studio air Sida Yu 604919 by Sida Yu

STUDIO AIR

2016, SEMESTER 2, SIDA YU

Table of Contents

A.0 INTRODUCTION A.1 DESIGN FUTURING 1.1 BEIJING 2050 1.2 TIANJIN ECO CIT Y A.2 DESIGN COMPUTATION 2.1 HORTON HEADQUARTERS 2.2 GOLDEN MOON A.3 COMPOSITION VS GENERATION 3.1 L A SAGRADA FALIMIA 3.2 THE SILK PAVILION A.4 CONCLUSION A.5OUTCOME A.6 APPENDIX A.7 REFERENCE

Introduction

My name is Sida Yu, currently in my third year student in the University of Melbourne, major in architecture. I was born in China, a small city called Dalian located in the north-east costal area. It was fast developing in the past 20 years and I was lucky enough to witness the changes. I came from a family with construction related history, my father is a construction engineer while my mother works as a construction manager. Even when I was young, I was around by architects and construction works. Architecture was always a hot topic in my life. Because of the rapid development regarding buildings in my hometown, there are also many issues related, the most discussed one is the gap between the fast construction in the city and the underdeveloped architecture design development. Most construction companies are undereducated have very limited knowledge of architecture. The buildings are repetitive, unsustainable and created light pollutions. There are also issues regarding buildings with historical values. Dalian was once occupied by both Japan and Russia, who left and beautifully designed buildings and city blocks that are not protected enough. Regulations in China is not fully developed even now, but there are changes. That was really my first motivation of being an architect, to save my beloved hometown from over development. However, under Chinese education, I could not study anything design related. All subjects are compulsory. I decided to be responsible for my own future and study abroad. What really made an architecture student was visiting The Humble Administrator’s Garden in Suzhou and see how the architectures take advantages from its surrounding environments and change according to the local conditions. I would like to finishes my master degree here in Melbourne, exploring more on environmental building system, and I hope Air studio will help me gain another perspective for sustainable building design.

CONCEPTUALISATION

CONCEPTUALISATION 5

CONCEPTUALISATION

“WE ARE NOW AT A POINT WHEN IT CAN NO LONGER BE ASSUMED THAT, WE, EN MASSE, HAVE A FUTURE. IF WE DO, IT CAN ONLY BE BY DESIGN AGAINST THE STILL ACCELERATING DEFUTURING CONDITION OF UNSUSTAINABILITY” - TONY FRY

A.1 DESIGN FUTURING NOW HUMAN HAVE REACHED A CRITICAL MOMENT WHERE THE FUTURE IS NO LONGER SECURED1. THE ACCELERATING DEFUTURING CONDITION OF UNSUSTAINABILITY HAS BEEN CREATED UNWITTINGLY BY HUMAN THROUGH THE RESULTS OF ANTHROPOCENTRIC-ALLY HABITUATING WORLDWIDE THAT ONE POSSIBLE METHOD TO SUSTAIN THE FUTURE IS BY DESIGN DUE TO ITS INNATE ABILITY OF PREFIGURATION1. HOWEVER, THERE ARE THREE MAIN PROBLEMS IN THE CURRENT DESIGN INDUSTRY THAT PREVENT US FROM DESIGN FUTURE: THE DEREGULATED PLURALIZATION OF DESIGN ACTIVITY THAT INCREASINGLY TRIVIALIZED DESIGN; THE LIMITATION OF OUR SOCIETY CAUSES MOST DESIGN EITHER ECONOMY-ORIENTED OR CULTURE-ORIENTATED; EVEN SUSTAINABLE-ORIENTED DESIGN CAN ONLY SLOW DOWN THE DEFUTURING CONDITION RATHER THAN CHANGED THE CONDITION1. AS DUNNE & RABY SUGGESTED, DESIGNER SHOULD BE ENCOURAGED TO DREAM THE IMPOSSIBLE, UNLIMITED BY CURRENT RESTRICTIONS, SO THAT THE FUTURE IS NOT DESTINED2. IN OTHER WORD, DESIGN WITHOUT CURRENT LIMITATIONS OF THE SOCIETY IS ONE POSSIBLE METHOD THAT HUMAN CAN SECURE THE FUTURE WHICH MAY PROVIDE POSSIBLE SOLUTIONS TO HOW THE SOCIETY SHOULD CHANGE ACCORDINGLY.

CONCEPTUALISATION

FIGURE 1.1. BEIJING 2050 PEOPLEâ&#x20AC;&#x2122;S PARK CONCEPTUALISATION 9

A.1 DESIGN FUTURING AS DESIGN FUTURING INDICATED THE GAP BETWEEN URGENTLY NEEDED ACTION DUE TO OUR DEFUTURING CONDITION AND THE CURRENT AVAILABILITY TO CHANGE POLITICALLY, SOCIALLY AND ECONOMICALLY, ITS UNDOUBTEDLY IMPORTANT FOR ARCHITECTS TO DESIGN WITHOUT RESTRICTIONS SO OUR FUTURE IS NOT DESTINED2. BEIJING 2050 IS A PROPOSED PROJECT BY MAD WHO USES IMAGINES AND MODELS TO DEMONSTRATES BEIJING IN A POST-POLITICAL ERA. THIS PROPOSAL INCLUDING THREE PARTS, HUTONG BUBBLE, FLOATING ISLAND AND PEOPLE’S PARK. BEIJING HAS BEEN THE CAPITAL CITY OF CHINA FOR OVER 200 YEARS, AND HAS BEEN CONSTRUCTED AS A COMMUNIST CAPITAL SINCE 1949. ITS RELATIONSHIP WITH POLITICS IS STRONG AND INSEPARABLE. IN SUCH A CITY, THE RESTRICTIONS TOWARD DESIGN ARE STRONG AND IN LARGE. IT’S IMPOSSIBLE FOR ANY ARCHITECTS TO ONLY DESIGN WITHOUT CONSIDER THE RESTRICTIONS. HOWEVER, IN THIS UNBUILT FORM, ARCHITECTS COULD OPEN UP DESIGN APPROACHES. THE PROJECT INTENDS TO PROVIDES INSIGHTS INTO MODERN CHINA SOCIAL, CULTURAL AND URBAN ISSUES . BEIJING IS A CITY WITH INVALUABLE HISTORY. HUTONG, CONSIDERED AS ONE IMPORTANT PART OF BEIJING’S HISTORY AND BEST TOURIST ATTRACTIONS, HAS CREATED DIFFICULTIES FOR THE LOCALS. WITH NO PRIVATE BATHROOM OR SHOWERS, PEOPLE WHO LIVES IN THIS ENVIRONMENT EXPERIENCE INCONVENIENCE ON A DAILY BASIS3. WITH BEIJING’S REPAID DEVELOPMENT, CITY’S LANDSCAPE HAS BEEN ALTERED THAT TRADITIONS ARE ERODED. THESE CHANGES ARE NOW FORCING ARCHITECTURES TO RELY ON SPONTANEOUS AND RENOVATIONS ADAPT THE EVER CHANGING ENVIRONMENT4. THE HUTONG BUBBLES INTEND TO CREATE SPACES FOR THE COMMUNITY’S VARIOUS NEEDS, LINKING BETWEEN LOCAL RESIDENTS AND THE NEW PEOPLE AND PROVIDING AMENITY FACILITIES FOR THE COMMUNITY’S VARIOUS NEEDS. THE ALIEN EXTERIOR REFLECTS THE SURROUNDING TRADITIONAL ENVIRONMENT WHERE THE NEW AND THE OLD COEXIST.

BEIJING 2050 BEIJING, 2006

FIGURE 1. 3 BEIJING 2050 FLOATING ISLAND

FIGURE 1. 2 BEIJING 2050 HUTONG BUBBLE

1. TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE. (OXFORD: BERG, 2008), (PP.1, PP.2) 2. DUNNE, ANTHONY & RABY, FIONA, SPECULATIVE EVERYTHING: DESIGN FICTION AND SOCIAL DREAMING (MIT PRESS, 2013) 3. MAD’S “BEIJING 2050” PROJECT UNVEILED IN VENICE (2006)< HTTP://WWW.I-MAD.COM/PRESS/MADSBEIJING-2050-PROJECT-UNVEILED-IN-VENICE/> [ACCESSED 5 AUGUST 2016] 4. NICO SAIEH, BEIJING HUTONG BUBBLE / MAD (2010) <HTTP://WWW.ARCHDAILY.COM/50931/BEIJING-HUTONG-BUBBLE-MAD> [ACCESSED 9 AUGUST 2016]. 10

CONCEPTUALISATION

FLOATING ISLAND OVER BEIJING’S CBD AREA INTENDS TO PROVIDE CONNECTIONS AMONG VARIOUS RECREATION BUSINESS. THE PROPOSAL TRYING TO ARTICULATE A NEW UNDERSTAND OF VERTICAL CITY BY HAVING THEN ELEVATED AND CONNECTING THEM HORIZONTALLY3. PEOPLE’S PARK, CONSIDERED TIAN’AN MEN SQUARE ONLY AS AN OPEN SPACE, LEADS PEOPLE TO THINK OF A POSTPOLITICAL ERA WHERE THE GAP BETWEEN DESIGN ACTION AND THE ABILITY TO CHANGE POLITICALLY NO LONGER EXIST. THE NOW BLUE STONE COVERED HARD SURFACE IN TIAN’AN MEN SQUARE WILL BECOME ONE OF THE BIGGEST GREEN AREA IN THE CITY. IN THIS SCENARIO, CHINA NO LONGER REQUIRE POLITICAL GATHERING NOR THE PARTY NEED TO EMPHASIS ITS POWER3. IT ALLOWS PEOPLE TO GET CLOSER TO THE NATURAL ENVIRONMENT AND INTEGRATE NATURE INTO URBAN AREA. IT FULLY EXPLAINS THE CITY NOT AS AN IMAGINE OF BUILDINGS BUT AS A SPACE IN PEOPLE’S EVERYDAY LIFE3. IT ENCOURAGES PEOPLE TO GET INVOLVED AND SOCIALLY BECOMING THE CENTRAL SPACE OF BEIJING. IT’S SUCH A RADICAL IDEA THAT IT SHOWS THE CHANGEABILITY OF THE CITY OUT POLITICAL INFLUENCES, AS SAID, OF YOU HAVE A WELL-DESIGNED ENVIRONMENT, THE SOCIETY WILL RESPOND TO IT. IT SETS AN POSSIBILITY OF HAVING A BETTER FUTURE IN PEOPLE’S MIND.

FIGURE 1.4 BEIJING 2050 PEOPLE’S PARK CONCEPTUALISATION 11

A.1 DESIGN FUTURING TIANJING ECO CITY TAKES SUSTAINABLE DESIGN INTO A LARGER SCALE, WHERE SUSTAINABLE DESIGN CAN INTEGRATE WITH MORE ASPECTS OF HUMAN LIFE. THE PROJECT, ONE CONSIDERED ONLY A CONCEPT, IS EXPECTED TO BE FULLY COMPLETED BY 2020 PROVIDING MORE THAN 350S,000 RESIDENTS A LOW-CARBON, GREEN ENVIRONMENT, HALF THE SIZE OF MANHATTAN5. THE CITY IS DESIGNED IN A SUSTAINABLE MANNER. LOCATED IN AN AREA WITH LOW RAINFALL, WATER PROVISION IS ONE CHALLENGE. ECOCITY WILL INTEGRATE DESALINATING WATER SYSTEM AND GREY WATER MANAGEMENT SYSTEM TO HELP CONSERVING AND RECYCLING WATER. WASTE MANAGEMENT IS ANOTHER KEY FACTOR THAT HAS BEEN IMPLEMENTED IN THE ECO-CITY, WITH EMPHASIS ON THE REDUCTION, REUSE AND RECYCLING OF WASTE5. AT CITY SCALE, THE EMPHASIS ON ENCOURAGING SUSTAINABLE LIVING STYLE IS ONE STEP FURTHER THAN IMPLEMENT SUSTAINABLE INFRASTRUCTURES. THE CITY IS DESIGN WITH INTERSPERSED GREEN SPACES THROUGHOUT THE CITY, WITH REED BEDS HAVE BEEN CREATED AS HABITATS FOR BIRDS5. THE SIZE OF CITY IS DESIGNED TO BE WITHIN THE WALKING OR CYCLING ACCESS TO EVERYWHERE, AND FREE RECREATION FACILITIES WILL BE PROVIDED WITHIN 500M OF ANYWHERE, PROVIDING SPACE FOR RESIDENTS TO INTERACT AND NOT SOCIALLY EXCLUDED FROM AREAS, AND A SENSE OF COMMUNITY IS CREATED WITHIN THE CITY5. HOWEVER, EVEN THE CITY IS PLANNED TO REACH THE HEIGHT OF UTOPIA, REALITY STATES THAT FIVE YEARS INTO CONSTRUCTION, THE ECO-CITY IS NOT GOING UNDER PLANNED. FOR EXAMPLE, EVEN THE BUILDINGS ARE DESIGNED TO MEET THE WORLD’S MOST STRINGENT ENVIRONMENTAL STANDARDS, ENTERPRISES WOULD NOT USE THE GREEN ENERGY BECAUSE COAL IS MUCH CHEAPER. THE CITY ITSELF CAN HARDLY BE SUSTAINABLE WITHOUT PEOPLE ACTIVELY PARTICIPATE IN.

TIANJING ECO CITY TIANJIN BY SINOSINGAPORE

FIGURE 2.2 TIANJING ECO CITY IN CONCLUSION, CHANGE THE ACCELERATING DEFURTURING CONDITION REQUIRES DESIGNERS TO CREATE UNRESTRICTED FROM POLITICALLY, ECONOMIC AND SOCIAL FACTORS, CREATING AN ALTERNATIVE FUTURE THAT IS NOT DESTINED. HOWEVER, EVEN DESIGN IS THE SOLUTION OF ELIMINATING THE DEFURTURING CONDITION, IT CANNOT WORK WITHOUT PEOPLE ACTIVELY PARTICIPATING. USING SUSTAINABLE DESIGN TO IMPLEMENT SUSTAINABLE CONSCIOUSNESS IS POSSIBLE TO CREATE A POSITIVE FEEDBACK LOOP WHERE SUSTAINABLE DESIGN REACHES ITS FULL CAPABILITY.

FIGURE 2.1ECO CITY LIVING CONCEPT

5. ICLEI, ‘TIANJIN, ECO-CITY, CHINA A BILATERAL INSTITUTIONAL NEXUS FOR CUTTING-EDGE SUSTAINABLE METROPOLITAN DEVELOPMENT’, (2014) 12

CONCEPTUALISATION

FIGURE 2.3 TIANJING ECO CITY CONCEPTUALISATION 13

A.2 DESIGN COMPUTATION

“ONLY PARAMETRICISM CAN ADEQUATELY ORGANISE AND ARTICULATE CONTEMPORARY SOCIAL ASSEMBLAGES AT THE LEVEL OF COMPLEXITY CALLED FOR TODAY.” -PATRICK SCHUMACHER

CONCEPTUALISATION

CONCEPTUALISATION 15

A.2 DESIGN COMPUTATION TODAY, DESIGN COMPUTERIZATION HAS ALWAYS BEEN COMPARED WITH COMPUTATIONAL DESIGN. THE FORMER ONE REFERS TO THE DIGITAL REPRESENTATION AND VISUALIZATION OF DRAWINGS THAT HAS ALREADY BEEN CONCEPTUALIZED IN ARCHITECT’S MIND. ONE THE OTHER HAND, COMPUTATIONAL DESIGN INTRODUCES A DIFFERENT DESIGN METHODOLOGY, THAT ALLOWS THE ARCHITECTS TO GENERATE FORMS THROUGH ALGORITHMIC THINKING AND PARAMETERS. PEOPLE ARGUES THAT BECAUSE THESE FORMS AND SPACES HAVE NEVER BEEN CONCEPTUALIZED, COMPUTATIONAL DESIGN LACKS OF LINGUISTIC ANALOGY AND SETS UP A BOUNDARY AND A FORMAL STANDARD FOR DESIGN INDUSTRY1. DIGITAL TOOLS RESTRICT DESIGNERS AND THEIR CREATIVITIES. HOWEVER, COMPUTATIONAL DESIGN ALSO PROVIDES A PLATFORM FOR COLLABORATIVE DESIGN WITH MATERIALITY, BUILDING PERFORMANCE AND EVEN WITH ENGINEERS THAT ALLOWS DESIGNERS TO USE ANALYTICAL TOOLS FOR OPTIMIZING DESIGNS, AND PROVIDES DESIGNERS SOLUTIONS RELATED WITH FABRICATION AND CONSTRUCTION2. ONE EXAMPLE OF ENGAGING MATERIAL PROPERTIES, TRADITIONS AND COMPUTATIONAL DESIGN TO PROVIDE SOLUTIONS IS GOLDEN MOON BY LEAD. THIS ARCHITECTURAL STRUCTURE WAS BUILT TO EXPLORE HONG KONG’S UNIQUE BUILDING TRADITIONS AND CRAFTSMANSHIP, THEREFORE, MATERIALS LIKE TRANSLUCENT FABRIC, METAL WIRE AND BAMBOO WERE USED AND, WITH THE HELP OF COMPUTATIONAL DESIGN, TRANSLATED TO A LARGE SCALE3. THE PRIMARY STRUCTURE OF THE PAVILION WAS A LIGHT-WEIGHT STEEL GEODESIC DOME, WHICH IS ALSO THE BASIS FOR A COMPUTER-GENERATED GRID WRAPPED AROUND IT3. THE GRID WAS MATERIALIZED USING HONG KONG’S TRADITIONAL BAMBOO SCAFFOLDING TECHNIQUES3. THIS TRADITIONAL INTUITIVE AND IMPRECISE CRAFT WAS COLLABORATED WITH DIGITAL DESIGN TECHNOLOGY TO INSTALL AND BEND THE BAMBOO STICKS ACCURATELY3.

GOLDEN MOON HONGKONG,2012 BY LEAD

FIGURE 3.2. GOLDEN MOON IRREGULARITY

FIGURE 3.1 GOLDEN MOON BAMBOO PATTERN

AN ALGORITHM WAS CREATED FOR CALCULATING THE SPHERE PENALIZATION, WHICH THE BAMBOO PATTERN WAS BASED ON3. THIS APPROACH ALSO PRODUCES PURITY AND REPETITION AROUND THE EQUATOR AND IMPERFECTION AND APPROXIMATION AT THE POLES, WHICH CREATES A SPACE THAT DRAWS VISITORS VIEW TOWARD THE TIP3. THE STRUCTURE IS AN EXAMPLE OF BUILDING COMPLEX GEOMETRY USING SIMPLEST MEANS. THEY COMBINED DIGITAL DESIGN TECHNIQUES WITH TRADITIONS AND BASIC MATERIALS, WHICH PROCEDURAL MODELLING WAS USED AS TOOL TO CONTROL PRODUCTION. FOR EXAMPLE, CODE WAS USED FOR PRODUCING DRAWINGS THAT ALLOWS WORKERS TO UNDERSTAND AND MARK UP INTERSECTIONS3. OPTIMIZATION SCRIPTS REDUCE THE AMOUNT OF DIFFERENT TYPES OF STRETCH-FABRIC, THAT COULD STRETCH AND ADAPT VARIOUS CONDITIONS WHERE THEY WERE APPLIED TO.

THIS PROJECT SHOWS, WITH COMPUTATIONAL DESIGN, DIGITAL DESIGN CAN BE MATERIALIZED INTO A MORE HUMANE ENVIRONMENT THAT RESTRICTIONS LIKE LOW BUDGETS AND MINIMAL PRECISION EXISTS, THAT INSTEAD OF RESTRICT DESIGNERS AND THEIR CREATIVITY, COMPUTATIONAL DESIGN ALLOWS DESIGNER TO BE MORE CREATIVE AS COMPUTATIONAL DESIGN PROVIDES SOLUTIONS FOR MANY REAL-WORLD RESTRICTIONS1.

1. OXMAN, RIVKA AND ROBERT OXMA, THEORIES OF THE DIGITAL IN ARCHITECTURE , 2014 EDN (LONDON: NEW YORK: ROUTLEDGE, ), P. 1-10. 2. KALAY, YEHUDA E, ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE: MA: MIT PRESS, 2004), P. 5-25. 3. GOLDEN MOON / LEAD (2012) <HTTP://WWW.ARCHDAILY.COM/283965/GOLDEN-MOON-LEAD> [ACCESSED 9 AUGUST 2016]. 16

CONCEPTUALISATION

CONCEPTUALISATION 17

A.2 DESIGN COMPUTATION ANOTHER EXAMPLE OF COMPUTATIONAL DESIGN ALLOWS DESIGNERS TO USED ANALYTICAL TOOLS TO OPTIMIZING DESIGN WOULD BE HORTEN HEADQUARTERS DESIGNED BY 3XN. THE BUILDING IS DESIGNED TO SET NEW STANDARDS WITHIN SUSTAINABLE SOLUTIONS BY EXCEEDING EXISTING REGULATIONS FOR ENERGY PERFORMANCE4. USING CUSTOM DIGITAL TOOLS TO CREATE A SERIES OF ARITHMETIC LOGIC, THE OUTCOME IS GENERATED WHERE SOLUTION TO THE DESIGN ARE DERIVED THROUGH DEEP UNDERSTANDING OF GEOMETRICAL PRINCIPLES5. A UNIQUE THREE-DIMENSIONAL FAÇADE IS THEN GENERATED, WORKS AS SUNSHADE WHILE STILL PROVIDING VIEW TO THE WATER. THE BUILDING ALSO USES NEW MATERIAL IN ORDER TO ADAPT ITS SPECIAL GEOMETRY4. DUE TO THIS REASON, IT’S BECOMING CRITICAL TO DESIGN A FAÇADE WITH AS MANY REPETITIONS AS POSSIBLE WITHOUT LOSING ITS UNIQUE EXPRESSION IN ORDER TO KEEP IT WITHIN THE BUDGET. USING OPTIMAL DESIGN TOOLS, THE TEAM SUCCESSFULLY REDUCED THE NUMBER OF INDIVIDUAL GEOMETRIC WITHOUT COMPROMISING THE ARCHITECTURAL VISION. THE PROJECT HAS A DESIGN TEAM OF EIGHT, INCLUDING ARCHITECTS, RESEARCHERS, ENGINEERS, AND DESIGNERS WHO ARE ALL ACTIVELY INVOLVED IN THE DESIGN AND PLANNING PROCESS5. THIS INDICATES MULTI-DISCIPLINARY TEAM IS ENGAGING WITH DESIGN PROCESS IN EARLY STAGE, THAT COLLABORATION BETWEEN VARIOUS DISCIPLINES ALLOWS THEM TO SHARE AND EXCHANGE VALUE INPUT, RESULTING A BETTER SOLUTION. THE TEAM SHOWS A TRANSITION PHASE IN THE ROLE ARCHITECTS ARE PLAYING TODAY, WHERE STRUCTURE AND MATERIALS START TO TAKE ROLES IN DESIGNING STAGE. COMPUTATIONAL DESIGN ALLOWS DESIGNERS TO COLLABORATE WITH VARIOUS DISCIPLINES USING DIGITAL TOOLS BY INPUT DATA AND PARAMETERS, WHICH POSSIBLE RESULT ARE GENERATED TO PROVIDE BETTER SOLUTIONS2.

HORTEN HEADQUARTERS COPENHAGEN, 2009 BY 3XN

FIGURE 4.2 HORTEN HEADQUARTERS WATER VIEW TO CONCLUDE, COMPUTATIONAL DESIGN PROVIDES A PLATFORM WHERE DESIGN CAN COLLABORATE WITH VARIOUS DISCIPLINES IN EARLY STAGE SO THAT A BETTER SOLUTION CAN BE GENERATED. BY OPTIMIZING DESIGN CONCEPT, COMPUTATIONAL DESIGN PROVIDES SOLUTION TO DESIGNER IN ORDER TO MATERIALIZE THEIR DESIGN WITHOUT COMPROMISE ARCHITECTURAL INTENTIONS. THROUGH OPTIMIZATION, COMPUTATIONAL DESIGN ALLOWS PERFORMANCE-ORIENTATED DESIGN APPROACH TO BE MORE EFFECTIVE AND EFFICIENT.

FIGURE 4.1 HORTEN HEADQUARTERS PLAN 2. KALAY, YEHUDA E, ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE: MA: MIT PRESS, 2004), P. 5-25. 4. HORTEN HEADQUARTERS (2009) <HTTP://GXN.3XN.COM/#/PROJECTS/BY-YEAR/57-HORTEN-HEADQUARTERS-> [ACCESSED 10 AUGUST 2016]. 5. HORTEN HEADQUARTERS / 3XN (2009) <HTTP://WWW.ARCHDAILY.COM/43658/HORTEN-HEADQUARTERS-3XN> [ACCESSED 7 AUGUST 2016].

CONCEPTUALISATION

FIGURE 4.3 HORTEN HEADQUARTERS 3D FACADE CONCEPTUALISATION 19

A.3 COMPOSITION VS GENERATION

CONCEPTUALISATION

“WHEN ARCHITECTS HAVE A SUFFICIENT UNDERSTANDING OF ALGORITHMIC CONCEPTS, WHEN WE NO LONGER NEED TO DISCUSS THE DIGITAL AS SOMETHING DIFFERENT, THEN COMPUTATION CAN BECOME A TRUE METHOD OF DESIGN FOR ARCHITECTURE.” - BRADY PETERS

CONCEPTUALISATION 21

A.3 COMPOSITION VS GENERATION ARCHITECTS WAS ASSOCIATED WITH USING COMPOSITIONAL METHOD TO GENERATE SPACES AND ARCHITECTURAL FORMS WITH PEN AND A SET OF SKETCH DRAWINGS THAT ILLUSTRATE THEIR IDEAS. HOWEVER, WITH THE INTRODUCTION OF GENERATIVE COMPUTATION, ARCHITECTURAL COMPOSITION HAS SHIFTED TO ONE WHICH SPACES ARE GENERATED FROM PARAMETERS AND RULES. NOW USING ALGORITHM-BASED DESIGN SOFTWARE BECOME COMMON IN ARCHITECTURAL PRACTISE, AND WITH THE INCREASING NUMBER OF GENERATIVE ARCHITECTURES, ARCHITECTS BEGAN TO QUESTION ABOUT WHETHER GENERATION IS, AS PEOPLE DESCRIBED, A NEW WAY OF COMPOSING ARCHITECTURE, OR JUST A TOOL MERELY FOR CREATING UNUSUAL FORMS. COMPUTATION, ESPECIALLY ALGORITHMIC APPROACH, ALLOWS COMPUTERS TO GENERATE DESIGN AUTOMATICALLY BASED ON DEFINED SIMPLE RULES AND MODIFY THEM EASILY. THIS APPROACH IS ABLE TO COMPOSE COMPLEX COMPOSITIONS IN QUICK SUCCESSIONS. ONE EXAMPLE OF MODERN SOCIETY USING ALGORITHMIC APPROACH TO REDUCE THE AMOUNT OF WORK REQUIRED IS THE SAGRADA FAMILIA, DESIGNED BY ANTONI GAUDI IN 1882. LA SAGRADA FAMILIA WAS DESIGNED BEFORE THE AGE OF COMPUTATION AND WAS FAMOUS FOR CREATING A NEW ARCHITECTURAL LANGUAGE WITH STRATEGICALLY MANIPULATING SIMPLE GEOMETRICAL RULES TO CREATE COMPLEX FORM1. THE GEOMETRIC CONFIGURATION IS BEYOND HIS ERA AND COULD NOT EVEN BE FINISHED DUE TO TECHNOLOGY, TIME AND MONEY2. GAUDI, WITH HIS NOVEL FORM-FINDING SKILLS, MANAGED TO COMPOSE FORMS AND MODELS ANALOGOUS TO PARAMETRIC DESIGN1. AN EXAMPLE WOULD BE THE BOOLEAN INTERSECTION COLUMN THAT VARYING IN SIZE AND SHAPE FOR VARIOUS PERFORMANCE1.

SAGRADA FAMILIA BARCELONA, 1882 BY ANTONI GAUDI

FIGURE 5.2 NAVIGATION FACADE HOWEVER, EVEN GREAT ARCHITECT LIKE GAUDI SPENT MORE THAN 40 YEARS ON A PROJECT LIKE THIS2. THE PROJECT IS INDUBITABLY INVALUABLE IN HUMAN HISTORY, BUT WOULD TAKE LESS TIME TO CREATE WITH GENERATIVE COMPUTATIONAL TECHNOLOGIES. LEFT UNFINISHED, ARCHITECTS ARE STILL WORKING ON SAGRADA FAMILIA. WITH INTRODUCE OF COMPUTATIONAL SOFTWARE, ARCHITECTS ARE ABLE TO GENERATE PRECISE GEOMETRY SUGGESTED BY GAUDI’S MODEL, AND FURTHER TO THAT, MODIFY AND TEST THE DIGITAL MODEL WITH VARIABLES TO ENSURE ITS STRUCTURALLY STABLE. COMPUTER GENERATION OF THE GEOMETRIC WOULD BE BASED ON IDEAS LIKE BIOMIMICRY THAT DESCRIBES ALGORITHMIC RULES BASED ON NATURE, WHICH IS WHERE GAUDI’S IDEAS ARE FROM2.

FIGURE 5.1 BOOLEAN INTERSECTION COLUMN 1. CARLOS, THINKING PARAMETRIC DESIGN: INTRODUCING PARAMETRIC GAUDI 2. BURRY, EXPIATORY CHURCH OF THE SAGRADA FAMILIA 22

CONCEPTUALISATION

FIGURE 5.3 PARAMETRIC CONCEPTUALISATION 23

A.3 COMPOSITION VS GENERATION SARGRADA FAMILIA SETS A GREAT EXAMPLE OF HOW GENERATION IS ABLE TO REDUCE THE AMOUNT OF WORKLOAD REQUIRED WHEN DESIGN AN ARCHITECTURE, AND RAISE THE TOPIC OF BIOMIMICRY DESIGN USING GENERATIVE TECHNOLOGIES. AT THIS POINT, GENERATION IS ABLE TO CREATE NEW DESIGN POSSIBILITIES THROUGH UNEXPECTED RESULT WHEN ARCHITECTS HAVE NO PRECONCEIVED IDEAS AND ONLY WRITE THE RULES. SILK PAVILION IS ONE EXAMPLE OF GENERATIVE DESIGN IN ARCHITECTURAL PRACTICE COLLABORATED WITH SCIENTIFIC RESEARCH. IN THIS CASE, FORM IS GENERATED THROUGH SCRIPTING. THE PAVILION CONSISTS OF CNC CONSTRUCTED POLYGONAL PANELS WITH HUMAN-CONSTRUCTED SILK FIBRES ACTING AS PRIMARY STRUCTURE3. 6,500 SILKWORMS WERE USED AS BIOLOGICAL PRINTERS TO FORM A SECONDARY SKIN WHICH REINFORCE THE PRIMARY SILK FIBRES. THE CORE OF THIS PROJECT IS TO UNDERSTAND HOW SILKWORMS INTERACT WITH THEIR SURROUNDING ENVIRONMENT, AND COCOON’S CONSTRUCTION PROCESS3. USING MOTION TRACKING TECHNOLOGIES, EXHAUSTIVE COMPREHENSION OF BEHAVIOURAL DATA OF THESE STUDIES ARE COLLECTED, THEN PUT INTO THE SCRIPT TO GENERATE THE FORM OF THIS PAVILION3. CONSTRUCTION PROCESS ALSO INFORMED BY THE COLLECTED DATA. COMPUTERS GUIDE CNC MACHINERY WEAVING AS ACCORDING TO COCOONS. IN THIS CASE, THE CREATION AND CONSTRUCTION IS ALMOST AUTOMATIC AFTER PUT THE COLLECTED DATA INTO COMPUTER SOFTWARE3. BUT THE RESULT IS MODIFIABLE, THROUGH CHANGING PARAMETERS, A SET OF RESULT COULD BE CREATED, FROM WHICH NEW DESIGN COULD BE INSPIRED. CONCENTRATION ON STYLISTIC EXPRESSION HAS LED TO THE MISUNDERSTANDING OF ALGORITHMIC THINKING AS ‘EXPRESSION OF ARTISTIC’. PEOPLE ARGUES THAT WITHOUT QUALITATIVELY EVALUATING METHOD NOR RATIONAL DESIGN PROCESS, GENERATIVE DESIGN LOST SENSIBILITY OF ARCHITECTURE. IN DEFENCE, PETER CLAIMS THAT COMPUTATION SHOULD BE INTEGRATED AS AN INTUITIVE AND NATURAL WAY TO DESIGN4. ALGORITHMS ONLY PROVIDE A PLATFORM FOR COMPUTING COMPLEX DATA, WHICH NEED TO BE BASED ON RESEARCH, AND GENERATIVE PROCESS5.

THE SILK PAVILION BY MIT MEDIA LAB

FIGURE 6.1 HUMANCONSTRUCTED SILK FIBRES

FIGURE 6.3 THE SILK PAVILION THE COMPOSITIONAL LOGIC SHOULD BE EMBEDDED INTO THE ALGORITHMIC RULES SO AS THE ESSENTIAL IDEAS OF DESIGN SHOULD BE ABLE TO TRACE BACK4. HOWEVER, IT IS TRUE THAT WITHOUT SUFFICIENT UNDERSTANDING OF ALGORITHMIC CONCEPTS, AND IF SKILLS OVERRIDE REAL DESIGN OBJECTS, GENERATION BECOME NOTHING MORE THAN AN ISOLATED CRAFT TO GENERATE APPEARANCE. IT THEN BECOME APPARENT THAT GENERATION NEED TO BE INTEGRATED WITH TRADITIONAL COMPOSITIONAL METHOD SO ARCHITECTURAL LANGUAGES WON’T GET LOSS IN VARIATION AND MODIFICATION.

FIGURE 1. BEIJING 2050 FIGURE 6.2 FORM-FOUNDING

3. RORY STOTT, SILK PAVILION / MIT MEDIA LAB (2013) <HTTP://WWW.ARCHDAILY.COM/384271/SILK-PAVILION-MIT-MEDIA-LAB> [ACCESSED 9 AUGUST 2016]. 4. PETER BRADY, ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, ([N.P.]: , 2013), P. 8-15. 5. ROBERT A. AND FRANK C. KEIL, DEFINITION OF ‘ALGORITHM’ IN WILSON, ED. BY THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES, 1999 EDN (LONDON: MIT PRESS, ), P. 11-12. 24

CONCEPTUALISATION

FIGURE 1. BEHAVIOUR ANALYSIS CONCEPTUALISATION 25

A.4 CONCLUSION DESIGN APPROACH KEPT CHANGING ALONG WITH EMERGING TECHNOLOGIES. WITH THE RAISE OF COMPUTATIONAL DESIGN, PARAMETRIC THINKING, OR RATHER ALGORITHMIC THINKING BECOME CRITICAL IN ARCHITECTURAL PRACTICE, NOT ONLY BECAUSE ITS ABILITY TO PARAMETRICALLY CHANGE THE DESIGN, BUT ALSO BECAUSE OF ITS ABILITY TO INTELLECTUALLY RESPONSE TO MATERIALITY, ENVIRONMENT AND USERS. ITS NATURE OF USING PERFORMANCE-ORIENTED DESIGN APPROACH HAS THE ABILITY TO GENERATE NEW DESIGN OPPORTUNITIES. UNDER THE RAISING CONSCIOUS OF DEFUTURING CONDITION OF UNSUSTAINABILITY OF OUR ENVIRONMENT, THE COMPUTATIONAL APPROACH AND ALGORITHMIC DESIGN RECEIVED A SHIFT TOWARD GAINING APPROVAL. THROUGH EXPLORING ALGORITHMIC DESIGN APPROACH, MANY ARCHITECTURAL PRACTICE HAS REACH A CONCLUSION THAT COMPUTATION HAS THE POWER TO CREATE IMPROVEMENT IN OUR LIVING ENVIRONMENT. DESPITE THE FACT THAT COMPUTATIONAL DESIGN IS PERFORMANCE-ORIENTED, IT SHOULD ALSO SUGGEST AN IDEOLOGICAL DISCOURSE AND INSPIRE USERS TO THINK FURTHER. MERRI CREEK PRESENTS GREAT OPPORTUNITIES FOR SETTING UP AN EXHIBITION THAT COULD RAISE VISITOR’S AWARENESS OF THE ENVIRONMENT USING GENERATIVE APPROACH. IT IS THEREFORE CRITICAL TO UNDERSTAND THE SOCIAL COMPLEXITY, LEVEL OF BIODIVERSITY, AND ITS INTERRELATED RELATIONSHIPS, WHICH WILL INFORM NECESSARY PARAMETERS TO GENERATE THE BUILDING FORM. MATERIALITY IS ANOTHER FACTOR INSEPARABLY CONNECTED WITH FORM GENERATION, AS MATERIALS HAVE THEIR INTERNAL AND EXTERNAL CONSTRAINS. FOR MY DESIGN, I INTEND TO, LEARNING FROM PRECEDENTS SUCH AS ICD/ITKE PAVILIONS, INTEGRATE DESIGN COMPUTATION AND MATERIALIZATION BY EMBEDDING THE PHYSICAL BEHAVIOR AND MATERIALS CHARACTERISTICS IN PARAMETRIC PRINCIPLES.

CONCEPTUALISATION

TO BE ABLE TO DO THIS, EXPLORING AND ANALYZING MATERIALITY, IT’S BEHAVIOR PATTERN AND CHARACTERISTICS BECOME ESSENTIAL. RESPONDING TO THE BRIEF, USING LOCAL MATERIAL FROM MERRI CREEK AREA HAS THE ABILITY TO SET UP AN INTERFACE BETWEEN VISITORS AND LOCAL ENVIRONMENT, WHICH THEREFORE CREATES OPPORTUNITIES TO RAISE THEIR CONSCIOUS OF THE ENVIRONMENT AND EVOKE EMOTIONS. TO ACTIVELY ENGAGE USERS WITH SURROUNDING ENVIRONMENT, THE PROCESS OF EXPLORING MUST BE CONDUCT. I PROPOSE TO SET TOPOGRAPHY AS A PARAMETER IN FORM GENERATION, WHICH WILL ALLOW THE DESIGN MERGE INTO THE ENVIRONMENT. WITH APPROPRIATELY ARTICULATION, THE DESIGN SHOULD BE ABLE TO RAISE THE AWARENESS OF ENVIRONMENT AND BRING POSITIVE CHANGES TO THE LOCAL COMMUNITY THROUGH USING COMPUTATIONAL DESIGN.

CONCEPTUALISATION 27

A.5 OUTCOME THE THEORIES IN THE READING HAVE THE MOST IMPACT ON MY LEARNING PROCESS. THEY HAVE PROVIDED ME GENERAL UNDERSTANDING OF DIGITAL DESIGN IN ARCHITECTURE AND ALSO RAISE THE DEBATE ON HOW ARCHITECTURE DISCIPLINE IS REACTING TO THE SHIFT TOWARD COMPUTATIONAL DESIGN, GENERATIVE DESIGN AND ALGORITHMIC DESIGN. IT HAD LED ME RECONSIDER MY IDEA TOWARD COMPUTATION AT THE BEGINNING OF THE SEMESTER. FURTHER TO THAT, CRITICALLY EXAMINING PRECEDENTS THROUGH FULLY UNDERSTAND THEIR DESIGN INTENTION HAS REINFORCED MY UNDERSTANDING OF COMPUTATIONAL DEVELOPMENT. THE PRECEDENTS HAVE SUPPORTED THE ARGUMENT TOWARD THE ROLE OF COMPUTATIONAL DESIGN IN ARCHITECTURE DISCIPLINE. THROUGH USING GENERATIVE DESIGN SOFTWARE LIKE GRASSHOPPER MYSELF, I GAINED SUFFICIENT UNDERSTANDING OF THE CONTROVERSIAL CONCEPT OF GENERATION IS STYLISTIC AND ARTISTIC, LACK OF ARCHITECTURE LANGUAGE. NOT FULLY UNDERSTAND THE LOGIC BEHIND ALGORITHMS WILL LEAD TO A PATH WHERE THE DESIGNER IS DRIVEN BY COMPUTATIONAL PROGRAMS. HOWEVER, JUST LIKE USING ANY OTHER DESIGN TOOLS, ONCE FLUENCY AND SUFFICIENT UNDERSTANDING IS ACQUIRED, DESIGN STILL GOES BACK TO ITS FUNDAMENTALS. DURING THE PROCESS OF EXPLORING COMPUTATIONAL TOOLS, ESPECIALLY THROUGH OPTIMIZATION AND PERFORMANCE STIMULATION, I AM FULLY CONVINCED THAT PARAMETRIC DESIGN IS NOT MERELY A TOOL BUT RATHER A NEW DESIGN METHOD, A MEANS OF EXPLORATION IN DESIGN. BEING ABLE TO USE COMPUTATIONAL DESIGN WOULD MAKE A HUGE CHANGE IN MY PAST DESIGNS. IN AA VISITING SCHOOL MELBOURNE, WE USED MATERIALITY AS A STRAT POINT FOR OUR DESIGNING PROCESS, AND WE HAVE USED GRASSHOPPER AND KANGAROO FOR SIMULATION. BUT WE DID NOT GO ANY FURTHER. OUR DESIGN OUTCOME STOPPED AT USING THE FLEXIBILITY OF THE TENSEGRITY STRUCTURE. IF APPLYING MATERIALITY AS A PARAMETER OR THRESHOLD, THE FINAL OUTCOME WOULD BE MORE CONVINCING. TO CONCLUDE, COMPUTATIONAL DESIGN HAS THE POTENTIAL OF BECOMING A NEW DESIGN METHOD, BUT WE AS DESIGNERS HAVE TO GO BACK TO THE ESSENCE OF DESIGN, AND USE COMPUTATIONAL DESIGN TOOLS NATURALLY AND INTUITIVELY.

CONCEPTUALISATION

CONCEPTUALISATION 29

A.6 APPENDIX

BOX MORPH + RANDOM HEIGHT

CONCEPTUALISATION

CONCEPTUALISATION 31

A.6 APPENDIX

BOX MORPH + RANDOM HEIGHT +RANDOM ROTATION

CONCEPTUALISATION

CONCEPTUALISATION 33

A.6 APPENDIX

GRAPH MAPPING+ ATTRACTOR POINT ROTATION

CONCEPTUALISATION

CONCEPTUALISATION 35

A.7 REFERENCE 1. BURRY, EXPIATORY CHURCH OF THE SAGRADA FAMILIA 2.CARLOS, THINKING PARAMETRIC DESIGN: INTRODUCING PARAMETRIC GAUDI 3.DUNNE, ANTHONY & RABY, FIONA, SPECULATIVE EVERYTHING: DESIGN FICTION AND SOCIAL DREAMING (MIT PRESS, 2013) 4.GOLDEN MOON / LEAD (2012) <HTTP://WWW.ARCHDAILY.COM/283965/GOLDEN-MOONLEAD> [ACCESSED 9 AUGUST 2016]. 5.HORTEN HEADQUARTERS (2009) <HTTP://GXN.3XN.COM/#/PROJECTS/BY-YEAR/57HORTEN-HEADQUARTERS-> [ACCESSED 10 AUGUST 2016]. 6. HORTEN HEADQUARTERS / 3XN (2009) <HTTP://WWW.ARCHDAILY.COM/43658/HORTENHEADQUARTERS-3XN> [ACCESSED 7 AUGUST 2016]. 7. ICLEI, ‘TIANJIN, ECO-CITY, CHINA A BILATERAL INSTITUTIONAL NEXUS FOR CUTTINGEDGE SUSTAINABLE METROPOLITAN DEVELOPMENT’, (2014) 8. KALAY, YEHUDA E, ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE: MA: MIT PRESS, 2004), P. 5-25. 9. MAD’S “BEIJING 2050” PROJECT UNVEILED IN VENICE (2006)< HTTP://WWW.I-MAD.COM/ PRESS/MADS-BEIJING-2050-PROJECT-UNVEILED-IN-VENICE/> [ACCESSED 5 AUGUST 2016] 10.NICO SAIEH, BEIJING HUTONG BUBBLE / MAD (2010) <HTTP://WWW.ARCHDAILY. COM/50931/BEIJING-HUTONG-BUBBLE-MAD> [ACCESSED 9 AUGUST 2016]. 11. OXMAN, RIVKA AND ROBERT OXMA, THEORIES OF THE DIGITAL IN ARCHITECTURE , 2014 EDN (LONDON: NEW YORK: ROUTLEDGE, ), P. 1-10. 12. PETER BRADY, ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, ( 2013), P. 8-15.

FIGURE 1.1 BEIJING 2050 PEOPLE’S PARK < HTTP://WWW.I-MAD.COM/PRESS/MADS-BEIJING2050-PROJECT-UNVEILED-IN-VENICE/ > [ACCESSED 7 AUGUST 2016] FIGURE 1.2 BEIJING 2050 HUTONG BUBBLES < HTTP://WWW.I-MAD.COM/PRESS/MADSBEIJING-2050-PROJECT-UNVEILED-IN-VENICE/ > [ACCESSED 7 AUGUST 2016] FIGURE 1.3 BEIJING 2050 FLOATING ISLAND < HTTP://WWW.I-MAD.COM/PRESS/MADSBEIJING-2050-PROJECT-UNVEILED-IN-VENICE/ > [ACCESSED 7 AUGUST 2016] FIGURE 1.4 BEIJING 2050 PEOPLE’S PARK < HTTP://WWW.I-MAD.COM/PRESS/MADS-BEIJING2050-PROJECT-UNVEILED-IN-VENICE/ > [ACCESSED 7 AUGUST 2016] FIGURE 2.1-2.3 TIANJIN ECO CITY <HTTP://WWW.BBC.COM/FUTURE/STORY/20120503SUSTAINABLE-CITIES-ON-THE-RISE> [ACCESSED 8 AUGUST 2016] FIGURE 3.1 GOLDEN MOON BAMBOO PATTERN <HTTP://WWW.ARCHDAILY.COM/283965/ GOLDEN-MOON-LEAD> [ACCESSED 8 AUGUST 2016] FIGURE 3.2 GOLDEN MOON IRREGULARITY <HTTP://WWW.ARCHDAILY.COM/283965/ GOLDEN-MOON-LEAD> [ACCESSED 8 AUGUST 2016] FIGURE 4.1 HORTEN HEADQUARTERS PLAN <HTTP://EN.A963.COM/INDEX.PHP/WORKS/ DETAIL/110/8> [ACCESSED 8 AUGUST 2016] FIGURE 4.2 HORTEN HEADQUARTERS WATER VIEW <HTTP://WWW.3XN.COM/#/ ARCHITECTURE/BY-YEAR/57-HORTEN-HEADQUARTERS-> [ACCESSED 8 AUGUST 2016] FIGURE 4.3 HORTEN HEADQUARTERS 3D FACADE <HTTP://WWW.3XN.COM/#/ ARCHITECTURE/BY-YEAR/57-HORTEN-HEADQUARTERS-> [ACCESSED 8 AUGUST 2016] FIGURE 5.1 SEGARDA FAMILIA BOOLEAN INTERSECTION COLUMN <HTTP://PELFIND.ME/ PHOTO-COLLECTION/60104/21-STRANGE-AMAZING-BUILDINGS-AROUND-THE-WORLD> [ACCESSED 8 AUGUST 2016]

13. ROBERT A. AND FRANK C. KEIL, DEFINITION OF ‘ALGORITHM’ IN WILSON, ED. BY THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES, 1999 EDN (LONDON: MIT PRESS,), P. 11-12.

FIGURE 5.2 SEGARDA FAMILIA NAVIGATION FACADE <HTTP://PELFIND.ME/PHOTOCOLLECTION/60104/21-STRANGE-AMAZING-BUILDINGS-AROUND-THE-WORLD> [ACCESSED 10 AUGUST 2016]

14. RORY STOTT, SILK PAVILION / MIT MEDIA LAB (2013) <HTTP://WWW.ARCHDAILY. COM/384271/SILK-PAVILION-MIT-MEDIA-LAB> [ACCESSED 9 AUGUST 2016].

FIGURE 5.3 SEGARDA FAMILIAO PARAMETRIC <HTTPS://EN.WIKIPEDIA.ORG/WIKI/ SAGRADA_FAM%C3%ADLIA> [ACCESSED 10 AUGUST 2016]

15. TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE. (OXFORD: BERG, 2008), (PP.1, PP.2)

FIGURE 6.1 THE SILK PAVILION HUMAN-CONSTRUCTED SILK FIBRES <HTTP://WWW. ARCHDAILY.COM/384271/SILK-PAVILION-MIT-MEDIA-LAB> [ACCESSED 10 AUGUST 2016]

CONCEPTUALISATION

CONCEPTUALISATION 37

A.7 REFERENCE FIGURE 6.2 THE SILK PAVILION FORM-FOUNDING <HTTP://WWW.ARCHDAILY.COM/384271/ SILK-PAVILION-MIT-MEDIA-LAB> [ACCESSED 10 AUGUST 2016] FIGURE 6.1 THE SILK PAVILION <HTTP://WWW.ARCHDAILY.COM/384271/SILK-PAVILION-MITMEDIA-LAB> [ACCESSED 10 AUGUST 2016] FIGURE 6.1 THE SILK PAVILION BEHAVIOUR ANALYSIS <HTTP://WWW.ARCHDAILY. COM/384271/SILK-PAVILION-MIT-MEDIA-LAB> [ACCESSED 10 AUGUST 2016]

CONCEPTUALISATION

CONCEPTUALISATION 39

B CRITERI DESIGN

CONCEPTUALISATION

CONCEPTUALISATION 41

B.1 FIELD RESEARCH Tesselation B.2 CASE STUDY1.0 30 Iterations Best outcomes B.3 CASE STUDY 2.0 Reverse engineering Further development B.4 REVERSE ENGINEERING

CONTENT

Reverse engineering Best outcomes B.5 PROTOT YPING B.6 DESIGN PROPOSAL B.7 REFERENCE

CONCEPTUALISATION

CONCEPTUALISATION 43

B.1 RESEARCH FIELD Tessellation is dividing a surface into smaller and repetitive geometrical patterns, without generating overlaps or gaps. Tessellation is very common in natural environment, an well-known example is the honeycomb. Such pattern allows a structure to be built out of one single element. Conventionally tessellation was used as a form of ornament on building faรงade, serving as a decorative element for building of cultural significance. However, this role has been changed throughout history and nowadays designers are exploring its full potential, by integrating tessellation with structure and material performance to achieve a unity in architectural design. Example include ICD/ITKE research pavilions, which explors the possibility of integrating materiality into tessellated structures.

IMAGINE 2 TESSELLATION IN HISTORY

IMAGINE 1 TESSELLATION IN NATURAL ENVIRONMENT: HONEYCOMB

IMAGINE 3 TESSELLATION IN MORDEN ARCHITECTURE

CONCEPTUALISATION

CONCEPTUALISATION 45

B.2 Case Study 1.0

The Voussoir Cloud project would be an example of integrating structural and material strategies that it defamiliarize both structure and material to create conflicted readings of normative architectural typologies.

IMAGINE 4

IMAGINE 5

THE SELF SUPPORTING SCTRUCTURE

CONCEPTUALISATION

Material performance: In this project, materiality is taking into account in both visual effect of the final product and structural system. To achieve a selfsupporting outcome, the design need to be under constant compression. By folding thin wood along curved seams produces an internal surface tension that holds the geometry in shape. The flanges constantly bulge outward along the curved edge allows for porosity to exist. They together work as compressive elements and press on each other. The result reduces the need of having secondary structural system that the structure is the faรงade. The idea of implementing materiality into structure is innovative and inspiring.

IMAGINE 6

USING THE WALLS AS ANCHOR POINTS

To achieve this, the project uses gallery entry soffit and long gallery walls as the anchor points of the vaults, which rely on each other and the walls. Geometrical modules increase their size and reduce porosity as they go up along the vaults. The components are arranged so that structure is self-supporting as they are under constant compression.

Form founding: The form founding technique used in this project is the upside down hanging method that it draws from studies of Frei Otto and Anotonio Gaudis works. This method is efficient and can be easily applied using computation, software like kangaroo allows us to digitally stimulate and test our outcome, which I believe is rather important in any self-supporting system

Fabrication: The Voussoir Cloud project consists of more than 2,000 individually shaped petals for construction, although impressive, the time consumption and costs are beyond our affordability. Computational tools like Smart Cluterting allows us to reduce the amount of individually shaped panels but still keep the general shape of a complex geometry. Such tools should be used in our project to decrease fabrication complexity.

IMAGINE 7

CONCEPTUALISATION 47

ITERATION SPECIES

ITERATION SPECIES 1.0 ADJUST SCALE FACTOR (F)

F=0.5

F=0.1

F=0.8

F=1

Z=2

Z=0

Z=-2

Z=-6

X=0 Y=-1 Z=1

X=-1 Y=1 Z=0

X=0.2 Y=0 Z=-2

X=0 Y=0 Z=2

N=1

N=2

N=3

N=5

ITERATION SPECIES 2.0 ADJUST MOVE FACTOR (Z)

Z=-8

ITERATION SPECIES 3.0 ADJUST FORCE FACTOR (X,Y,Z)

ITERATION SPECIES 4.0 RELEASE NUMBER OF HOLES (N) (ANCHOR POINTS)

CONCEPTUALISATION

CONCEPTUALISATION 49

ITERATION SPECIES

ITERATION SPECIES 5.0 RESET ANCHOR POINT

5 UP

2 UP 3 DOWN

4 UP 1 DOWN

RESET MESH 5 UP

MESH EXPLODE WBSIERPINSKI

WBINNERPOLYGOM

MESH+ APERTURE+0

MESH+ EFFECT

RESET MESH RAMDOM ANCHOR POINTS

ITERATION SPECIES 6.0 S6 WEAVERBRID SUBDIVIDE MESH

DETAILS

ITERATION SPECIES 7.0 BOX MORPH

DETAILS

CONCEPTUALISATION

CONCEPTUALISATION 51

ITERATION SPECIES ITERATION SPECIES 7.0 FRAGMENTATION USING OFFSET (F)

MESH OFFSET F=3

MESH EXPLODE SCALE

OFF SET F=10

OFF SET F=30

MESH EXPLODE NURBS CURVE

WB TRIANGULARES MESH EXPLODE

SCALE F=0.1

WB CATMMULL-CLARK SHIF T LIST

ITERATION SPECIES 8.0 WEAVERBRID MESH EDIT

DETAILS

CONCEPTUALISATION

WB CINNERPOLYGON

CONCEPTUALISATION 53

BEST ITERATION

Interation species 5 used list item to reset anchor points. The form is generated by applying force on each mesh vertices, and set the force in Z direction. This could be achieved either through bending material to achieve arch structure or simply consider this as an hanging chin simulation where in reality, all components will be in compression. This iteration allows site specific design through manipulation of anchor points as according to site factors. With is iteration, joint of each mesh edge will be hard to fabricate, especially considering each joint will have different angles.

INTERATIVE COMPLEXITY AESTHETIC SHADOWS STRCUTURE FABRICATION

species

5.2

CONCEPTUALISATION

CONCEPTUALISATION 55

BEST ITERATION Through simple weaverbird components, a complex subdivision of mesh faces is created in this iteration. The pattern is simple to create but the result is complex and pleasing. This iteration also has great potential in creating different light effects in later design. Trough setting an attractor, it is possible to have different subdivision in different areas to control lights. From construction point of view, although each panel is ease to be fabricated, the point connection will be very hard.

INTERATIVE COMPLEXITY AESTHETIC SHADOWS STRCUTURE FABRICATION

species

6.1

CONCEPTUALISATION

CONCEPTUALISATION 57

BEST ITERATION This iteration is chosen because of the fabrication process in this iteration is much realistic than the other ones. The mesh faces in this iteration is connected through edges that can connected using metal plates. Because of the method I used, the opening on each mesh faces is not adjustable, but this iteration can still create interesting light and shadow effect.

INTERATIVE COMPLEXITY AESTHETIC SHADOWS STRCUTURE FABRICATION

species

6.3

CONCEPTUALISATION

CONCEPTUALISATION 59

BEST ITERATION At this stage, I started to integrate two successful outcomes aspects together inorder to achieve a balanced system. The exploration therefore include more that just tesselation techiniqes but also a dynamic relationship between two different system. The outcome is successful. Through integratin two different approach, result become much more unpredictable and more organic. This system has great flexibility that extruction hight can be controlled using either simple slider or more complex method. The rotation is created by shift list, which can also be adjusted.

INTERATIVE COMPLEXITY AESTHETIC SHADOWS STRCUTURE FABRICATION

species

8.4

CONCEPTUALISATION

CONCEPTUALISATION 61

B.3 CASE STUDY 2.0 Like the Voussoir Cloud project, the ICD/ITKE research pavilion is another great example of combining materiality, system behavior, parametric design and robotic manufacturing process together. It represented the latest material-oriented computational design at the time, that the design is directly driven by the physical behavior and material characteristics. It demonstrates how materiality can be revealed though architecture. The structure is entirely based on the bending force of wood strips. Due to this reason, joints of this structure is quite simple, an anchor point restrains timber strips from bending out and each end of the strips is fixed to the ground. I choose this project because it allows me to explore tessellation beyond generating repetitive patterns, that tessellation becomes the result instead of driving force of the generation process. In this project, physical behavior of material is the driving force. The physical logic behind the project is simple, yet enough to generate a design require study on materiality, structure and spatial relationships. Reverse engineering means more that replicate the form but also simulate all the parameters required in the initial design.

IMAGINE 8

IMAGINE 9

CONCEPTUALISATION

CONCEPTUALISATION 63

IMAGINE 10

REVERSE

engineering

SET ANCHOR POINT AND CURVE

CONCEPTUALISATION

PUT THE CURVE UNDER KANGAROO

ADJUST ANGLE AND BENDING FACTOR

EXTRUDE CURVE

POLLAR ARRAY

ADJUST ARRAY NUMBER AND EXTRUTION

CONCEPTUALISATION 65

REVERSE

engineering

final render imagine

CONCEPTUALISATION

CONCEPTUALISATION 67

FURTHER DEVELOPMENT

CONCEPTUALISATION

CONCEPTUALISATION 69

B.4 TECHNIQUE DEVELOPMENT

CONCEPTUALISATION

CONCEPTUALISATION 71

SPECIES 1ADJUST BENDING FACTORS BASIC GEOMETRY

SPECIES1.1

BASIC GEOMETRY

SPECIES1.4

BASIC GEOMETRY

SPECIES1.2

BASIC GEOMETRY

SPECIES1.5

BASIC GEOMETRY

SPECIES1.3

BASIC GEOMETRY

SPECIES1.6

CONCEPTUALISATION

CONCEPTUALISATION 73

SPECIES 2 adjust extrution factor and array number BASIC GEOMETRY

BASIC GEOMETRY

f =2

f =5

n=30

n=15

BASIC GEOMETRY

SPECIES2.2

BASIC GEOMETRY

f =3

f =5

n=30

n=8

BASIC GEOMETRY

SPECIES2.1

SPECIES2.3

BASIC GEOMETRY

f =5

f =10

n=30

n=8

CONCEPTUALISATION

SPECIES2.4

SPECIES2.5

SPECIE2.6

CONCEPTUALISATION 75

SPECIES 3 weaverbird SPECIES 3.1

SPECIES 3.2

WB SUBDIVIDE SPECIES 3.3

WB WINDOW FRAME WB CATMULL-CLARK

WB CATMULL-CLARK SPECIES 3.4

WB WINDOW FRAME WB CATMULL-CLARK (SIMPLE MESH)

SPECIES 3.7

DETAIL

WB CATMULL-CLARK DETAIL SPECIES 3.8

MESH EDGE EDIT

S3.6

SPECIES 3.5

MESH+ EFFECT 76

CONCEPTUALISATION

SPECIES 3.6

MESH+ EFFECT (SIMPLE GEOMETRY) CONCEPTUALISATION 77

SPECIES 4.1

SPECIES 4

SPECIES 5

offset

metaball

SPECIES 4.2

MESH OFF SET SPECIES 4.3

MESH OFF SET LARGE FACTOR SPECIES 4.5

TRIANGULATE MESH CONCEPTUALISATION MESH EXPLODE OFF SET

OFF SET SPECIES 4.4

MESH EXPLODE OFF SET SPECIES 4.6

SUBDIVIDE MESH MESH EXPLODE OFF SET

SPECIES 5.1

SPECIES 5.2

THRESHOLD=8 EXTRUSION HEIGHT=3 SPECIES 5.3

THRESHOLD=12 EXTRUSION HEIGHT=3 SPECIES 5.4

THRESHOLD=15 EXTRUSION HEIGHT=3 SPECIES 5.5

CHANGE POPULATE 3D SEED THRESHOLD=2 EXTRUSION HEIGHT=6

CHANGE POPULATE 3D SEED THRESHOLD=8 EXTRUSION HEIGHT=4 SPECIES 5.6

PLANAR SURFACE CONCEPTUALISATION 79

SPECIES 6 STRYCTURE SPECIES 6.1

LUNCH BOX HEXAGON STRUCTURE SPECIES 6.3

LUNCH BOX GRID STRUCTURE SPECIES 6.5

EXTRUDE TRIANGULATED CONCEPTUALISATION MESH EDGE

SPECIES 6.2

LUNCH BOX DAMOND STRUCTURE

SPECIES 6.7

WB WINDOWFRAME WB CATMULL-CLARK

SPECIES 6.8

KARAMA ANALYSIS

SPECIES 6.4

EXTRUDE MESH EDGE SPECIES 6.6

LUNCH BOX TRUSS CONCEPTUALISATION 81

SPECIES 7 Box Morph SPECIES 7.1

DETAIL

SPECIES 7.4

DETAIL

SPECIES 7.2

DETAIL

SPECIES 7.5

DETAIL

SPECIES 7.3

DETAIL

SPECIES 7.6

DETAIL

CONCEPTUALISATION

CONCEPTUALISATION 83

SPECIES 8 Weaverbird Mesh Edit SPECIES 8.1

WB TRIANGULATES SCALE AND LOF T SPECIES 8.2

SPECIES 8.4

WB BEVELEDGE

WB CATNMULLCLARK SPECIES 8.3

WB MESHTHICKEN 84

CONCEPTUALISATION

CONCEPTUALISATION 85

BEST ITERATION The iteration is one of the simplest, created by only adjust array number and extrution factor. The complex effect is because of panels intersecting with multible panel members. This iteration has the protential to become more organic and unpredictable if the forces created by these intersection bending is stimulated. Althrough most iterations are self-supporting due to its construction nature, this one is more than selfupporting, but also has the nature of recipecal structure.

INTERATIVE COMPLEXITY AESTHETIC SHADOWS STRCUTURE FABRICATION

SPECIES 2.6 86

CONCEPTUALISATION

CONCEPTUALISATION 87

BEST ITERATION Because ICD/IKDE research pavilion is a self-supporting structure, structural system of such structure is rarely explored. However, I believe tessellation has great potential of creating a structural system using single element. This iteration explored triangulated structure in 3 dimential, a truss system that allows it to transfer the load, from any point to the ground. With surface on top, this will bare more weight than others. This structural system can be easily fabricated and is structurally sound.

INTERATIVE COMPLEXITY AESTHETIC SHADOWS STRCUTURE FABRICATION

SPECIES 6.6 88

CONCEPTUALISATION

CONCEPTUALISATION 89

BEST ITERATION This interation gives an 3 dimentional structure within each component, which enlights me an idea of creating micro architecture designed not only for human. Since the site is in natural area, the users cloud be from memals to marine lifes. There are less than 10 types of individual component in this iteration and can be further reduced, which makes fabrication process easier. I believe the fabrication method of this iteration really depends on the scale. Small scale can used 3D print where bigger scale needs further division on each single component.

INTERATIVE COMPLEXITY AESTHETIC SHADOWS STRCUTURE FABRICATION

SPECIES 7.3 90

CONCEPTUALISATION

CONCEPTUALISATION 91

BEST ITERATION This iteration mainly explores the further patterning possibility on panels. The previous mostly exploring the fabrication and structural possibilities, however, the changes on the panel itself was not fully explored. This iteration was generated as a structure system, but I fould it also remain the itengrity of each panel, creating this patterning effect. Fabrication of this could be rather easy as it jonly adds patterns on the panels, but materiality need to be considered. Sufficient material area need to be remained to avoid making the material too brittle.

INTERATIVE COMPLEXITY AESTHETIC SHADOWS STRCUTURE FABRICATION

SPECIES 6.7 92

CONCEPTUALISATION

CONCEPTUALISATION 93

B.5 PROTOTYING

CONCEPTUALISATION

CONCEPTUALISATION 95

STRUCTURE CONNECTION DETAIL

3D PRINT CONNECTIONS

MATERIAL TEST BENDING ALONG GRAIN

BENDING ALONG GRAIN

BENDIG AGAINST GRAIN

Result from material test shows bamboo veneer is flexible bending along its grain, at 30cm lenth it can be bend as a closed circle. However, when bending against it grain, its bending force is strong and the material becomes brittle. The maximun angle of bending without cracking at 30mm length is about 40 degree. Bamboo veneer stands shear force the same way it react to bending force. It is easier to twist along grain.

CONCEPTUALISATION

CONCEPTUALISATION 97

CONNECTION DETAIL

FURTHUER PAT TERNING

PROBLEM WITH THIS METHOD During digital design phase, I forgot to take bamboo venner thickness into account. What I assumed is less than 1mm, but the thinest I can get is 2.5mm, which is almost the thinkness of structural member. Therefore, during prototyping I could not use this method. An alternative is to nail the bamboo veneer to structural members. because the thickness of the veneer, the thin structural member could not stand the bending force, therefore I used paper instead of bamboo veneer in this prototyping.

CONCEPTUALISATION

Any pattern that cuts bamboo veneer grain will reduce its structural integrity.

CONCEPTUALISATION 99

PROTOTYPING

PROTOPYPING

Laser cut structural members and Laser cut bamboo veneer panels. Change the material to paper to 3D print joints and arrange them arrange them as according to index As the panel thickness is different reduce the bending force. as according to index number. number. than what I used for material test, the structural member cannot bare the bending force from these panels.

100

CONCEPTUALISATION

Connect the structural members. However, due to the support structure problem, I couldnot connect the whole structure.

CONCEPTUALISATION 101

PROBLEM WITH 3D PRINT METHOD

STRUCTURE AS ACCORDING TO CONNECTION TYPE

The problem with 3D print is, with plastic 3D printing material, it will create support structure in the hollow sections, which is very hard to get rid of. Powder printer will not have support structure but it is expensive and time consuming. Also, 3D print is not realistic at 1:1 scale.

STRUCTURE CONNECTION DETAIL

To avoid 3D print, I used mesh explode and triangualtes to change the point to point connection into edge connection. This connection is not rigid but can be modified.

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CONCEPTUALISATION

CONCEPTUALISATION 103

B.6 Design Proposal

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CONCEPTUALISATION

CONCEPTUALISATION 105

SITE ANALYSIS

Ceres community stand for Centre for Education and Research in Environmental Strategies”, it’s a not-for-protift local community support environmental sustainability. The community locates close to Melbourne city and next to Merri Cerek. The Main porpose of the community is to raise social awarness of environmental issues.

CERES COMMUNITY

106

CONCEPTUALISATION

CAFE

LOCATION OF SITE

ENERGY PARK

ENVIRONMENT PARK

COMMUNITY GARDEN

LOCAL GROCERY

CONCEPTUALISATION 107

SUSTAINABILITY

Ceres community hodes farms, local grocery store, green energy system educational program and green energy station. These suggest that the community is promoting an ideal way of living sustainabe. However, although this community is located right next to Merri cerek, it seems like they are still detached from nature.

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CONCEPTUALISATION

One driven froce of living sustainble is pollution from using non-recyclble material. Merri Cerek has been suffered from pollution for decades. I believe a community promotes sustainble living style should be aware of the unsustainble behaviour that happens around them, and raise awarness of demage to their local environment due to these unsustainble behaviour. To achieve these, the community themself need to realise the severe pollution in Merri Cerek first.

CONCEPTUALISATION 109

FORM GENERATION

TECTONICS

FABRICATION

INSTALLATION

STRUCTURE

LOCATION OF TREES

MESH EDGES

EVELUATE FOR LENGTH

PIPE EDGES

BOOLEAN INTERSECTIONS

HOLES FOR STRUCTRE

ADJUST PIPING SIZE

ANCHOR POINTS

INDEXING ITEMS LAZER CUT COMPONETS

JOINTS HEIGHT OF TREES

BOOLEAN INTO JOINTS

3D PRINT JOINTS

ASSEMBLY OF COMPONETS

PANELS

BENDING FORCE

EXTRACTING HORIZONTAL EDGES

BEND CURVES

LOFT SURFACES

UNROLL SURFACES

LAZER CUT PANELS

SITE VIEWS

MODEL ORIENTATION

CONNECTION

STRENGTH OF BAMBOO VENEER

BREAK THRESHOLD BENDING ABILITY

PARAMETERS FOR FORM GENERATION

PHYSICAL TEST DATA 110

CONCEPTUALISATION

CONCEPTUALISATION 111

PLAN

112

SUSTAINABILITELEVATION AND SECTION

PLAN-DIRECTION OF VIEW

ELEVATION

PLAN-LOCATION OF TREES

SECTION

CONCEPTUALISATION

CONCEPTUALISATION 113

Render

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CONCEPTUALISATION

CONCEPTUALISATION 115

Render

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CONCEPTUALISATION

CONCEPTUALISATION 117

B.7 learning outcomes

parametric design The lecture and the research study helped me a lot with developing a deeper understanding of what parametric design really is. Through exploring the difination of first case study, I started to understand how parametric designing tools can help in simulating forces and generating results that otherwise can hardly be done. The first case study also gives me an brief understanding of how materiality can be embedded in parametric design, which lead my choices of case study two. I think these case studies are great ways of exploring grasshopper object and get familier with this design tool.

design interest

design fabrication

With parametric desin tools, fabrication should be easier and less labor required, but I always have trouble using ditital fabrication tools. In this case, I originally choose to 3D print joints, which is more that just time comsuming, but also expensive and unrealistic at 1:1. The latter approach seems to be more realistic, but because each angle is different, it will still require long time to fabricate ll components. I think in this case, optimazation need to be learnt and used in simplifying my design proposal, to a result with minimal number of different panels but still have the overall geometry. Scale also need to be considered expecially dealling with materiality. Material perform differently at differnt scale, the approach is either choose scale approprite material, or prototyping at 1:1 scale. I think prototyping is as important as digital simulation in design process. Digital design is great at tranmitting the atmosphere and effect through rendering, but prototyping makes design realistic. It draws boundaries that should be set in digital design process.

Through exploring case studies, it became clear to me that embed materiality in design process is what I am really interested in, it is not necessary that the final design need to be self-supporting, but more of taking advantage of the chosen material and excgarated such characteristic. However, taking a material to its full potential requires massive study on the chosen material, and some detail data from experimenting, which I think at this stage is hard to perform. I will try my best in the later stage.

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CONCEPTUALISATION

CONCEPTUALISATION 119

B.8 A ppendix field positive and negative points

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CONCEPTUALISATION

CONCEPTUALISATION 121

field negative points

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CONCEPTUALISATION

CONCEPTUALISATION 123

field spine force positive and negative point

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CONCEPTUALISATION

CONCEPTUALISATION 125

field spine force positive and negative point change force radius

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CONCEPTUALISATION

CONCEPTUALISATION 127

field move spine force location

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CONCEPTUALISATION

CONCEPTUALISATION 129

field graph mapper interpolate pipe

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CONCEPTUALISATION

CONCEPTUALISATION 131

field graph mapper interpolate pipe

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CONCEPTUALISATION

CONCEPTUALISATION 133

weaverbird hoopsnake

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CONCEPTUALISATION

CONCEPTUALISATION 135

fractal tree like strecture loop wb catmull- clark

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CONCEPTUALISATION

CONCEPTUALISATION 137

fractal solide difference loop

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CONCEPTUALISATION

CONCEPTUALISATION 139

fractal

C# (the

script is downloaded from internet)

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CONCEPTUALISATION

CONCEPTUALISATION 141

fractal

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CONCEPTUALISATION

CONCEPTUALISATION 143

B.09 Refference

Imagine

1. “ICD/ITKE RESEARCH PAVILION 2010 « INSTITUTE FOR COMPUTATIONAL DESIGN (ICD)”. ICD.UNI-STUT TGART.DE. N.P., 2016. WEB. 16 SEPT. 2016.

1.HT TPS://MATHMUNCH.ORG/2013/06/18/NATURAL-GEOMETRY-HEX-AND-SACREDGEOMETRY/

2. “VOUSSOIR CLOUD”. ARCHITIZER. N.P., 2008. WEB. 16 SEPT. 2016.

2. HT TPS://EN.WIKIPEDIA.ORG/WIKI/TESSELLATION

3. “VOUSSOIR CLOUD - IWAMOTOSCOT T”. IWAMOTOSCOT T.COM. N.P., 2016. WEB. 16 SEPT. 2016.

3. HT TP://WWW.ARCHDAILY.COM/786874/ICD-ITKE-RESEARCH-PAVILION-2015-16ICD-ITKE-UNIVERSIT Y-OF-STUT TGART/572B5D0CE58ECE8975000008-ICD-ITKERESEARCH-PAVILION-2015-16-ICD-ITKE-UNIVERSITY-OF-STUT TGART-PHOTO 4. HT TP://ARCHITIZER.COM/PROJECTS/VOUSSOIR-CLOUD/ 5. HT TP://ARCHITIZER.COM/PROJECTS/VOUSSOIR-CLOUD/ 6. HT TP://ARCHITIZER.COM/PROJECTS/VOUSSOIR-CLOUD/ 7. HT TP://ARCHITIZER.COM/PROJECTS/VOUSSOIR-CLOUD/ 8. HT TP://ICD.UNI-STUT TGART.DE/?P=4458 9. HT TP://ICD.UNI-STUT TGART.DE/?P=4458 10.HT TP://ICD.UNI-STUT TGART.DE/?P=4458

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CONCEPTUALISATION

CONCEPTUALISATION 145

C DETAIL DESIGN

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CONCEPTUALISATION

CONCEPTUALISATION 147

C.1 DESIGN CONCEPT COMBINE HYBRID DESIGN PRECEDENTS SITE ANALYSIS DESIGN PROPOSAL FORM FINDING

CONTENT

FINALISE DESIGN MATERIAL CHOICE c.2 PROTOT YPING c.3FINAL DE TAIL MODEL

FR AME FABRICATION FR AME ASSEMBLY

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CONCEPTUALISATION

EX TRUSION FABRICATION

EX TRUSION ASSEMBLY

CONCEPTUALISATION 149

C.1.1 DESIGN CONCEPT COMBINE HYBRID

Kangaroo physics+extrusion

Tensile structure+bending

Kangaroo physics+frame+bending+reset anchor points

+ Kangaroo physics+extrusion+mesh reduction

Tensile structure+frame+reset anchor points

Simply put the two together

Tensile structure+extrusion+mesh reduction

Tensile structure+extrusion+reset anchor points

FINAL FORM

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CONCEPTUALISATION

CONCEPTUALISATION 151

C.1.2 DESIGN PRECEDENT

The installation sets a great example of computer generated tensile structure with site specific anchor points. This project also tested materiality them used for construction, gives us how materiality should be considered in early design stage.

TAPE MELBOURNE BYNUMEN

INVOLUTION BY SAVANNAH GEORGIA The installation is looking at reevaluate space, enclosure and effect by both the arch element it created and the openings on its triangulated panels. The idea of using openings to create different effect could be used in our design, in order to create different atmosphere.

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CONCEPTUALISATION

CONCEPTUALISATION 153

C.1.3 SITE ANALYSIS Merri park

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CONCEPTUALISATION

CONCEPTUALISATION 155

C.1.3 SITE ANALYSIS SITE CIRCULATION

SITE CHOICE We decided to Choose Merri Park as our final design site because of the following reasons. First of all, this park is located close to schools and recreation areas. Its fairly close to public transport, main road, and local area has a relevantly large population. As our design desire better popularity to promote and influence people to decelerate the process of degeneration, this location would be ideal for us. Secondly, by have the pavilion beside Merri creek, the pollution and the waterways reminds and reinforce the idea of degeneration.

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CONCEPTUALISATION

The transitioning area between Merri park and Phillips reserve can be considered as a negative space as most people would go around it without paying much attention. However, one fairly busy cycling path goes through the area, and many people would go around the area. The amount of people in the area creates an opportunity for us to promote our design. Being close to the polluted waterways of Merri creek could enhance our topic of degeneration.

CONCEPTUALISATION 157

C.1.4 FINAL PROPOSAL

--Degeneration

DEGENERATION IN NATURE

In many ways, once nature was a pure and serene place. However, ever since the industrial revolution, nature is in corruption, murky water ways, polluted air quality, our living environment in deterioration and endangering our prosperity's survival. The form of the pavilion seek to exhibition the this property of degeneration, peace to danger, simple to complex. As our home faces threat, Melbourne citizens and especially residents around Merri Creek should be concern about the pollution of this waterway, it is a sign of corruption and directly effecting our wellbeing. The pavilion is to imitates this degeneration process and to question people do we want our race to ends in the dark or have a brighter future.

THE EXPERIENCE OF DEGENERATION

The purpose of creating a tunnel-like pavilion is to engage people with the changing atmosphere of degenerating. When walking from lighter to dark area, the atmosphere changes from welcoming, light, open to compress, dark and enclosed. The vanishing of greens and increasing number of pointy extrusions set up the idea of natural degeneration. The uncomfortable atmosphere remind people of beauty of nature.

A SENSE OF GROWING

On the other hand, when people goes from darker to light area, the black extrusion gradually become flat and vanish complete at the end. The atmosphere become pleasant and the green environment start to appear, the degeneration of dark compelling elements sets up a sense of growing.

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CONCEPTUALISATION

TREE PRESERVATION In many ways, once nature was a pure and serene place. However, ever since the industrial revolution, nature is in corruption, murky water ways, polluted air quality, our living environment in deterioration and endangering our prosperity's survival. The form of the pavilion seek to exhibition the this property of degeneration, peace to danger, simple to complex.

CONCEPTUALISATION 159

C.1.5 GRASSHOPPER FROM FINDING

POPULATE 2D + SCALE + LOFT To begin with, we used populate 2D to set a list of random points within the given area. Then certain points was chosen as the location of the trees that we will be build our structure around. The next step is to scale vorinoi as according to the scale of the tree truck. The curves are then lofted to give a surface, which is converted to mesh later.

SPRING FROM MESH + KANGAROO +CONMESH. The mesh generated from WB splitquads is then put under kangaroo to form a tensile structure we needed. After starting this simulation, hight of some of the anchor points are adjusted as according to the hight of the tree truck.

WB SPLITQUADS + MESH EDGES + END POINTS To find the anchor points of our tensile structure, the mesh is then subdivided using wb splitquads component. This allows the mesh to be able to form a tensile structure or otherwise all the mesh edge are anchored. In this case, anchor points only uses the start points and end points of the outer mesh edges.

DEMESH + REDUCE + CONMESH +CULLVERTICES. The mesh is then reduced to a constructable number of faces for later fabrication concern.

M+EXPLODE + SCALE +LOFT + WBTHICKEN This stage is to create the frame of our structure. We scale each mesh faces and extract the scale mesh edge and then loft it with the original mesh edges. Wb Thicken is used to give the frame a thickness. 160

CONCEPTUALISATION

CONCEPTUALISATION 161

C.1.5 GRASSHOPPER FROM FINDING

ATTRACTOR SYSTEM + REMAP To create a gradual changing effect, attractor system is used in this step. The increasing number of extrusion is create through split the mesh into seven parts and gradually increasing the percentage of extrusion in each part.

Set the area that is going to be extruded. Because of the gradual changing effect we intent to create, Set extrusion hight as according to the distance from entrance. the definition remap the distance from the centre point of each mesh to 0 to 1 and chose certain distance as we did in the last step. 162

CONCEPTUALISATION

Randomly reduce the number of extrusion as according to the distance from entrance. CONCEPTUALISATION 163

C.1.6 FINALISE DESIGN

east elevation

south elevation 164

CONCEPTUALISATION

CONCEPTUALISATION 165

C.1.6 FINALISE DESIGN

166

CONCEPTUALISATION

CONCEPTUALISATION 167

C.1.7 MATERIAL CHOICE Our design will construct out of high density polypropylene. It is 100% recycled and reclaimable material. It's post-consumer HDPE is a material or finished product that has served its single use and been diverted or recovered from waste destined for a landfill. It is used in products and packaging such as milk jugs, detergent bottles, margarine tubs and garbage containers(Intectural, 2016). Using this material we set an example of being environmentally conscious of what we do will affect natural environment and the process of degeneration won't stop until we are all aware of this.

EXAMPLES OF ARCHITECTURE MADE OF HDPE

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CONCEPTUALISATION

CONCEPTUALISATION 169

C.2 PROTOTYPES PROTOTYPE 1

The first prototype we tired is to connect each individual frame element by its mesh vertices using a centre piece. Because 0.6mm thick polypropylene is soft and smooth, it would not stay connected. Further more, the connection is too small to be precise with current laser cutting machine we are using.

PROTOTYPE 3

Learning from the previous prototype, we tried to connect the frame by mesh edges to increase the total connected area. To achieve this ,we made flange to each individual mesh faces. The outcome is structurally sound, however, this method is really time consuming.

PROTOTYPE 2

At this stage we started to look at the fabrication method of precedents design. One method we found particularly useful is to connect the flange by two cable ties at both ends of the flange. To increase its stability, This precedent used a smaller piece to connect different edges.

Learn from the first prototype, Flange is added to the short edge of the frame, and wire is used in this method to enhance its stability. The prototype is failed because the materially of polypropylene is not strong enough to hold the length of the frame when not using it vertically like we did in the first prototype. The whole structure would be too flexible and easily deformed.

170

CONCEPTUALISATION

CONCEPTUALISATION 171

C.2 PROTOTYPES PROTOTYPE 4

PROTOTYPE 6

To solve the problem, we tired bolts and nuts to connect this time. We made a mistake of using rectangular connecting pieces instead of semicircular, as a result , the connecting piece interfere with frame itself. However, connecting by bolts and nuts is efficient and tight.

PROTOTYPE 7

For this prototype, we used the exact method as our precedent. Unfortunately, cable tie is not tight enough to hold our design without creating any deformations.

172

CONCEPTUALISATION

Using semicircle connecting piece together with bolts and nuts worked at this scale. The assembly is efficient and the structure is correct.

CONCEPTUALISATION 173

C.2 PROTOTYPES PROTOTYPE 8

We originally decided to made all connection with bolts and nuts, but the structure turned out to be overly heave and expensive. We tired a couple of different glue, most of them does work with polypropylene. The one that works burn the material. Because we will be using black polypropylene, we decided to use glue instead of bolts.

174

CONCEPTUALISATION

CONCEPTUALISATION 175

TREE CONNECTION

Machine swagged wire rope Tree truck

Machine swagged wire rope

Tab holes Structure frame

Structure frame

Tab holes Ground screw anchor

176

CONCEPTUALISATION

CONCEPTUALISATION 177

C.3 FINAL DETAIL MODEL

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CONCEPTUALISATION

CONCEPTUALISATION 179

C.3.1 FRAME FABRICATION

C.3.2 FRAME ASSEMBLY

1. SPLIT THE STRUCTURE IN PARTS AND LABEL THEM INDIVIDUALLY

2. UNROLL SURFACE WITH LABEL

3. MAKING TABS AND TAB HOLES

1.Send laser cutting file, with clear label 2.Bend the hatched lines 4. RHINO NESTING

3.Arrange the elements by its labels 4.Screw the bolts and nuts to connect.

180

CONCEPTUALISATION

CONCEPTUALISATION 181

C.3.3 EXTRUSION FABRICATION 1. UNROLL SURFACE WITH LABEL

2. MAKING TABS AND TAB HOLES

4. RHINO NESTING

C.3.4 EXTRUSION ASSEMBLY

182

CONCEPTUALISATION

CONCEPTUALISATION 183

C.3.5 FINAL MODEL

184

CONCEPTUALISATION

CONCEPTUALISATION 185

C.3.5 FINAL MODEL

186

CONCEPTUALISATION

CONCEPTUALISATION 187

C.3.5 FINAL MODEL

188

CONCEPTUALISATION

CONCEPTUALISATION 189

C.3.5 FINAL MODEL

190

CONCEPTUALISATION

CONCEPTUALISATION 191

C.4 FURTHER DEVELOPMENT structure analysis

degeneration in dark

Structure analysis is important in every design. As tensile structure, it will need a pulling force at the circled area to generate such form. The structure is therefore illogical.

Enlighten during final presentation, the idea of decaying and degeneration could also be applied during night using lights. As shown in the images below, lights are installed at the opening side of the structure, and its gradually fade away as the number of black extrusion increase. Yellow warm lights create the same welcoming and pleasant atmosphere as this side creates during daytime. Similarly, the atmosphere changes to danger and compelling as walking toward the dark end.

After changing the grasshopper definition and anchor points, the structure is more logical. However, during the form finding process, we should use Karamba to optimise structure, which will generate a suitable shape for this structure. I tried using karamba after form finding process, which didn't work as at this stage, I could only do beam cross section optimization, which is not suitable for tensile structure.

192

CONCEPTUALISATION

CONCEPTUALISATION 193

C.4 FURTHER DEVELOPMENT material choice: biodegradable polypropylene

The concept of degeneration could also be embedded into materiality. Using Biodegradable polypropylene allows the structure to degraded with a time frame of 80 days. The structure will change from within this time frame and eventually disappear. This enhance our concept of degeneration.

194

CONCEPTUALISATION

C.5 LEARNING OBJECTIVES AND OUTCOME PARAMETRIC DESIGN From the very beginning of this semester we have learnt that parametric design is a powerful tool and have a profound influence on contemporary architecture. Through this semester, I have experienced from inception a concept to fabrication process and I have to admit that parametric design has a rightful place in contemporary architecture. Using parametric design tools has great advantages in generating site-specific designs, this could be further extended to customised design, which has became the norm of current. This is the area that hold most of my attention and will be my stepping stone to further develop my parametric skills. On the other hand, problems are also exposed to me during the process/ Fabrication using parametric design tools should be quick and easy, it is however, questioned during our fabrication process. Some are become of me lacking sufficient algorithmic skills, others rely on human interventions to come up with quick solution, especially when the geometry is complex with high precisions. Although I have had countless problems with grasshopper definition and fabrication, I had great excitement exploring the parametric world. I believe with further develop my design skills as well as grasshopper skills, I could really enjoy parametric design.

Objective 1. Interrogat[ing] a brief by considering the process of brief formation in the age of optioneering enabled by digital technologies; Objective 2. Developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; Objective 3. Developing skills in various threedimensional media and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; Objective 4. Developing an understanding of relationships between architecture and air through interrogation of design proposal as physical models in atmosphere; Objective 5. Developing the ability to make a case for proposals by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. Objective 6. Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; Objective 7. Develop foundational understandings of computational geometry, data structures and types of programming; Objective 8. Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. CONCEPTUALISATION 195

C.5 LEARNING OBJECTIVES AND OUTCOME CONCEPTUAL DESIGN Through out this semester, I deeply believe computational design needs to be combined with conceptual design. Traditional Conceptual design element are still important in computational design process, such as site analysis. The ability to think, analysis and imagine is what computational design lack of. Other than algorithm written skills, it is still critical for any designer to have the ability to think critically over design concept. I think once the design concept is ready and complete, the power of parametric design start to appear. However, I think the ability to use algorithmic language fluently also need to be emphasised, as it determines the level of complexity of one's design.

AIR STUDIO Over all, I still lack of certain critical skills in parametric design, such as structure optimization and many other skills that didn't came across this semester. The design will still need further refining and detailing. Over the semester, I truly believe I have stepped into the world of parametric design, and it will be greatly useful for further design.

196

CONCEPTUALISATION

2016 A ir Studio Sida Yu

198

CONCEPTUALISATION