Heat Gun(Fail to get permission from Fabrication Lab)+ MDF

Pattern(Future Development)

-Strip -Triangular(W) -Cross Repetitive *Fail to investigate( steam iron unable to perform)

Valve

-Small -Boston The openery methodology we applied is the pool toy offcuts valve

Pump -balloon pump -Bicycle pressurized pump

Colour

-pink(table cloth) -transparent(PVC) -multi-color (colour)

Joinery

-Eyelet+String -Hook & Loop Fastners(overlapped) -Hook & Loop Fastners(edges) Several requirement to be achieved: Inseparable joints(with rigid connection) >the strength of joints equal to the main material >as great flexibility as possible, > For the production, we employed welding and riveting Separable joints(flexible connection) >the ability to insert movable parts within a section of the envelope >in order to be able to manufacture large individual sections as standard elements and to combine them into buildings according to individual requirements**** >For the technically practicality, the following are available(future development): -zip fasteners -press fasteners -lacing -connecting strips

PROJECT PROPOSAL

159

A. The 1: 1 specimen is for the investigation of sealing technique(laterally) and usage of valve.

1.The Mesh is flatten to obtain the accurate shape and dimension of the design, then drew line to indicate the form in printed MDF board.

4. Cut off part of the membrane for a more flexible sealing system(valves)

2. The double membrane system

5. Adherence of valve to the skin is crucial

EYELET & ROPE

3. Applying Wax paper to minimize the chances of overheating and generating undesirable holes

6. Inflate the structure( with a bicycle pump to record the pressure)

6. The sternite of valve is only allowed for 30kg or below, human weight is impossible in this case, the future development will be working on the efficient and accurate valve system.

B1. Joinery technique: EYELET & ROPE There is proposed to remain part of the periphery side to allow the attachment of joinery elements. The rope is used for connecting the two pieces and stacking up with the flexible connection to allow free application by users.

HOOK &LOOP

We are also proposing that the rope can produce interesting surface decoration and the flexibility in usage

160

PROJECT PROPOSAL

B2. Joinery technique: HOOK &l LOOP The fastener here can be considered acceptable connection as it is fairly camouflaged and allows different configuration of structure while retaining the shape.

REFLECTION

Inflatble 2.0 is performed to investigate the usage of valve and two types of joinery methodologies In terms of valves, pool toy offcut valve is used. In terms of eyelet and rope, different patterning and complexity can be attained, visitors are left to decide the arrangement and use of individual In terms of hook and loop, this can be classified into the flexible connection, enabling users to compose differently to suit their purposes.

Opportunities &Challenges

Valve: The strength of valve can only support weight below 30kg, impossible for a human to sit on and lean against, but the opening increase the reusability of the structure. Joinery: The joinery technique expands the scope for changeability in composition of the design. Nonetheless, the two individual could not be entirely and beautifully attach together(unlike welding or gluing)

Future Development

Referring to design industry, there are a lot more sealing and joinery technique can be explored in relation to the objectives of products. -Different types of valve will need to be reviewed for understanding their own capacities against weight and pressure. -To achieve the mobility and ease of assembly in our design, the separate and inseparable joints are of paramount importance, Alternatives should be studied as suggested above.

PROJECT PROPOSAL

161

C.3 FINAL DETAIL MODEL

CONCEPTUAL

REAL VS FAKE

REALITY VS VISION

TRUTH VS IMAGINATION

FUSION

New relation between individual associated with their mental qualities and atmospherically dimension and extent of sharing and discovery in community based on movable infrastructure that could be adapted to the environment in constant transformation

PROJECT PROPOSAL

163

SITE PLAN

ELEVATION

166

PROJECT PROPOSAL

167

Our prototype considered different types of connection between the structure itself, by employing rigid connection, the structural integrity of certain part is achieved while degree of flexibility is accomplished by the flexible connection.

168

PROJECT PROPOSAL

Core-fragment relationship and the idea of growth and segregation in relation to the mobility and flexibility to change in use. The design looks for a metabolic system which users gain their power to ‘manoeuvre’ and ‘reassembled’ parts in their preferences.

PROJECT PROPOSAL

169

PLAN Our-ASIS

The day blisters and â&#x20AC;&#x2DC;â&#x20AC;&#x2DC; in the air, he bursts to tear, as he feels himself melting, the scorching sun hanging up the sky, he starts to cry. WATER! WATER! Desperately exhausted and thirsty, dehydration and mental confusion made him dizzy, his eyes suddenly covered with fizzy -evaporated dreamily.

He tries rubbing his eyes, places amongst appeared magnified, all his sight is revived. He snorts, OINK! Scared by his own voice, Why am I producing such a noise? He groans while continuously tramples the ground, can’t control and stand. There is something stirring up the mind, he starts running, Crossing fences or nothing, destructing bushes, structures, he is unstoppable, he is almost there, but he comes to an obstacle, he is trapped, THE OASIS! IT IS MY ALL TIME DESIRE! There is no way to escape, he is flooded with terror and hopelessness

Waked from a nightmare.... Where am I? Did I get lost? ‘We were lost around the center of the land it is not the usual paths we took, you get a heat stroke whilst this searching journey’ It is truly like an adventure and discovery, that is impossible if I need to survive the heat by myself, he murmured. QUICKER! We reach the river! Colonizing the water and nearby cover, in the land of pleasure and agglomeration, THE Our-ASIS.

SECTION

Form of the structure become ambiguous and unpredictable, shift of colour instantly from the existing parameter, the water, sunlight, people, greenery around.

174

PROJECT PROPOSAL

People change, use patterns are fluid not static, building life cycles being designed for shorter life span, but has created a pervasive and transitional methodology that can be applied and altered in the context, here we suggested a chain of inflatable retreat along the merri creek that deliberates the spirit.

PROJECT PROPOSAL

175

180

PROJECT PROPOSAL

181

182

PROJECT PROPOSAL

C.4 LEARNING OBJECTIVES & OUTCOME

DEVELOPMENT

Aside from inflatable/pneumatic or soft robotics mechanism which have been investigated for the design, the question of ‘how can a design gives the most for users’ is intriguing and thus we elaborated our statement through consideration of an attempt that could augments the human engagement in different scope. ‘Our-Asis’ drew on the tendency of its mobility and the changeability in response to the modern life, we are proposing the project as a series of pop-up inhabitation along the Merri Creek, in an unpredicated way. As a consequence, the final design could be regarded as the very beginning of the design process which is appropriate as a retreat for individuals or groups. To carry through the experiments of inflatable elements, we explored the potentital of inflatbale structure to be fit in different context.

Figure 50: Aqua-space, a delicate nature-oriented project expands the possibilities of a float-able structure.

The design is composed of layers of details from a translucent outer membrane, to an inner interlaced wire for strength and a cocoon-like interior space made out of folded polyethylene. The project provides a certain level of ‘transparent views’ for visitors to perceive the phenomenological interaction and aesthetic admiration.

The architect of the Serpentine Pavilion 2015 provided an objectivity based on visitor experience purely through envisioning the elements like structure, light, transparency shadow,sensitivity, change, surprise, colour and material. ‘The spatial qualities of the pavilion unfold when accessing the structure and being immersed within it.’ This widen our design vocabulary in terms of the journey through the space.

Figure 51: The exburant colouration through ETFE material.

PROJECT PROPOSAL

187

SCHEME

Tensile structure(primary) -Overall spatial configuration

Outer Envelope -Colorized plastic skin

Framing(secondary) -Interlaced metal

The flow diagram illustrated the idea of a thin tensile structure that maximizes the internal open space with minimum structural supports.

Our consideration for the network like secondary framing can be achieved through the high flexibility of T-joint with junction and dowel to enable connection from all direction in supporting the organic and relatively intricate shape.

188

PROJECT PROPOSAL

Hide-out -Folded polyethylene (Reactive to human weight)

Visitors can enter the space through various openings. Some comprise large arched openings, while some presented exclusively small in proportion, positioning at various point to allow visitor to explore.

PROJECT PROPOSAL

189

190

PROJECT PROPOSAL

The noctural view: Maybe the secondary support can be the illuminating source our the whole structure, increase the comprehensibility towards the structure of the design

PROJECT PROPOSAL

191

192

7 PRELIMINARY

ANIMAL BEHAVIOR ANALYSIS

PROJECT PROPOSAL

10 D

WEEK

8 REEVALUATION

SCIENTIFIC INTERPRETATION

WEEK

DESIGN PROCESS

9 RECONSTITUTIO FORMFINDIING

DEFINITION

PROTOTYPE

11 SUBLIMATION

WEEK

12 EXPERIMENTATION

WEEK

ARCHITECTURE AS FURNITURE

COLOR EXPERIMENTS

PROJECT PROPOSAL

193

REFLECTION

Overall speaking, I enjoyed the studio as it gave many opportunities to express and absorb architectural tecniqueand aesthetic simultaneously. Unlike any previous ‘conventional’ studio-based learning, ‘AIR’ studio acted like a network which connects all subject matter like computation, design, inspiration and reflection thoroughly. In particular, the weekly design tasks enable myself to practice the design process repeatedly of a process fromanalysis, form-finding, optimization, modification to detailing, and the first and possibly only condition to ‘squeeze’ the greatest amount of creativity I ever had and devoted all time and effort for a evocative result. Prior to the commencement of the studio, there have been polemical debate over the assertion that computerization interferes the role of a designers owing to their significant algorithmic justification. In certain extent, computerization through parametric, generative tools specified the results in highly dependent and scientific way, in favour of the contingency and explores millions of possibilities behind. Nevertheless, throughout the studio work, I rediscovered the fact that the essence of ‘good design’ is through the decision-making, evaluation, judgment from the designers. The act of hypothesis and experimentation are the crux of a ‘successful design’. I was notably inspired by Frei Otto, with his recipient speech for his Pritzker Prize, noted that ’The computer can only calculate what is already conceptually inside of it; you can only find what you look for in computers. Nevertheless, you can find what you doesn’t searched for with free experimentation.’ He examined one of the most revolutionary experiments in which he took structure and form finding far beyond the parametric idealists with the arbitrary ideas, and is the level of designer’s engagement encouraged the development of such fabulous results. Apart from the prospect characterized by computerization thanks to technical advancement and the philosophical ideology or poetry, I think all kinds of experimentation is essential for the identification and break through from convention or standard. For our design, the experiment of soft robotics expands my scope towards the technological realm of architecture, despite the result is unsatisfactory owing to the deficiency of required material and lack of experience, we tried our very best to perform the experiment and it could be an ongoing research in pursuit of a highly adjustable, per-mutable and responsive design.

194

PROJECT PROPOSAL

‘Everything is defined by relationship with something else, try exploring deeper what is the meaning for the project.’ Our tutor-Julius reminded our class over and over again during tutorial time. Design, according to Cambridge dictionary,is firstly, the art of making plans or drawings for something which I regard as the action phrase, secondly, the way in which something is planned and made which is the decision phrase and lastly, the acknowledgement to intend for a particular purpose which is the ‘aspiration’ phrase. During our design, we had run into a ordinary decision making cycle from identifying the problem, collecting and analyzing the information, to selecting the alternatives and implementing the action, then reevaluating the outcome, thereafter accumulating data for analysis again, is like an infinite loop that your design could be refined and modified endlessly. Nevertheless, in the aftermath of the studio, I understand that the turning point in every design is on the realm of the concept and clarification of what is intended for and to. Put simply, the pinpointing of the question-and-solution perspective, and once the response fulfilled the criteria that designer set, that can be considered as the final outcome. In our design, our objective is to formulate a human-driven, environmentallyresponsive approach, and it results from the homogenization of structure and liberty of movement, devoid of specific function and route, visitors are left spellbound by the invention and discovered their position within. I was generally satisfied with our design, however, there are remaining question and uncertainty that required us to rectify. Indeed, Julius mentioned that the variable is the most evocative factor to be explored in a design, even a situation is finalized, the variation can cast a significant excitement to the design, thereby leading a ongoing battle of renewing and rediscovering. On top of that, I have had a great time collaborating with my groupmate-Yilan, there were many ‘blood and tear’ during our design but I realized the ‘importance’ of communicating and sharing and she definitely gave me lots of support and insight. In addition, I gained confidence consistently in developing the capabilities for conceptual, technical and design analysis by means of computational geometry, data structures and all kinds of programming and add-on from grasshopper and related system, the variety of result is far beyond the imagination of anyone and I do think it will help my future understanding for the architectural discourse.

PROJECT PROPOSAL

195

REFERENCE Aaron Ragan. (2014). Emerson College Los Angeles / Morphosis Architects.https://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects. Agkathidis, A. (2015). Generative design : form-finding techniques in architecture. (London, England : Laurence King Publishing, 2015.) Bohnacker, H., Gross, B., Laub, J., & Lazzeroni, C. (2012). Generative design : visualize, program, and create with processing. (New York : Princeton Architectural Press, c2012. Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Katodrytis, G., & Mitchell, K. (2015). UAE and the Gulf : architecture and urbanism now. (London : John Wiley & Sons, 2015.)pp. 118, 126-127 Libeskind (2018). Jewish Museum Berlin. https://libeskind.com/work/jewish-museum-berlin/. Neri Oxman. (2014). Gemini. http://www.materialecology.com/projects/details/gemini Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Sheil, B. (2008). Protoarchitecture : analogue and digital hybrids. (London : John Wiley, [2008].) Yatzerland. Ltd (2011) Metropol Parasol // The World’s Largest Wooden Structure. https://www.yatzer.com/Metropol-Parasol-The-World-sLargest-Wooden-Structure-J-MAYER-H-Architects Dennis Lo (2014) Shell star pavilion. http://matsysdesign.com/2013/02/27/shellstar-pavilion/ Gruber, P. (2011). Biomimetics in architecture. [electronic resource] : architecture of life and buildings. Vienna ; New York : Springer, c2011. Frearson, A. (2011) ICD/ITKE Research Pavilion at the University of Stuttgart. https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-ofstuttgart/ Gromm, M(2017) Waiting for my life to become a cigarette advertisement. https://www.flg.com.au/art/waiting-my-life-become-cigarette-advertisement/ contemporary Grozdanic, L.(2011) VoltaDom Installation / Skylar Tibbits + SJET http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/ Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 pdf Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Megan,J. (2011). ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan, https://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan Parking Structure Art Facade / Rob Ley Studio(2014) https://www.archdaily.com/536756/parking-structure-art-facade-urbana Matsys (2013) Catalyst Hexshell. http://matsysdesign.com/2012/04/13/catalyst-hexshell/ Spiller, N., & Armstrong, R. (2011). Protocell architecture. Architectural Design ; guest-edited by Neil Spiller and Rachel Armstrong. [New York?] : John Wiley, 2011. Handa, R. (1999). Against arbitrariness: architectural signification in the age of globalization. DESIGN STUDIES, (4). 363. Dessauce, M. (1999). The inflatable moment : pneumatics and protest in ‘68. New York : Princeton Architectural Press, c1999. McLean, W., & Silver, P. (. (Architect). (2015). Deployable structures. London Laurence King Publishing, 2015. Herzog, T. (1977). Pneumatic structures : a handbook for the architect and engineer. London : Crosby Lockwood Staples, 1977. Imagine Vietname (2013) Quasar Khanh, a designer from another galaxy. http://luxury-furniture-vietnam.com/designer-furniture/quasar-khanh-vietnamesefurniture-designer/ Pneumocell (updated in 2018) Design Principle. http://www.pneumocell.com/pneumocell.nature.english.html Atom(2017). THE CUSHICLE AND SUITALOON. http://architecturewithoutarchitecture.blogspot.com/p/cushicle-and-suitaloon-were-conceptual.html Francois Mangion and Becky Zhang(2014). Furl: Soft Pneumatic Pavilion. http://www.interactivearchitecture.org/lab-projects/furl-soft-pneumatic-pavilion

Stowe Boyd (2018). 9 NEW POSTURES. http://stoweboyd.com/post/68067902188/steelcase-global-posture-study-technology-is-the David Basulto. (2009) Entries for the Young Architects Program at P.S.1 2009. https://www.archdaily.com/13010/entries-for-the-young-architects-program-at-ps1-2009 Patrick Lynch (2016) BIG-Designed Inflatable Pavilion Lights Up Roskilde Festival. https://www.archdaily.com/791253/big-designed-inflatable-pavilionlights-up-roskilde-festival Olafur Eliason (2014) Olafur Eliasson: Turner colour experiments. http://www.tate.org.uk/whats-on/tate-britain/display/olafur-eliasson-turner-colourexperiments Bellostes (2010) Aqua-space: Jellyfish-inspired structure compliments nature. https://drprem.com/guide/aqua-space-jellyfish-inspired-structure-compliments-nature/ Amy Frearson. (2015) Serpentine Pavilion 2015 by SelgasCano photographed by Iwan Baan. https://www.dezeen.com/2015/06/22/serpentine-pavilion2015-iwan-baan-london-selgascano/ Manuek, K. (2017). Information Materials: Smart Materials for Adaptive Architecture.Springer Cham, 2017.

LIST OF IMAGES Figure 1 Iwan Baan (2014). Emerson College Los Angeles / Morphosis Architects.https://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects. Figure 2 Iwan Baan (2014). Emerson College Los Angeles / Morphosis Architects.https://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects. Figure 3 Iwan Baan (2014). Emerson College Los Angeles / Morphosis Architects.https://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects. Figure 4 Iwan Baan (2014). Emerson College Los Angeles / Morphosis Architects.https://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects. Figure 5 Libeskind (2018). Jewish Museum Berlin. https://libeskind.com/work/jewish-museum-berlin/. Figure 6 Libeskind (2018). Jewish Museum Berlin. https://libeskind.com/work/jewish-museum-berlin/. Figure 7 Libeskind (2018). Jewish Museum Berlin. https://libeskind.com/work/jewish-museum-berlin/. Figure 8 Neri Oxman. (2014). Gemini. http://www.materialecology.com/projects/details/gemini Figure 9 JeffWillis (2015). UAE and the Gulf : architecture and urbanism now. (London : John Wiley & Sons, 2015.)pp. 118 Figure 10 Katodrytis, G., & Mitchell, K. (2015). UAE and the Gulf : architecture and urbanism now. (London : John Wiley & Sons, 2015.)pp. 118 Figure 11 Christian Richters (2015). UAE and the Gulf : architecture and urbanism now. (London : John Wiley & Sons, 2015.)pp. 126 Figure 12 Katodrytis, G., & Mitchell, K. (2015). UAE and the Gulf : architecture and urbanism now. (London : John Wiley & Sons, 2015.)pp. 126 Figure 13 Katodrytis, G., & Mitchell, K. (2015). UAE and the Gulf : architecture and urbanism now. (London : John Wiley & Sons, 2015.)pp. 126 Figure 14 Katodrytis, G., & Mitchell, K. (2015). UAE and the Gulf : architecture and urbanism now. (London : John Wiley & Sons, 2015.)pp. 126 Figure 15 Sheil, B. (2008). Protoarchitecture : analogue and digital hybrids. (London : John Wiley, [2008].)pp.63 Figure 16 Sheil, B. (2008). Protoarchitecture : analogue and digital hybrids. (London : John Wiley, [2008].)pp.63 Figure 17 Sheil, B. (2008). Protoarchitecture : analogue and digital hybrids. (London : John Wiley, [2008].)pp.64-65 Figure 18 Richard Mosse(2015.) Enclave.https://en.louisiana.dk/exhibition/richard-mosse Figure 19 Pollockprints.org. (2014) Number II A. http://pollockprints.org/number-ii-a/PollockPrints.org Figure 20 Agkathidis, A. (2015). Bohnacker, H., Gross, B., Laub, J., & Lazzeroni, C. (2012). Generative design : visualize, program, and create with processing. (New York : Princeton Architectural Press, c2012.) pp.461 Figure 21 Agkathidis, A. (2015). Generative design : form-finding techniques in architecture. (London, England : Laurence King Publishing, 2015.)pp.18 Figure 22 Yatzerland. Ltd (2011) Metropol Parasol // The World’s Largest Wooden Structure. https://www.yatzer.com/Metropol-Parasol-The-World-s-LargestWooden-Structure-J-MAYER-H-Architects Figure 23 Yatzerland. Ltd (2011) Metropol Parasol // The World’s Largest Wooden Structure. https://www.yatzer.com/Metropol-Parasol-The-World-s-LargestWooden-Structure-J-MAYER-H-Architects Figure 24 Yatzerland. Ltd (2011) Metropol Parasol // The World’s Largest Wooden Structure. https://www.yatzer.com/Metropol-Parasol-The-World-s-LargestWooden-Structure-J-MAYER-H-Architects Figure 25 Yatzerland. Ltd (2011) Metropol Parasol // The World’s Largest Wooden Structure. https://www.yatzer.com/Metropol-Parasol-The-World-s-LargestWooden-Structure-J-MAYER-H-Architects Figure 26 Kolarevic, Branko and Kevin R. Klinger, eds (2008). de Young Museum (New York; London: Routledge), Iwan Baan (2014). Emerson College Los Angeles / Morphosis Architects.https://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects. Figure 27 Megan,J. (2011). ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan, https://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan Figure 28 Megan,J. (2011). ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan, https://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan Figure 29 Frearson, A. (2011) ICD/ITKE Research Pavilion at the University of Stuttgart. https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-theuniversity-of-stuttgart/ Figure 30 Frearson, A. (2011) ICD/ITKE Research Pavilion at the University of Stuttgart. https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-theuniversity-of-stuttgart/

Figure 31 Frearson, A. (2011) ICD/ITKE Research Pavilion at the University of Stuttgart. https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-theuniversity-of-stuttgart/ The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects Figure 32 Grozdanic, L.(2011) VoltaDom Installation http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/ Figure 33 Gromm, M(2017) Waiting for my life to become a cigarette advertisement. https://www.flg.com.au/art/waiting-my-life-become-cigarette-advertisement/contemporary Figure 34 Dennis Lo (2014) Shell star pavilion. http://matsysdesign.com/2013/02/27/shellstar-pavilion/ Figure 35 Dennis Lo (2014) Shell star pavilion. http://matsysdesign.com/2013/02/27/shellstar-pavilion/ Figure 36 Dennis Lo (2014) Shell star pavilion. http://matsysdesign.com/2013/02/27/shellstar-pavilion/ Figure 37 Matsys (2013) Catalyst Hexshell. http://matsysdesign.com/2012/04/13/catalyst-hexshell/ Figure 38 Parking Structure Art Facade / Rob Ley Studio(2014) https://www.archdaily.com/536756/parking-structure-art-facade-urbana Figure 39 (2014) Herzog, T. (1977). Pneumatic structures : a handbook for the architect and engineer. London : Crosby Lockwood Staples, 1977. Figure 40 Pneumocell (2018) Soap Bubble Experiment.http://www.pneumocell.com/pneumocell.nature.english.html Figure 41 Atom (2018) Cushicle. http://architecturewithoutarchitecture.blogspot.com/p/cushicle-and-suitaloon-were-conceptual.html Figure 42 Imagine Vietname (2013) Pneumatic Environment. http://luxury-furniture-vietnam.com/designer-furniture/quasar-khanh-vietnamese-furnituredesigner/ Figure 43 Herzog, T. (1977). Pneumatic structures : a handbook for the architect and engineer. London : Crosby Lockwood Staples, 1977. Figure 44 Francois Mangion and Becky Zhang(2014). Furl: Soft Pneumatic Pavilion. http://www.interactivearchitecture.org/lab-projects/furl-soft-pneumaticpavilion Figure 45 Patrick Lynch (2016) Diagram of BIG-Designed Inflatable Pavilion Lights Up Roskilde Festival. https://www.archdaily.com/791253/big-designedinflatable-pavilion-lights-up-roskilde-festival Figure 46 David Basulto. (2009) Entries for the Young Architects Program at P.S.1 2009. https://www.archdaily.com/13010/entries-for-the-young-architectsprogram-at-ps1-2009 Figure 47 Olafur Eliason (2014) Olafur Eliasson: Turner colour experiments. http://www.tate.org.uk/whats-on/tate-britain/display/olafur-eliasson-turner-colourexperiments Figure 48 Manuek, K. (2017). Information Materials: Smart Materials for Adaptive Architecture.Springer Cham, 2017. Figure 49 Manuek, K. (2017). Information Materials: Smart Materials for Adaptive Architecture.Springer Cham, 2017. Figure 48 Bellostes (2010) Aqua-space: Jellyfish-inspired structure compliments nature. https://drprem.com/guide/aqua-space-jellyfish-inspired-structurecompliments-nature/ Figure 49 Amy Frearson. (2015) Serpentine Pavilion 2015 by SelgasCano photographed by Iwan Baan. https://www.dezeen.com/2015/06/22/serpentinepavilion-2015-iwan-baan-london-selgascano/

Our-ASIS