Shengran Zheng 710821 air studio by shengran zheng

STUDIO AIR Mimesis SHENGRAN ZHENG (DAISY) 2017(SEMESTER 1) TUTOR: CHRISTOPHER FERRIS

CONTENT PART A CONCEPTUALIZATION

PART B

CRITERIA DESIGN

PART C CRITICAL DESIGN

PART A CONCEPTUALIZATION

A.0 INTRODUCTION A.1 DESIGN FUTURING 1.1 CASE STUDY 1 1.2 CASE STUDY 2

A.2 DESIGN COMPUTATION

2.1 CASE STUDY 1 2.2 CASE STUDY 2

A.3 COMPOSITION GENERATION

3.1 CASE STUDY 1 3.2 CASE STUDY 2

A.4 CONCLUSION A.5 LEARNING OUTCOME A.6 APPENDIX

A.0 INTRODUCTION

I am Daisy, a third year architecture student in Melbourne University. Through three years study, architecture gradually become part of my life. In my opinion, Architecture is not only about forms and functions but also about how ideas can shape the world and how to understand the world through different methods. I really enjoy the poetic and dramatic aspects of architecture. Architecture to me is not a cold and static object but a living creature or and dynamic system. I believe architecture is a complex field. It is about spatial arrangement and organization. It is also about material, emotions, social issues and construction techniques. It allows individuals to have distinctive perception towards to the design and idea.

Earth Studio Final

Water Studio Final

AA visiting school Project

Digital Design and Fabrication Project

Super studio competition

Designers

should become the facilitators of flow -- John Wood

A.1 DESIGN FUTURING As the development of technology and increase of human population, the planet we live in is treated as an infinite resource. Human has significant impact on the Earth’s ecosystem. Our anthropocentric mode has influenced the habitation of all species. Having extractive and materials processing technologies of absolutely enormous capacity coupled with an economy with an insatiable appetite, we are confronting our nemesis – a defuturing condition of unsustainability. 1 Design as a crucial and creative part of human’s world should look forwards to a new sustainable future. The future we discuss here is hard to predict also impossible to pin down. However, using deign, we can open up all sorts of possibilities that can be discussed, debated and used to collectively define a preferable future, moreover, through those possibilities we can better understand the present. 2 As the lecturer said in class, “Designer should become the facilitators of flow” 3

1, Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1-16 2. Anthony Dunne and Fiona Raby, (2013) Speculative Everything: Design, Fivtion, and Social Dreaming.. (MIT Press) pp. 1-9, 33-45 3. Wood, John (2007). Design for Micro-Utopias: Making the unthinkable possible (Aldershot: Gower)

Image source:http://www.arcspace.com/

A 1.1 CASE STUDY 1 Project: National Aquatic Center (Water Cube) Location: Beijing, China Architect: PTW Architects & CSCEC International & Arup Date: 2008

Water Cube, as known as The National Aquatics Center, is built in 2008 for Beijing Olympic Games. It is a revolutionary and radical design at that time. The structure is made of thousands of geometric cells covered with sustainable ETFE membrane as the façade with high energy efficiency. The sustainability Water Cube has not only shows in the material and structures, but also the social impact after Olympic Game. With the adaptable and flexible interior structure, the use of Water Cube is changing through the post-Olympic period. Now it is worked as a concert house, Water Park, swimming training center, and even recreation facility for citizen in Beijing. The Water Cube itself become a small city with many different functions, which contribute to its site and the inhabitants living around. It is not only seen as an Olympic stadium but a urban center of Beijing. In 2020, the Water Cube will be redesigned and transform into “Ice Cube” for Beijing Winter Olympic Game. It brings a new question for other design of Olympic Stadium that how the large stadium influence the city after the game. Using deign, we can open up all sorts of possibilities that can be discussed, debated and used to collectively define a preferable future and through those possibilities we can better understand the present. (1) In Water Cube, the high adaptive and flexible structure gives more possibilities to future design and reconstruction. People are no longer value Water Cube as its original purpose. The valuation is changing through the development of its potential. In my opinion, good design and should be adaptive, flexible, sustainable and future-orientated. 1.Anthony Dunne and Fiona Raby, (2013) Speculative Everything: Design, Fivtion, and Social Dreaming.. (MIT Press) pp. 1-9, 33-45

Water Cube reuse and redesign as a water park for the public Image source: http://www.architectweekly.com/2013/06/architect-of-week-arup.html

Water Cube Stadium during Beijing Olympic Games Image source: http://www.architectweekly.com/2013/06/architect-of-week-arup.html

Interdisciplinary studies of the Pavlion Image Source: http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart/

A 1.2 CASE STUDY 2 Project: ICD/ITKE Research Pavilion Location: University of Stuttgart, Germany Architect: ICD / ITKE University of Stuttgart Date: 2015

The ICD/ITKE Research Pavilion demonstrates the architectural potential of a novel building method inspired by the underwater nest construction of the water spider. It is a complex form abstracted from nature. Through a novel robotic fabrication process an initially flexible pneumatic formwork is gradually stiffened by reinforcing it with carbon fibers from the inside.1 The ICD/ITKE Research Pavilion is an innovative practical prototype of robotic fabrication, which is a radical construction method. The robot is assembly and scripting by architects and engineers. Similar to the spider, a digital agent navigates the surface shell geometry generating a proposed robot path for the fiber placement. Robotic fabrication is an efficient and adaptive construction method, which influenced architecture industries profoundly.

With the use of robot and computing technique, the construction process could be improved by efficiency and precision. The error during constructing process can be minimized by computing the path and action for robot precise data. Moreover, human can be free from the repetitive labor. Robotic fabrication has influenced the traditional technical workflows of architects and workers. Not only the construction method applied made the pavilion revolutionary, but also its innovative potential of interdisciplinary research and teaching. The pavilion was developed at the intersection of the two institutes’ research fields, using knowledge from architecture, engineering, computer and natural science. Design is about problem solving. It is becoming clear that many of the challenges we faced today are unfixable and complex. The only way to overcome them is by changing our values, beliefs, attitudes and behavior. (2) Collaborating knowledge and experiment across disciplines can help to solve complex issues and bring new solution to solve problems.

Image source: http://icd.uni-stuttgart.de/?p=12965

1.University of Stuttgart , “ICD/ITKE Research Pavilion 2014-15”, < http://icd.uni-stuttgart.de/?p=12965 > [accessed 14 March 2017] 2.Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press)

Surely what the world of computation promises is not merely a new style, but a radical new way of approaching design. ---Neil Leach/University of Southern Califonia

A.2 DESIGN COMPUTATION To some extent the term, “parametric”, has become a short hand way of bracketing much digital design that seems to be curvilinear in its aesthetic expression for a new style in architecture. The result forms may look similar, but the techniques for generating them are radically different. 1Design computation is different from computerlization. Design computation is a bottom up design process, which defines the structure by changing individual components and did not know the result at the beginning. Design computation is not only a tool to generate complex forms, but a system and continuity from design to production, from form generation to fabrication and evolve as a medium that supports a continuous logic of design thinking and making. 2

1. Neil Leach and Philip F. Yuan .(2012) Scripting the future (Tongji University Press) P9-P13 2.Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

A 2.1 CASE STUDY 1 Project: Wozoco’s apartment Location: Amsterdam Architect: MVRDV Date: 1997

MVRDV has design the Wozoco’s Apartment to solve the problem of high population density in Amsterdam. The “extruded” boxes facade made the apartment unique in appearance and function. Wozoco is a prime example of a specific need for housing in the country, providing answers for needs of their time. This is a good precedent examples of designers using generative digital tools. The design is challenged by forces and information from social, cultural, political and economic influence. In order to harvest the informational potential of the complexities inherent in various forces and complex web their intersections, MVRDV came up with the concept of “datascape”, which are visual representation of quantifiable forces that could influence and impact the conception and development of design projects. 1 This informational “datascape” affect the design process by help the designers to better understand how complex parameters influence the design and built environment in order to generate better solution and more performative form. The complex spatial envelop and the unique “extruded box” form is generated from the information digital model built by designers.

1.Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62

Image source:http://www.arcspace.com/features/

Although the project is built 20 years ago, it still valued as a radical architecture and revolutionary attempt now. Nowadays, the problem that designers need to solve become complicate and has no direct answer. The context become more and more complex and intricate. As a result, analyzing parameters that influence the formation of architecture and computing the possibilities with the influential factors can give architecture an open future.

Image source: http://www.archdaily.com/115776/ad-classics-wozoco-mvrdv/

Image souce: http://www.archdaily. com/335887/3-d-printing-protohouse-1-0-andprotohouse-2-0-softkill-design

A 2.2 CASE STUDY 2 Project: ProtoHouse Architect: AA DRL Date: 2015

ProtoHouse is a series projects explored the boundaries of Selective Laser Sintering Technologies by designing a program that “micro-organizes” the printed material through computer algorithms and produces the high-resolution nearfull-scale ProtoHouse 1.0 pictured here. Different from traditional compression-based 3-D printing, which is produced by layered thin layers of material to build up a form, this prototype produces elements that are lightweight, highly defined, modular and compactly scaled for ease of production and assembly. The process embeds a consistent tectonic strategy from the design process through the building process.(1) In this case study, computation technology have been use through both design process and building process. From its design process, the innovated structure is created by analysing the load and support, transforming into “stresslines” through stress calculation and construct the “stresslines” with fine delicate line components.

For the building process, influenced by computation and algorithm, there is no columns and beams in this structure. The structure is working as a whole system instead of traditional grid system with load bearing columns and beams perpendicular to each other. It reveals that computation has the potential to proceed new spatial system and develop a consistent tectonic strategy from the design process through the building process. Computation and new material technology influenced both design process and building process with deep algorithmic logic and analyse. Referring to week one about sustainable architecture, design computation should explore more possibilities in aesthetic, structural, material and construction aspects and collaborate all the aspects to an integral and performative design, instead of creating an aesthetic expression for a new style in architecture.(2)

1. Irina, Vinnitskaya, “3-D Printing ProtoHouse 1.0 and ProtoHouse 2.0/Softkill Design “, Archdaily, (2015),< http://www.archdaily.com/335887/3-d-printing-protohouse-1-0and-protohouse-2-0-softkill-design > [accessed 14 March 2017] 2.. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Image souce: http://www.archdaily.com/335887/3-d-printing-protohouse-1-0-and-protohouse-2-0-softkill-design

Picture of the Turning Pavilion Image source: http://www.biothing.org/?p=449

A.3 GENERATION/COMPOSITION Generation has become a new way of composing architecture. In the Peter suggested that we are moving from an era where architects use software to architects create the software.1 Computation tool are not only a tool to realize architecture, but also to generate architecture by algorithm and rule. With the development of architectural algorithm, we can see through the architecture to its essence and rebuilt the architecture from the start. The traditional ways of design, construction and fabrication will be challenged. Peter claims computation tools should not be a new tool to generate unusual forms or expression, but should be integrated as intuitive and natural way to design. Computation is a way to of testing new possibilities of design process and design method, not only a tool of rendering a complex form create by architects.

1. Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83, 2, pp. 08-15

Image source: https://thefunambulistdotnet.files.wordpress.com/2010/12/trabeculae28529.jpg

Image source: https://thefunambulistdotnet.files.wordpress.com/2010/12/trabeculae28129.gif

A 3.1 CASE STUDY 1 Project: Trabeculae Architect: Supermanoeuvre Date: 2013

Image source: https://thefunambulistdotnet.files.wordpress.com/2010/12/trabeculae28429.jpg

Trabeculae is project design by Supermanoeuvre. It is defined as projects, research and teaching which aimed to generate architectures related to variable “social, cultural and ecological” parameters. Replacing the traditional normative flat floor surface, a branching system actively seeks out those areas within the zoning envelope with greatest access to daylight. The forking and swelling structure is in response to the algorithm of varying light conditions. In the atrium, a second order proliferation of the same system at a finer scale develops a structural mesh work - ---the trabeculae. The swellings part forms the meeting, bridges, and communication stairs as well as supporting the atrium glazing. (1)

Traditionally, architecture is defined by grid system, which is a composition of floors and columns. However, in Teabeculae, we can see form is generated from the computation that computing protosynthesis process with algorithm, which challenge the traditional idea of composition and also challenge the grid system with the dynamic atrium blurring the boundary of levels. Generation is a bottom up process that affecting the complex outcome using simple rules (2), in this case study, the rules of light condition affecting the forking and swelling of structure and the shift from composition to generation is by algorithm and computation. This case study is a great example of the shift from composition to generation. An application of the protosynthesis algorithm in this project embraces the specific heterogeneity of a given scenario. (3) With generation and bottom-up design process, architecture could evolve into a more performative structure and provide more possibilities and opportunities regenerate as system instead of a simple assembly of component.

1. 3 Dave Pigram, “TRABECULAE/PROTOSYNTHESIS BY SUPERMANOEUVRE”, The Funambulist, 2013< https://thefunambulist.net/architectural-projects/trabeculaeprotosynthesis-by-supermanoeuvre > [accessed 14 March 2017] 2. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

A 3.2 CASE STUDY 2 Project: Turning pavilion Architect: AA DRL & Biothing Date: 2012

Turning pavilion is an experimental project explored by AA DRL and Biothing. The theoretical start point of the pavilion is reaction-diffusion algorithm. The pavilion is implemented with a reaction-diffusion algorithm (Belousov-Zhabotinsky reation), where points in a grid configuration interact with each of their neighbors. This interaction constitutes a non-linear chemical oscillator where each point transfers and receives chemical data. Chemical data as an additional information of our point cloud represented graphically as color. This was implemented as a 2D algorithm that would extend upwards in space. (1)

This project has shown the variation and mutations which could be achieved by reaction- diffusion algorithm. The generation process of Turning Pavilion provide itself the potential to rearrange and interact overtime, because it is generated from the interaction between points and neighbors at the start point. With computation method, we can zoom the structure and material into points and set the rules of its generation to create more innovative geometries and forms. It cannot be achieved by simply assembly the classic geometries and materials we have. Only by abandoning traditional way of composition and representation can we address the question of complexity and specificity in architecture. (2) Nowadays, we shouldn’t see architecture as a static composition, instead, it should be a dynamic system that can rearrange and interact overtime achieving by computation and algorithm.

1.Alisa Andrasek , Jose Sanchez, “////TURNING PAVILION”, Biothing.org, <http://www.biothing.org/?p=449> [accessed 14 March 2017] 2. Jose Sanchez, Scripting Geometries: Beyond Geometry, (2012 Tongji University Press) P181-P185

Image source: http://www.biothing.org/?p=449

Image source: http://www.solidsmack.com/cad-design-news/on-location-out-of-hand-digital-fabrication-exhibit-at-the-museum-of-arts-and-design/

A.4 CONCLUSION Innovation: Design is facing a new sustainable future. The future we discuss here is hard to predict also impossible to pin down. However, using deign, we can open up all sorts of possibilities that can be discussed, debated and used to collectively define a preferable future, moreover, through those possibilities we can better understand the present. Computation: Computation is a revolutionary designing tool. Design with computation should follow a algorithmic logic and rules to create a project as an integrity. Design computation should explore more possibilities in aesthetic, structural, material and construction aspects and collaborate all the aspects to a integral and performative design, instead of creating an aesthetic expression for a new style in architecture. Generation: Generation is a bottom up process that affecting the complex outcome using simple rules. It is a process of developing and creating. With computational and algorithmic tools like Grasshopper, we can explore the more possibilities to generate forms.

Design Method In our brief, we aim to design a house to inhabit both human and one other species on Merri Creek with the technological tools like Grasshopper, Unity and VR Dive. According to the brief, we are facing to two clients, human and one specific species. The design should begin with deep research of living condition of the other species. Natural forms on Merri Creek could be a great inspiration. By analyzing the natural form, we can build the algorithmic logic with the data and information collected from site and research of clients. Parameters can be tests and modified to generate the structure. Possibilities should be discuss and argue to provide better to solve the designing problem. This design method is a logic and achievable way to develop the design. It is not aimed for a simple result, instead, a list of possible solution to discuss and argue with. It is not important to get the best solution, but to develop a achievable and rational design process.

Image source: http://protohouse.tumblr.com/post/13675465133/embedding-agency-within-a-system-of-matter

A.5 LEARNING OUTCOME 1.Architecture is a discourse to suggest an idea. It can be inspiring and speculating. 2.Design with computation is a bottom up process, without knowing the result at the beginning. It is process of developing, generating, discussing and arguing. 3.Collaborating knowledge and experiment across disciplines can help to solve complex issues and bring new solution to solve problems. 4.Computation in architecture is not simply create a new style or new patterns and expression. Design computation should explore more possibilities in aesthetic, structural, material and construction aspects and collaborate all the aspects to an integral and performative design. Take my water studio work as an example. My design is more focus on the pattern and form, which is quiet superficial. It should be improved by rethinking the relationship between design and site. What is the logic inside the design? Will this design influence the way of living for the inhabitant on the site? Give out more possibilities to develop and discuss.

A.6 ALGORITHMIC SKETCHBOOK

“Parametric Vase” Moving, scaling and rotating the sention line along the z axis to create the dynamic figure of vases. Changing the parameters result in different shape and pattern. Key functions: MOVE

ROTATE SCALE GRAPHIC MAP

LOFT

“Point Curve Surface” Create two curve and rebuilt with control point Loft the curves into surface Divide the surface with ”divide domian” Set twist boxes along the surface Using “Morph“ Function Set different Geometry, Target and Refernece KEY FUNCTION: Morph

Create Square points and force feild (linear field & sping field) Set the strength and radius

“Point Curve Surface” practice 2 Evaluate the feild and using feild strength as the parameters of Gradient Using “Costom Preview“ to show the color at the end

Merge and Evaluate the force field and create Feild Line

Bibliography 1 , Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1-16 2. Anthony Dunne and Fiona Raby, (2013) Speculative Everything: Design, Fivtion, and Social Dreaming.. (MIT Press) pp. 1-9, 33-45 3. Wood, John (2007). Design for Micro-Utopias: Making the unthinkable possible (Aldershot: Gower) 4. University of Stuttgart , “ICD/ITKE Research Pavilion 2014-15”, < http://icd.uni-stuttgart. de/?p=12965 > [accessed 14 March 2017] 5. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) 6. Neil Leach and Philip F. Yuan .(2012) Scripting the future (Tongji University Press) P9-P13 7.Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 8.Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 9. Irina, Vinnitskaya, “3-D Printing ProtoHouse 1.0 and ProtoHouse 2.0/Softkill Design “, Archdaily, (2015),< http://www.archdaily.com/335887/3-d-printing-protohouse-1-0-and-protohouse-2-0-softkilldesign > [accessed 14 March 2017] 10. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 11. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 12. Dave Pigram, “TRABECULAE/PROTOSYNTHESIS BY SUPERMANOEUVRE”, The Funambulist, 2013< https://thefunambulist.net/architectural-projects/trabeculaeprotosynthesis-by-supermanoeuvre > [accessed 14 March 2017]

13. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 14. Alisa Andrasek , Jose Sanchez, “////TURNING PAVILION”, Biothing.org, <http://www.biothing. org/?p=449> [accessed 14 March 2017] 15. Jose Sanchez, Scripting Geometries: Beyond Geometry, (2012 Tongji University Press) P181-P185

PART B. CRITERIA DESIGN

B.1 REASEARCH FIELD B.1.1 Biomimicry

B.2 CASE STUDY 1.0 B.2.1 Iterations B.2.2 Sucessful species B.2.3 Criteria Met

B.3 CASE STUDY 2.0

B.3.1 Reverse Engineering Attempt 1 B.3.2 Reverse Engineering Attempt 2 B.3.3 Reverse Engineering Attempt 3

B.4 TECHNIQUE : Development B.5 TECHNIQUE : Visual Prototype B.6 TECHNIQUE : Proposal B.7 LEARNING OBJECTIVES AND OUTCOMES B.8 APPENDIX

Algorithmic sketchbook

B.1 REASEARCH FIELD

B.1.1 Biomimicry Biomimicry is the imitation of the models, systems, and elements of nature for the purpose of solving complex human problems.[1] Biomimicry in architecture is not making architecture similar to a natural form in appearance, but by understanding and learning from the rules in of nature and design based on the rules and logic. The idea of biomimicry is to solve the complex problems with multidisciplinary approaches, logic and rules. DNA is the gene inside every creature in world that controls its growing, reproducing and ending. In my opinion, there in architecture can be a genetic code or program that control its development and defines its form. By using grasshopper, designers can design the generic rules based on the researches of the site and brief. Instead of picturing the final design in mind, we can generate the structure following the rules and logic we set. Biomimicry can work on three levels: the organism, its behaviours, and the ecosystem. According to brief, the design can start with researching animalsâ&#x20AC;&#x2122; scale, behaviours and habitat to find the inspiration.

1.Vincent, Julian F. V.; et al. (22 August 2006). â&#x20AC;&#x153;Biomimetics: its practice and theoryâ&#x20AC;?. doi:10.1098/rsif.2006.0127. Retrieved 7 April 2015.

Examples: There are many architecture examples in biomimicry fields. Biomimicry is not only following the or imitate the outlook from a creature in nature. But the principles and the reason how they form that way and how will it help us solving practical issues in daily life to achieve more sustainable outcome in architecture is main point we learn from nature. The Sagrada Família church by Antoni Gaudi begun in 1882 is a well-known example of using nature’s functional forms to answer a structural problem. He used columns that modeled the branching canopies of trees to solve statics problems in supporting the vault.

Sagrada Família church by Antoni Gaudi

The Supertree Grove, Singapore The Supertree Grove is a remarkable blend of nature, technology, environmental management and imagination, highlights of Bay South include 18 Supertrees (25-50 metre vertical gardens that light up at night) and two giant Cooled Conservatories, designed by Wilkinson Eyre Architects, housing Mediterranean and Tropical climate plants. The project also includes a rich variety of Horticultural Gardens, designed around the themes ‘Plants and People’ and ‘Plants and Planet’. It is imitating the canopy structure of the trees and blending landscape with architecture the daily life of Singapore citizen.

B.2 CASE STUDY 1.0

CASE STUDY THE MORNING LINE-Aranda Lasch The Morning Line is a drawing in space, where each line connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centers that together trace out a dense web of ideas concerning the history and structure of the universe and our place in it. The basic principle of morning line is fractal algorithm. A fractal building block that grows and scales by a fixed ratio in three dimensions to produce the lines, spaces and structure of the piece. Each bit is interchangeable, demountable, portable and recyclable, allowing the piece to change and adapt physically over time along with its sonic content.

B1.1 ITERATIONS SPECIES 1.0 Changing Parameters

Species 1.1 Sides of Polygon

S=3; F=0.33

S=4;F=0.33

S=5;F=0.33

S=4; F=0.45

S=5; F=0.45

Species 1.2 Factors of Scale

S=3; F=0.45

Species 1.3 Trimed Brep Recursion 2 times

Recursion 3 times

SPECIES 2.0

Composition multiple brep

Species 2.1 Composition multiple breps Breps face explodes Apply Bezier Span

Breps

Species 2.2 Composition multiple brep

Fractal radom breps (3 times recursion) Breps face explodes Apply Bezier Span

SPECIES 3.0

Fractal with different geometries

Species 3.1 Fractal with regular dodecahedron dodecahedron

scale=0.33 pipe the Bezier curve

scale=0.2

scale=0.33 pipe the Bezier curve

scale=0.40

scale=0.33

scale=0.40 pipe the Bezier curve

Species 3.2 Composition of geometries scale=0.33 pipe the Bezier curve brep after trim compostion

scale=0.40 breps after triming composition

scale=0.33 pipe the Bezier curve composition

scale=0.40 pipe the Bezier curve composition

SPECIES 4.0

Fractal with geometries composition In species 3.0, each dodecahedron is fractal seperately. In species 4.0, dodecahedrons are fractal as a group and turns out to be some different result.

scale=0.20 With scaled dodecahedron

scale=0.40 With scaled dodecahedron Remove some of the geometries

scale=0.33 With scaled dodecahedron

scale=0.40 With scaled dodecahedron

SPECIES 5.0

Growing elements with fractal

Original geometries

Scale=0.3 Recursion=1

Scale=0.3 Recursion=2

Scale=0.3 Recursion=2 Apply Bezier pattern to original geometries

Scale=0.3 Recursion=2 Apply Bezier pattern to original geometries and scaled once geometries

B 1.2 Successful Species

The importance of selection criteria: Through the process of iterations of grasshopper, I have generated many possibilities. However, those possibilities are not reflected design intent because they are directly generated from changing parameters and modifying geometries. In order to adjust the brief and design idea, the selection criteria should be applied based on design idea and practical requirements.

Selection Criteria: 1. Complexity: Design idea is to create a place for human and one other species. In order to create a place which gives people a unique experience, complexity is necessary. The complexity lies in the structure and space 2. Aesthetic: Aesthetics is hard to qualified, because it is quite subjective aspects. Here I want to basic 3. Innovation: Is the creature unique? Is there any potentials? 4. Spatiality: Spatiality here is to qualify the spatial characteristics of the iteration. The potential of human of animals to live on, live in, walk through, fly through etc.

Species 2.2.1 The iterations most related to The Morning Line project with high complexity. The original geometry has been scale recursively and Bezier curve is applied to the face of the geometries randomly to create the hierarchy of space and geometry. However, the innovation quality is low, because it is based on the geometry of the Morning Line structure.

Fractal radom breps (3 times recursion) Breps face explodes Apply Bezier Span

COMPLEXCITY AESTHETIC INNOVATION SPATIALITY

Species 3.2.2 In species 3.0, I have replaced the tetrahedron with dodecahedron to create a more complex and more spatial form. The structure is simple with thinner lines and curve. But it has better spatial quality and potential of further iterations, like adding more elements and twisting or rotating.

scale=0.33 pipe the Bezier curve composition

COMPLEXCITY AESTHETIC INNOVATION SPATIALITY

Species 4.0.1 In species 4.0, I tried to create a combination structure with the curve lines and solid geometries. In 4.0.1, I save the solid geometries of the second recursion and curve frame of the first recursion. It looks like the geometries has been trapped and escaped from the frames, which is quite interesting. However, the complexity seems not enough and spatial quality is hard to define. Maybe there is potential to modify the position of each solid geometries to create a better space.

scale=0.20 With scaled dodecahedron

COMPLEXCITY AESTHETIC INNOVATION SPATIALITY

Species 5.0.5 In Species 5.0, instead of trimming the fractal element from the original geometry, I tried to add fractal elements onto original geometries to create the composition. Species 5.0.5 has 3 times of recursion of scales. I save the Bezier curves of the original and recursion 1 time result with the recursion 3 times geometries to create a complex composition. It has the maximum complexity of all kinds. However, the spatial quality is hard to define.

Scale=0.3 Recursion=2 Apply Bezier pattern to original geometries and scaled once geometries

COMPLEXCITY AESTHETIC INNOVATION SPATIALITY

B.3 CASE STUDY 2.0

Introduction Trabeculae is a project designed by Supermanoeuvre. Trabeculae is reimagining the central atrium office tower. Replacing the traditional operation of repetitive extrusion, branching system actively seeks out those areas within the zoning envelope with greatest access to daylight. Forking and swelling in response to varying light conditions. A second order proliferation of the same system at a finer scale develops a structural meshwork â&#x20AC;&#x201C; the trabeculae. The swelling parts accommodates the meeting and function rooms and the forks parts becomes the bridges, galleries and tunnels.

The concept of the design is the atrium. The team used a Heliotropic branching system to define the shape of the void that eats into the floors of the building. They take the second step forwards to create the swelling space and fine forks inside the voids to form function rooms and traffic. The transformation of space with different quality is quite special and potential in this design. In our brief, we are aimed to create a space for both human and animal. The habitation of both clients, human and animals, are quite extremely different. I found the deformation of spaces might be quite potential to suit the need of the clients

REVERSE ENGINEERING Attempt 1

Set polylines and branches as skeleton

Divide the lines into points Remap the point according to the its ditance from center Seperate the point list into near center and remote from center Radom reduce points from list 1 and create metaball from the center

ALGORITHM Polylines Branches

Near average point

Divided lines into points Evaluate the distance Find the average point

Split the point list Remote from average point

Mesh the metaball with lines

Smooth the mesh

Random select

Metaball

Smooth the mesh and change the value of iteration to create fine forks

Mesh

Smooth Mesh

Create small scale metaball on branches remota form center

Set polylines and branches as skeleton

Create bigger scale metaball from main branches near center

ALGORITHM Polylines Branches

Near average point

Divided lines into points Evaluate the distance Find the average point

Split the point list Remote from average point

REVERSE ENGINEERING Attempt 2

mesh

Smooth the mesh

Random select

Metaball Smooth the mesh and change the value of iteration to create fine forks

Metaball

(smaller scale size varying according to distance to center)

Mesh

Smooth Mesh

REVERSE ENGINEERING Attempt 3

Add Metaballs on the turning points

Set polylines and branches as skeleton

ALGORITHM Polylines Branches

Set Metaball at the turning point

Minimal surface Divide into points

Geometry Wrapper

Mesh

Patterning

Smooth Mesh

Minimal Surface Divide the lines into points Millipede: Geometry Wrapper

Patterning with Lunch Box

Species 1: Changing parameters in attempt 1 algorithm Metaball

Mesh

1.1 random value=4

B.4 TECHNIQUE: DEVELOPMENT

1.2

random value=9

1.3

random value=14

1.4

random value=19

1.5

random value=29

Species 2: Changing parameters in attempt 2 algorithm Metaball

Species 3: Add Delaunay Edges Metaball

Mesh

3.1

2.1

random value=3

3.2

2.2

random value=7 reduce points=28

3.3

2.3

random value=16 reduce points=39

2.4

3.4

random value= 15 rduce point=32

Mesh

Species 3: Changing parameters in attempt 3 algorithm

3.1

3.2

3.3

3.4

3.5

Species 3: Changing shapes and parameters in attempt 3 algorithm

4.1

4.2

4.3

4.4

Successful Species

4.3.3

3.5.3

This iteraton has potentials to explore further. The space quality here is interesting. With the big volume and holes on it, the space could be utilised as for house and pavilion.

The iteration has beautiful curavture spinning up. It has high flexiblity and potential in the use of space. Considering the brief, The curvature platform can be used for accomodating animals and the space at the center could be redesign of human.

2.1.1

This iteratonis developed from the reverse engineering. The space inside and branches outside could have potentials in use. I imagine that the swelling part could be used as habitation for human and branches for animals to build their nest on.

2.1.1

This iteration contains large volume of space inside. It has great potential to develop and explore as a pavillion. I like the curvature look and the radom shades around.

B.5 TECHNIQUE: Prototype

Approaching to the structure

Story begin in the night

The area for human are those swelling parts

Gradually turning to the upper structure

View from the water

Some parts are under the water

Upper strcuture is the interaction between children and egret

Children can climb up throught swelling bubbles

Egret can set their nest on the branching

Quiet Forest

Kids and egrets are having nice dream

Back to the starting point

Everthing so quiet at night

In this short video, I have chosen a night scene. The video is basically going through the project and details of the project. The scene begins from creek with frog and bird sound. Gradually approaching to the structure, form the bottom, the swelling bubbles are design to inhabited the kids. Through the bubbles moving up, kids can climb through the tunnels and reach the top. On the top, egrets are making their nest on the branches. Kids and egrets are met on the tunnelsâ&#x20AC;&#x2122; end. What will they say? What conversations they have under the moonlight? None knows. It is their secrets. They are having nice dream. Good night.

B6. Technique: Proposal

BRIEF

A habitation for both human and one other species

CLIENT: human & non-human

CLIENT

The species I picked is the Little Egret from Merri Creek The Little Egret is a small white egret with dark grey-black legs, black bill and a bright yellow naked face. In the breeding season the plumage includes two ribbon-like head plumes, and abundant plumes on the back and breast. The Little Egret is also called the Lesser Egret. They often build their nest on the trees near or in the rivers and creeks, which I found quite interesting to develop.

SCENARIO Through the research, I find that the different scale betweeen human and animal is quite interesting. Human and animals can have a equal conversation because we are different in height and size. Animal naturally scared of other that are big and look threatening to them. And for us human, we naturally look down upon the creature that smaller and less intelligent than us. As a result, in my opinion, children might have better conversation with egret than we do. A adult egret has the same height with a 3-4 year old children. Maybe between kids and egret, there will be special conversation. For my project, I want to create a place to inhabitat both children and egret to have them interact with each other. I am wondering what that conversation might be.

SECTION

MONTAGE

B7. Learning Outcome

Learning Outcome Through the learning in part B Iterations, I have develop grasshopper skills and the process to generate a design with grasshopper. Using grasshopper for design is a bottoup process. You may not have a picture of your design at the beginning. However, through the process of analysing and mapping the important element, the outcome becoming clearer and clearer.

Reflection of design proposal in B6: In B6, I have design a project for children and egret. I quite like the process of designing it. I want to create a complex system for human and animal at the start. It start with the mapping of the human path and animal path, because I think the circulation is quite important that it shows the interaction between human and animal. That is a quite initial starting point of mine. Then combine the human path and animal path together to create the final form. I think the combination of these two path might be quite simple. It need more thought in developing it in the next step. The form is complicate and hard to make it practical. I think Rosy â&#x20AC;&#x2DC;s feedback of making it practical might help me putting some weight to my design is quite helpful. For the video prototype, I think visual prototype should not be a simple realization of the design. It should help to better tell the story. The going through is not enough. In the nest step, I will more force on the narrative of the video and what atmosphere I want to create is important. For the scenario, I think my scenario needs more developed. Compared to the peer, I need a more deep study of my animal and set a more practical goal.

B.8 Algorithm Sketchbook

Week 5: Fractal anf Field Field

Using Graph Mapper

Fractual

Week 6: Mesh and test for Unity

Mesh take from B4 Using Millipede Plugin.

PART C DETAIL DESIGN

Part C

CONTENT C1. DESIGN CONCEPT C1.1 Feedback from Part B C1.2 Combination C1.3 Design logic development C1.4 Iteratons C1.5 Best iteration selection C1.6 Final design C1.7 Site Development C1.8 Finalise the concept C1.9 Construction proposal

C2. PROTOTYPES C2.1 Precedent Study C2.2 Prototypes Tests 1: Patterning C2.3 Prototype Tests 2: Inflation C2.4 Prototype Test 3: Other Method

C3. FINAL DETAIL MODEL C3.1 Presentation Model C3.2 Fabrication Refine C3.3 Site Model

C4. LEARNING OBJECTIVE AND OUTCOME C4.1 Learning Objectives C4.2 Response to Final Crits

C1. DESIGN CONCEPT 1.1 Feedback from Part B 1.2 Combination 1.3 Design logic development 1.4 Iteratons 1.5 Best iteration selection 1.6 Final design proposal 1.7 Site Development 1.8 Finalise the concept 1.9 Construction proposal

C1.1 Feedback From Part B 1.1 Refine the shape and make it more rational instead of radom bubbles and branches 1.2 The mapping of human and animal path should be more rational and need more test and iteraiton. 1.3 Narrow the branches to create more fine forks to create more habitable place for egrets. 1.4 Invovle the activities form egret. In B6 proposal, the branches are design as egret habitation. How egretâ&#x20AC;&#x2122;s habitaion will reflect on the structure and become part of the strcuture? 1.5 Good fabrication will put more weight on this desifn. How to fabricte the this organic form will be a challenge.

Part B design from Yadi Pan The Echidna Bridge The idea is designed a special hanging between trees for echidna to pass the photo credit by Yadi

Part B design from Shengran Zheng The Egret Island The idea is designed habitation for both human and egret.

C1.2 Combination In part C, the is formed between me and Yadi. After discussion, instead of starting from something new, we decided to continue with the form finding strategy from part B and merge our ideas into something new. For the animal, we will continue with egret.

Process of development

Daisy: Swelling cells with fine forks and branches on the top. The boundary of habitation between egrets and human is clear and defined by the mesh. How to improve the design to create more relations between human space and animal’s space?

Diagram credit by Yadi

Pattern improvement of swelling and forking structure Combining the idea of cage patterning with swelling and forking structure is quite feasible. The pattern could be developed further with add more scripts and elements.

Yadi: Cage cells continuing formed a ring The cage cells are inspiring. How to improve the design to more involve human rather than a bridge only for echidna?

Diagram credit by Yadi

“Branches” combine with “Cages” Since the animal is decided to continue with egrets, this idea is not really feasible and make sense. The combination of branches and cages is odd without much potential of development.

1.3 Design Logic Development

Human habitation design logic diagram

Create points represent human habitation

Human circulation connected human habitation

Egret habitation design logic diagram

Create branches represent egret habitation

Allocate all the branches to connecte with human human habitation

Create human habitation volume with metaball contour

Mesh the ssurface out of the contour lines and create a united mesh form

Create human habitation volume with metaball contour

Mesh generated from design logic

Issue The logic results in a swelling bottom and forking branches on top. However, the mesh generated from the design logic is not a developable surface. Developable surfaces can be unfolded to the plane without distortions. It is hard to fabricate the free form meshes in reality. As a result, in the next step, we started to redevelop the surface of mesh, in order to prepare for fabrication.

1.4 Iterations Matrix Mesh Iterations

Curve Iterations 1

(Remap the surface to get the vein pattern)

Mesh Iterations 1

spin charge xy plane direction

Mesh Iterations 2

spin charge xy plane direction

Mesh Iterations 3

spin charge xy plane direction

Curve Iterations 2

(Remap the surface to get the vein pattern)

Curve Iterations 3

(Remap the surface to get the vein pattern)

spin charge xz plane direction

spin charge yz plane direction

spin charge xz plane direction

spin charge yz plane direction

spin charge xz plane direction

spin charge yz plane direction

Mesh Iterations

Curve Iterations 1

(Remap the surface to get the vein pattern)

Mesh Iterations 4

spin charge xy plane direction

Mesh Iterations 5

spin charge xy plane direction

Mesh Iterations 6

spin charge xy plane direction

Mesh Iterations 7

spin charge xy plane direction

Curve Iterations 2

(Remap the surface to get the vein pattern)

Curve Iterations 3

(Remap the surface to get the vein pattern)

spin charge xz plane direction

spin charge yz plane direction

spin charge xz plane direction

spin charge yz plane direction

spin charge xz plane direction

spin charge yz plane direction

spin charge xz plane direction

spin charge yz plane direction

spin charge xy plane direction

spin charge xz plane direction

spin charge yz plane direction

Mesh the curve to create new iteration

1.5 Best Iteration Selection The standard of selecting best iteration is based on the aesthetics, overall form, constructability and design intent. The current form has fluent curve, appropriate density of veins and balanced structure with potential of functional design. The iterations are generated through manipulating the value of metaball and the direction of spinning force. It is interested to see that after adding new scripts and changing parameters, the form is redeveloped and evolved into a next level, which I was not expected. It is a good experience of generating forms without depicturing the final result.

Design Proposual 1.6 Final Design Proposal

Function Diagram The final design proposal is developed from the iterations with the swelling at the bottom and forking on the top. In order to create more interaction between human and egret, the structure is designed as a bone and skin system with smooth transition from swelling to forking. The boundaries between human and egret habitation are blurred after redevelop the mesh surface to reach the consistency and unity of structure.

The nest built by egret will reflect on the structure and become part of the structure.

Human habitation inside the swellings.

abitationThrough is inside the bubbles. the gaps between skeleton e gaps between thecan skeleton frame, frame, people observe egretâ&#x20AC;&#x2122;s live n observe egretâ&#x20AC;&#x2122;s live without interuptwithout interrupt.

Photomontage

1.7 Site Development

Egretâ&#x20AC;&#x2122;s habitation Egretâ&#x20AC;&#x2122;s habitation is always along the river side or on the island inside river. The birds prefer to open locations to dense cover. They built their nest on the branches of the bush and mangrove.

credit by Yadi River Forest along river

Photo from site visit

Site development The site of the design is a large area across the habitation of egret on Merri Creek. The scale is enlarged from a single design of the structure to a composition made of individual habitation forming a habitation community. Each individual design is redesigned based on the environment around to best fit in the site.

Design Proposual

1.8 Finalise The Concept

Scenario The scenario is a transformation process. It celebrates the life and death of architecture. The inflation represents the human space and skeleton represent animalsâ&#x20AC;&#x2122; habitation. The inflations are brittle and temporary, while the skeleton is stable and permanent. Through the redevelopment by egrets, the inflation will decay. Then animalsâ&#x20AC;&#x2122; habitation invaded. This is an opposite way of development of city, which human space occupied natural environment. This is a place where architecture begins with its expanding form, then decays to only a skeleton of structure.

1.9 Construction Proposal Skeleton develop diagram

Infaltion develop diagram

Mesh

Redevelop the surface with curves

Inflation

Mesh the curves into skeleton

3D printing

3D printing the skeleton

Wires frame

Using thin (steel or plastic)wires to create the skeleton.

Skeleton

Patterning

Create â&#x20AC;&#x153;developable surfaceâ&#x20AC;? from the mesh by patterning

Vaccum former

Using Vacuum Former to Inflate the surface

Membrane

Inflate the membrane to create the cplex geometry

Inflation

Origami

Using paper origami to create the sphere

C2. PROTOTYPES 2.1 Precedent Study 2.2 Prototypes Tests 1: Patterning 2. 3 Prototype Tests 2: Inflation 2.4 Prototype Test 3: Other Method

C2.1.1 Precedent Study 1

Name: ICD/ITKE Research Pavilion Architect: ICD Institute for Computational Design Time: 2014-2015

The ICD/ITKE Research Pavilion 2014-15 is an inflatable structure which could be applied on many small individual building construction inspired by the underwater nest construction of the water spider. Through a novel robotic fabrication process an initially flexible pneumatic formwork is gradually stiffened by reinforcing it with carbon fibers from the inside.

About Biomimicry in construction: â&#x20AC;&#x153;In biology material is expensive but shape is cheap. As of today, the opposite is true in the case of technology.â&#x20AC;? --- Julian Vincent In part C, we will continue to focus on the technique of Biomimicry. The biomimicry for us and for architecture is not mimic a natural world. But challenge our preconception of how things should be designed and constructed. The study of ICD pavilion of the underwater spider inspired me of the construction of inflatable surface with the reinforcement of carbon fiber and inflatable surface is also under the constraints of the fiber skeleton. These two kinds of structure system react with each other to form a stiffen unity shell, which is quite suitable for the construction of irregular-shape and bubbly-shape design.

C2.1.2 Precedent Study 2

Name: Cloud City Architect: Tomas Saraceno Time: 2011 The art installations are flying spheres caught in a maze of cobwebs. The bubble are designed as hanging gardens and pavilion for people to experience, Some spheres harbor plants, some are grouped together into Weaireâ&#x20AC;&#x201C;Phelan structures, and others stand alone, big enough for the visitor to enter.

Inflation bubbles + web The idea of hanging bubbles is quite inspiring. Using the web structure as the envelop to carry the bubbles inside is suitable for our design proposal. The main structure could be inflated and worked as the mold of the web. However, it is hard to make the inflation side and special material should be applied to support the web structure.

C2.2 Prototype Tests and Issues Prototype Test 1 : Create Sphere with Patterning Aim: The shape of the final design is basically made of metaball sphere and branches. In this first prototype, we aimed to test the patterning method to create sphere with paneling tools and pattern the sphere with simple element. By designing the connection of the single elements, individuals could be connected into a surface.

Image: The Undulatus pavilion in Amsterdam digital model

Precedent: The Undulatus pavilion in Amsterdam The sphere mesh is paneling with triangular grids. A single triangular shape with curve edges are design inside each grids. Each component can be folded into dome structure. By connecting each components, the weave surface can be created.

Diagram

Cutting the panel out and fold

Connected by joints

Create surface

Prototypes

Test and Issue: This method is suitable for creating a simple sphere. However, our design is a metaball system with a quite dynamic surface which is hard to be achieved by simply patterning the surface. The weave of the surface changing through the whole structure. It is quite impossible to be captured accurately with patterning. Also size and angle of each elements are different in order to create a complex dynamic surface, which is also difficult for fabrication.

Photo of patterning elements

Detail Picture of Prototype 1: The material in prototype 1 is white and clear Polypropylene (0.6mm). Polypropylene is a kind of flexible material, which can be bend and twisted to a certain form,

image: Inflatoin surface on Water Cube, Beijing http://www.ptw.com.au/ptw_project/watercube-nationalswimming-centre/

Prototype Test 2 : Inflation Aim:

Precedent:

Considering the constraints of using patterning technique to create the complex geometries, we decided to try another method. By using Vacuum Forming Machine, the swelling bubbles can be created with under certain air pressure. The complex weaving surface could be achieved.

Water Cube, National Aquatic Center, Beijing, China Water cube is an example of how air pressure under elastic membrane can form a dome surface.

Process

Using laser cut to cut out the metaball sections on 9mm MDF sheet. Preheat the Vacuum Forming Machine for 150 second. Place the 1mm white perspex and MDF mold on the machine and fix to the template.

Preheat the white perspex until it became hot and soft. Start the Vacuum Machine to add air pressure under perspex sheet. By increasing the air pressure under perspex sheet, the perspex would be blown up to reach a certain height. MDF mold act as the constraints of the inflation.

After cooling and setting, the perspex would be hardened. Take off the perspex and cut them out of the template. It results in a dome structure with nice curve and smooth surface.

Photo of inflation model in detail

Photo of inflation model from top

Photo of inflation model section

Laser cut mold (MDF

Issue Using inflation is a good way to create nice weave curves and smooth bubbly surface. However, using laser cut mold can only result in simple dome structure. In order to create more complex structure, the mold should be designed as a 3D object instead of a flat surface constraints.

Prototype Test 3 Other Method of Creating A Sphere

Inflation Membrane Cut pieces from vinyl membrane sheet. Use heat sealer to connect each piece to form an inflatable sphere out of vinyl membrane. This method is a common way of creating an inflatable surface. However, the size of each pieces is hard to control and the gap between each pieces should be sealed to create a seamless surface for inflation. It could be a possible solution for inflation structure.

Origami Origami is a way of creating weave surface by folding the paper. This approach is not suitable for free formed shape or complex geometries, because the weave is hard to be controlled by folding. Photo credit to Yadi

Steel Wires The skeleton of the structure be fabricated by twisting steel wires. Steel wires is flexible and easy to manage. However, using steel wires and twisted by hand is hard to control the pattern of the skeleton accurately. Photo credit to Yadi

C3. FINAL DETAIL MODEL C3.1 Presentation Model C3.2 Fabrication Refine C3.3 Site Model

C3.1 Presentation Model 3D printing is used to fabricated the final presentation model. Skeleton: 3D printing (material: PLA & ABS) Inflation: Vinyl (heat sealer)

Section

Photos of the details

Fabrication Process

skeleton model

Skeleton Fabrication For the skeleton part, we used 3D printer for fabrication. The 3D printer we used has a template of 12cm*12cm*12cm. The whole model is about 20cm* 15cm*12cm, which is larger than the template. The model is cut into 12 parts to fit the size of the template. 8 main parts are shown in the diagram. Because some part of the model is thin and easy to break, the main principle of cutting the model is to make sure the connection surfaces are as big as possible and avoid cutting fragile part.

3D Printing Process The model will be allocated on the template of the printer. It is important to rearrange the direction of the model and let the flat surface place at the bottom in order to provide stable foundation. The principle of allocating the model is to avoid cantilevers and suspended parts while printing, which can save and supporting material and printing time. The original model will have the supporting material around, which should be removed and polished after.

Inflation Fabrication For the inflation part, we decide to fabricate with vinyl membrane. In order to present the effect of inflation, we use hair drier to inflate the membrane. The wind from the hair drier will heat up the material and soften the material to fix onto the 3D printed skeleton.

Reflection Difficult points and successful points are revealed through the fabrication process. The skeleton fabricated by 3D printer has capture and overall form successfully, however, some fine parts are brittle and broken and each 3D printing parts are connected simply with glue, which resulted in the obvious seam and gap between each part. The connection technique should be evolved. For the inflation part, it is creative to inflation with membrane, however, the result is quite messy because vinyl is melting with high temperature, which result in the roughness of the inflation surface. According to the final crits feedback, it is important to think about how to fabricate the model in a 1:1 scale in reality.

C3.2 Fabrication Refine Based on the feedback of final presentation, I have refabricated the final model with different fabrication methods. Especially, I paid more attention on the fabrication of inflation part aimed to create a smooth and clean inflation form. Skeleton material: 1mm Black Perspex Inflation material: 1mm Clear Perspex

Refined Model with Lightings The material used to fabricate inflation is transparent Perspex. By adding lightings, the shadow of the skeleton cast on the wall creating interesting pattern.

Details from the top

Fabrication Process

Inflation Fabrication Use foam balls as the base and stick the clay onto the base and smooth the surface. After the mold is dried, the clay model is used as the mold for inflation.

Form Redefined by Fabrication Using the Vacuum Forming Machine to create the inflation. Due to the characteristics of plastic, the form of the mold cannot be captured accurately. The form is redefined by the vacuum process, which generated a new form of the

Skeleton Fabrication Cut the black Perspex into thin pieces. Burn the Perspex on the fire. Stretch the melting Perspex to create different thickness of the lines. Although the smoke of burning Perspex is quite toxic, the effect of different thickness of lines is quite successful.

Photos of the branches detail

C3.3 Site Model The technique used in site model fabrication is sectioning. Typography: 3mm MDF and 3mm Clear Perspex Models: 1mm Clear Perspex

Site Model Detail The site model is showing the allocation of each individual elements responding to the site. The site model indicated the relation of the design and typography. The design is located along the river side and on island in the middle of the river.

C4. LEARNING OUTCOME C4.1 Learning Objectives C4.2 Response to Final Crits

Prototype from C2

C4.1 LEARNING Objectives Studio air is my first studio in Melbourne University, which fully embrace the technology and digital design process. Different from Studio Earth and Studio Water, the design process and strategy in this course is a new experience for me. By practicing with online tutorial, I have explored the techniques of digitalization and I am able to design with the techniques and moreover, I have developed a deeper understanding of computational

technique in architecture. What is the meaning of digital design and computational technology? And how I should use it in my future career? Those are the issues that questioned me through the whole semester. I believe digital design is not about forming crazy forms and complex geometries. However, it is tool to help you develop your idea based on certain logic.

Learning From Iterations The first impressive experience I have is generating and develop the from through iterations. Iterations through manipulating the parameters and developing the scripts helped me explore numerous possibility. The potential of a script can be developed further and further. Through these iterations, I have seen something unexpected even beyond expectation, which makes me realize that computational design is a bottom-up process. From Part B to Part C, the iterative design has involved in my entire design process., which shows its importance in this studio.

Prototyping Prototyping is an important process of my fabrication process. In part C, I have developed many possibilities through prototyping. Although many of them cannot be developed further in my final presentation model, the process of making prototype is helpful. The meaning of prototyping is to test the fabrication method and find the most suitable method for my own design conditions.

Biomimicry Biomimicry is a technique I used through this semester. Biomimicry seems an old-dated technique. However, through this semester, I have found new meanings towards this field. The essence of biomimicry is to learn a logic. I also the believe design should be based on logic. And biomimicry is not about mimic the natural world. However, it is about challenging the exist design process and construction method.

VR and Fabrication In this semester, we have explored two different realization-Visual Reality and Fabrication. Visual Reality is a hot subject lately. In my perspective, the application of VR in architecture field is more rendering projects. VR has provided us a new way of perceiving world and it might change how people think of reality. The Unity tutorial is an interesting experience for me. I have learned how to manipulate the camera to create a film in Unity, which is quite useful for my further study. However, physical fabrication is more solid and can put more weight on oneâ&#x20AC;&#x2122;s design. How to build a â&#x20AC;&#x153;coolâ&#x20AC;? structure in real life is the fundamental question for many architects. In real fabrication, many issues should be considered including material, connection, scale and so on.

C4.2 Response to final crits According to the feedback of final presentation, issues are mentioned: 1.The inflation is not successful. Is there any other method to fabricate the inflatable surface? 2. How to build the model in real life with 1:1 scale? In C3.2 Fabrication Refine, I have refabricated the inflatable surface with Vacuum former, which result in a smoother surface and the Perspex form is greatly simulated the inflation process. To answer the question of 1:1 scale model, the precedent of 2014-2015 ICD/ITKE Research Pavilion should be mentioned. The fabrication of this design is quite inspiring. Through a novel robotic fabrication process an initially flexible pneumatic formwork is gradually stiffened by reinforcing it with carbon fibers from the inside. For my design, using inflation membrane as the mold and reinforcing carbon fibers inside and outside to form the skeleton, which will create a unity of inflation and skeleton system.