Part B Journal by Siyun Yang

STUDIO AIR JOURNAL

SIYUN YANG 698893

CONTENT

PART A CONCEPTUALISATION A.0.窶オNTRODUCTION A.1.

DESIGN FUTURING

A.2.

DESIGN COMPUTATION

A.3. COMPOSITION/GENERATION A.4. CONCLUSION

A.5.

LEARNING OUTCOMES

A.6.

APPENDIX - ALGORITHMIC SKETCHES

CONCEPTUALISATION

......page.5 ......page.6 ......page.8 ......page.12 ......page.16 ......page.17 ......page.18

PART A CONCEPTUALISATION

CONCEPTUALISATION 3

ONCE YOU MAKE DECISION, THE UNIVERISE CONSPIRES TO MAKE IT HAPPEN.

——BY RALPH EMEERSON

INTRODUCTION

Siyun had spent her high school career in Brisbane for the first three years after she arrived in Australia. Then she moved to Melbourne since successfully received the offer of Bachelor of Environments from the University of Melbourne. She is currently studying architecture major in the third year of her university life.

She was attracted by the word ‘Architecture’ ever since she initially tasted a subject called ‘Graphics’ in Year 10. Unfortunately she did not have the chance to pick up this subject for the rest of high school life in some reasons, and therefore, she resolutely chosen Architecture as her first preference while she was applying university.

However, the university life was not what she expecting before entered into it. Architecture is not a subject that fully contains Mathematics, Mechanics, Physics or Engineering, it is more inclined to design, to innovate, to create, to develop, and to achieve the sustainable development towards enhancing human life.

INTRODUCTION

CONCEPTUALISATION 5

A.1. DESIGN FUTURING

FIG.A.1.2 GROUND FLOOR PLAN

FIG.A.1.3 THIN CORRUGATED METAL SHELTERS

FIG.A.1.1 TOP VIEW OF THE GREAT WALL OF WA

The Project The Great Wall of WA (Western Australia) by Luigi Rosselli is the winner in the Housing Category from Archdaily in 2016. It is the longest rammed earth wall in the southern hemisphere. Only 230 sqm spaces create twelve earth covered residences, as a short-term accommodation for a cattle station during grazing season. Some great techniques have employed by materials in the project. The 450mm thick rammed earth faรงade and the sand dune (for forming both rear and roofs) provide a great thermal mass that makes residences naturally cool in the subtropical climate. A new approach is represented by the design of the accommodation for the remote North Western Australia. The sun baked can be moved away by the establishment of thin corrugated metal shelters, which cools down the architectural earth formations naturally.

CONCEPTUALISATION

FIG.A.1.4 BOTTOM VIEW

It also considers about the energy consumption that uses local resources to reduce the embodied energy usage. Except for rammed earth, sand clay is the primary feature composition of the site, gravel and water supply both obtained from the adjacent river. The future possibilities of the design can be expanded from two approaches: without damaging the ecological environment, this design is well-integrated artifact and nature in this limited space, and as much as possible to increase the area of animal husbandry; the design of residence itself is effectively utilized (such as thin corrugated metal shelters to ban the sunlight), and the energy consumption (such as air-conditioning) is reduced by the innovative local resource (such as sand dune roof). As the results, the considerations of environmental and energy issues can both achieve toward the sustainable development.

The project Harbin Opera House by MAD Architects was the winner of International Open Competition for Harbin Cultural Island in 2010. Due to the Harbin Opera House is located within the wetlands, the ideas were contributed by the force of untamed wilderness and the spirit of frigid climate of this northern city in China. The landscape of architecture is magnificent. A wellintegrated of nature and the topography is represented by this architectural design, and the local identity, art, and culture are also be interpreted. The exterior curvilinear façade is consisted by the smooth white aluminum panels. Also, crystalline glass curtain wall soars above the lobby as the lightweight diagrid structure of the architecture. The overall pattern of Harbin Opera House is emphasized on the interaction and participation between public and building. It intensifies the emotional connection between public and surrounding environment (e.g. through the landscape), and focus on the experience of visitors such as walking along the path to ascend the building to observe the surrounding wetlands or even the panoramic views of Harbin City. Therefore, it is no doubt that the importance of Harbin Opera House blends humanities, art and nature, and they become the heart of this land which nourishes the soul of the city.

FIG.A.1.5 TOP VIEW OF HARBIN OPERA HOUSE

FIG.A.1.6 INTERIOR: CRYSTALLINE GLASS CURTAIN WALL

As Ma Yansong (the founding principal of MAD Architects) said, “we envision Harbin Opera House as a cultural center of the future – a tremendous performance venue, as well as a dramatic public space that embodies the integration of human, art and the city identity, while synergistically blending with the surrounding nature.” This kind of innovative architecture may be able to lead the trend of architecture into a new age, while the building is no longer focus on the function itself, but integrates with local customs, natural and cultural, becomes a local landmark, becomes a widely known presence.

FIG.A.1.7 MASTER PLAN

CONCEPTUALISATION 7

A.2. DESIGN COMPUTATION

FIG.A.2.1 PANORAMIC VIEW OF GALAXY SOHO 8

CONCEPTUALISATION

FIG.A.2.2 FLAT VIEW OFGALAXY SOHO

FIG.A.2.3 PLAN DRAWING OF GALAXY SOHO

The Galaxy SOHO project by Zaha Hadid Architects in central Beijing is inspired by the grand scale of Beijing. This architectural complex (which contains office, retail and entertainment venues) is gracefully merging dynamic form that creates a fluid and continuous internal space. The four continuous and flowing volumes are apart from each other but fused by stretched bridges to form as a composition. By generating a panoramic architecture, the entire architectural complex is without any corners or abrupt transitions that may break its fluidity and integrity. This is definitely a new approach of evolution of design process by computation, since the technology in the early time cannot reach such high level, the calculations for such hierarchical curvilinear building complex is unimaginable by humanâ&#x20AC;&#x2122;s brain. Parametric design as an emerging concept is a bright spot of this composition without any doubt. Those parameters are interconnected as a completed system and, making a single change of data will affected the whole network and causes global influence. Systematic, adaptive variation, continuous differentiation, and dynamic figuration are the main characteristics of parametric design, it is a diversity of digital design in terms of the scale of urbanism to the scale of architecture, interior and furniture. Glass cladding and reflective aluminum panels as the modern material are the main features of these elliptical towers. Some digital design approaches have applied in here as well. The architectural design of double-curvature panels were used as models in Visual Basic operating in a Rhino environment. The local curvature morphology is the basic that leads to generate flat and single-curvature panels from the original double-curvature panels. Also, the software-driven panel-generation method can achieve the promoting rational use of manufactured sheet metal panels, and the higher demands in terms of cost requirements and manufacturing complexity can be managed.

FIG.A.2.4 BOTTOM VIEW OF GALAXY SOHO CONCEPTUALISATION 9

The Yas Hotel, an example of futuristic design, is designed by Hani Rashid and Lise Anne Couture and Asymptote Architecture (Architects) in Abu Dhabi, UAE. Asymptoteâ&#x20AC;&#x2122;s design of this architecture balances the dramatic site conditions with a luxury 500-room hotel and a Formula 1 Racetrack. A new F-1 track passes through the building complex under a monocoque steel and glass bridge linking two hotel towers. This Grid-Shell component is provided an atmospheric-like veil and produced optical effects and spectral reflections, and caused the entire complex visually connects and fuses to each other. These outstanding structure and trendy materials within the design have vividly demonstrated the power of construction industry. One of the main features of the design is the architectural and engineering significance. The expanse of curvilinear forms on the surface constructed of steel and pivoted diamond-shaped glass panels. The strategy of parametric design is applied to group curvilinear and panel and therefore they can be analyzed and extracted automatically by software.

The appearance of computational design is absolutely a revolution of creation of innovative buildings. It has a cross-era significance that improves work efficiency, enhances data accuracy, and even shortens the modification time. However, the software program is definitely cannot design the project by itself, it is essential that designers still need to rely on their own to design but to rely on computing. The working efficiency and accuracy can be identified through the comparison between past and present. The complex structure such as curvilinear or girdshell taking unimaginable time by sketching or hand-drawing, however, it takes less time if using digital software to generate the outcome. By using the computation, the traditional mathematic method can be replaced, and this impact on the design thinking, which not only stopping at the conceivable stage, but also moving forward to the achievable stage.

FIG.A.2.6 GRID-SHELL COMPONENET OF YAS HOTEL

CONCEPTUALISATION

FIG.A.2.5 PLAN VIEW OF YAS HOTEL

FIG.A.2.7 MONOCOQUE STEEL AND GLASS BRIDGE

FIG.A.2.8 DIAMOND-SHAPED PANELS

CONCEPTUALISATION 11

A.3. COMPOSITION/GENERATION

FIG.A.3.1 FACADE OF GEGGENHIEM MUSEUM BILBAO

CONCEPTUALISATION

The Guggenheim Museum Bilbao by Frank Gehry was built between 1993 and 1997 where located on the edge of the Nervión River in Bilbao, Spain. The complexity of this composition integrated in terms of performance and materiality through intricate program and urban context. The entire building looked like a tangled root if only by observation from its appearance, but it actually has own pattern and logic among the generating process. The ‘random’ curves of the exterior aimed to catch the light and react to the sun and the weather, and furthermore, since the curve surfaces toward to different directions, making the changing of lighting effects of all levels of the building while the changing of angle of sunlight. Both classical and modern materials are used for the outer skin of the building, the extremely thin titanium sheets, limestone and glass are harmonized perfectly, which achieved the architectural design with a great visual impact.

FIG.A.3.2 FRONT VIEW

FIG.A.3.3 PANORAMA VIEW

Digital modelling software is applied during the design process. A 3D design software is called CATIA, initially conceived for the aerospace industry, which provides an advanced technology for complex designs and calculations over that period. Therefore, the software faithfully translate Gehry’s concept to help him digitizes points for all the edges, surfaces and intersections in the further construction. And also, animations can be made out by manipulating the software, providing a preview and overall composition. Another benefit of CATIA is the computing calculation. The number of bars can be calculated for the requirement in each location, even the positions and orientations of bars. Every single piece such as walls, ceilings (including insulating layers), outer coating of titanium, have their exclusive location. This means, the number of each piece can be minimized to avoid additional expense, and the work efficiency is also greatly improved by modelling the design through software rather than re-draw everything by hand. During the progress of design development, Gehry drew plenty of plan drawings and a few 3D models by software, also, several prototypes had made out for overview. Good things are taken, and shortages are made up, and consequently the combination integrated into this final outcome.

FIG.A.3.4 -8 PLANS AND PERSPECTIVE VIEWS FROM VIDEO

CONCEPTUALISATION 13

A.3. COMPOSITION/GENERATION

A new terminal at Shenzhen Baoâ&#x20AC;&#x2122;an International Airport in China is designed by Italian architects Massimiliano and Doriana Fukas. The concept of the plan for this project evokes the image of manta ray â&#x20AC;&#x201C; a fish is able to breathe and to change its own shape, undergoes variations, and turns into a bird which symbolizes the emotion and fantasy of a flight. 3D modelling software Rhino is applied through the design development, and then the aid of specially developed parametric software tools is implemented to undertake the

FIG.A.3.10 INTERIOR 14

FIG.A.3.11 INTERIOR CONCEPTUALISATION

discretization of the surfaces. Those placements of column and even sc conditioning that have been designe computing program and having the essential of algorithm can be identifi sophisticated structure, have benef and structural systems.

The shift from composition to generation in the architectural design is a development of digital technology. This changing is not simply on the translation from hand-drawing to computer drawing, but also providing more advancement for architects, exploring new design options and communications. Those digital tools allow architects generate more opportunities in terms of structural, material or environmental performance, and becoming a fundamental parameter in the creation of architectural form. In addition, the increasing simulation capabilities of computer have the more accurate and sophisticated methods by the abilities of prediction, simulation and modelling, thus, the possibility of building is no longer on the simulation and communication of constructional aspects, but also the experience of public and the creation of meaning. Therefore, computation becomes a necessary tool in architectural field. As Mouzhan Majidi has said: ‘this hasn’t simply transformed what we can design – it’s had a huge impact on how we build.’ Even though pens or pencils can give sketch drawings for building and the performance of building details, but at the same time, using digital tools are faster and more efficient to design a complex models and performances in a better communication.

FIG.A.3.9 PONORAMA VIEW

different geometries shapes, directions of curvilinear, culpture-shaped objects (they are the supply of air ed as big stylized white trees), calculating through the eir exclusive performance and position. Therefore, the ied by allowing designers to model and visualize such fits in terms of building performances/appearances

FIG.A.3.12 SURFACE

FIG.A.3.13 INTERIOR

CONCEPTUALISATION 15

A.4. CONCLUSION

Under the computer era, computation is the main character which influencing the design process for the future of architecture. Considerations such as amounts of energy consumption, usages of unrecycled resource occurred in the early age, however, attentions have to be taken seriously and, moving towards the sustainability after the rapid developments of science and technology. Hence, architectural design is no longer just focus on its performance or function, but also considers the environmental problem. The engagement of computing expresses the evolution of design processes in architecture. Architectural form is no longer limited by poor design tools, the shapes of building are increasingly creative and diverse. Furthermore, for designers, they have more opportunities to explore more possible ideas, which can be all achieved by digital design. It can be said this is a revelatory for moving ideas and designs from conceivable to achievable. The conceptual changes instigated by computing. It is important because algorithmic thinking and parametric modelling are gradually walking into everyoneâ&#x20AC;&#x2122;s sight, becoming more and more popular just in the past two decades. Computation benefits both designer and user, for designer, design development is more comprehensive, by covering computer technique, material, structure, construction, and environment (or plus landscape); for user, a more relaxed, joyful and comfortable environment is provided.

CONCEPTUALISATION

A.5. LEARNING OUTCOMES

Architectural computing is not simply as a design tool for designer. By understanding what computation is progressively, I have change my own definition of computation. Many of design software appearing during these two decades, the design is no longer just expressing by hand-drawings, but also digital design tools are wellperformed those designs. It also influences the ways of thinking of design process, exaggerated geometric shape is not staying on paper anymore, and it can be modeled, constructed and used. Hence, it is important to understand the operation of those tools and well-integrated with ideas, generating a better design in the further.

CONCEPTUALISATION 17

A.6. APPENDIX - ALGORITHMIC SKETCHES

CONCEPTUALISATION

CONCEPTUALISATION 19

Drawing four curves in Rhino, as the basic for Grasshopper.

Dividing each curve into 36 units.

Creating arches between each curve.

Making loft.

Shifting by 5 units.

Creating surface and baking it into Rhino.

CONCEPTUALISATION

Setting multiple Breps from Rhino (surfaces).

Offestting 18 units from 2 units apart.

Extruding curves by 26 units and splitting surfaces with a bunch of curves. Baking surfaces into Rhino.

Creating three patch surfaces for trimming extra surfaces.

After trimming.

Final outcome.

CONCEPTUALISATION 21

REFERENCES FIGURE A.1.1 Edward Birch, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/ce97/e58e/ce67/c100/03a3/slideshow/ Luigi_Rosselli_Architects__The_Great_Wall_of_WA__002.jpg?1439420049 accessed 5 March, 2016. FIGURE A.1.2 Luigi Rosselli, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/cf5a/e58e/ce5c/7d00/0378/slideshow/ ground.jpg?1439420243, accessed 5 March, 2016. FIGURE A.1.3 Edward Birch, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/ced4/e58e/ce5c/7d00/0374/slideshow/ Luigi_Rosselli_Architects__The_Great_Wall_of_WA__007.jpg?1439420109, accessed 5 March, 2016. FIGURE A.1.4 Edward Birch, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/cea2/e58e/ce5c/7d00/0372/slideshow/ Luigi_Rosselli_Architects__The_Great_Wall_of_WA__004.jpg?1439420060, accessed 5 March, 2016. FIGURE A.1.5 Hufton+Crow, 2010, Harbin Opera House, http://images.adsttc.com/media/images/5671/7b18/e58e/cec5/7900/0005/ slideshow/MAD_Harbin_Opera_House_001_%C2%A9Hufton_Crow.jpg?1450277641, accessed 5 March, 2016. FIGURE A.1.6 Hufton+Crow, 2010, Harbin Opera House, http://images.adsttc.com/media/images/5671/7c08/e58e/cec5/7900/0009/slideshow/ MAD_Harbin_Opera_House_017_MAD_%C2%A9Hufton_Crow.jpg?1450277874, accessed 5 March, 2016. FIGURE A.1.7 MAD Architects, 2010, Harbin Opera House, http://images.adsttc.com/media/images/5671/79e3/e58e/ce4c/6300/0003/ slideshow/MAD_Harbin_Opera_House_Masterplan.jpg?1450277323, accessed 5 March, 2016. Archdaily, ‘The Great Wall of WA/Luigi Rosselli’, <http://www.archdaily.com/771780/the-great-wall-of-wa-luigi-rosselli> [accessed 5 March, 2016] Archdaily, ‘Harbin Opera House’, <http://www.archdaily.com/778933/harbin-opera-house-mad-architects> [accessed 5 March, 2016] FIGURE A.2.1 Hufton+Crow, 2013, Zaha Hadid Designs the Galaxy SOHO Complex in Beijing, China, http://media.architecturaldigest.com/ photos/55e76fab302ba71f3016c212/3:4/w_700/dam-images-daily-2013-04-viewpoint-beijing-galaxy-soho-may-viewpoint-zaha-hadid-01beijing-galaxy-soho-complex.jpg, accessed 12 March, 2016. FIGURE A.2.2 Iwan Baan, 2012, Galaxy SOHO: Design & Architecture, http://galaxysoho.sohochina.com/assets/property/galaxy/gallery/ Galaxy-design_module_425x274-01.jpg, accessed 12 March, 2016. FIGURE A.2.3 2012, Zaha Hadid Architects, http://www.zaha-hadid.com/wp-content/files_mf/cache/th_ ded8de6ef54c061a659828a26028150e_f17topview.png, accessed 12 March, 2016. FIGURE A.2.4 Iwan Baan, 2012, Galaxy Soho/Zaha Hadid Architects, http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects/5 08ee0ab28ba0d7fe4000005-galaxy-soho-zaha-hadid-architects-photo, accessed 12 March, 2016. FIGURE A.2.5 2010, Asymptote Architecture: Yas Viceroy Hotel, https://static.wixstatic.com/media/b3e12d_96ef5f4f9fd670e271e0fef331031d83. jpg/v1/fill/w_980,h_440,al_c,q_85,usm_0.66_1.00_0.01/b3e12d_96ef5f4f9fd670e271e0fef331031d83.jpg, accessed 12 March, 2016. FIGURE A.2.6 Asymptote Architecture, 2010, The Yas Hotel/Asymptote Architecture, images/5012/075b/28ba/0d55/8100/0285/large_jpg/stringio.jpg?1360898226, accessed 12 March, 2016.

http://images.adsttc.com/media/

FIGURE A.2.7 Unknown photographer, 2010, Asymptote Architecture, images/5012/0722/28ba/0d55/8100/027a/large_jpg/stringio.jpg?1360898186, accessed 12 March, 2016.

http://images.adsttc.com/media/

CONCEPTUALISATION

FIGURE A.2.8 Unknown photographer, 2010, Asymptote Architecture, images/5012/0727/28ba/0d55/8100/027b/large_jpg/stringio.jpg?1360898189, accessed 12 March, 2016.

http://images.adsttc.com/media/

Galaxy SOHO: http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects http://galaxysoho.sohochina.com/en/design http://www.architecturaldigest.com/story/zaha-hadid-beijing-galaxy-soho-complex http://www.zaha-hadid.com/architecture/galaxy-soho/ The Yas Hotel: http://www.asymptote.net/#!yas-slide-show/cau8 http://www.archdaily.com/43336/the-yas-hotel-asymptote http://www.dezeen.com/2009/05/14/the-yas-hotel-by-asymptote/ FIGURE A.3.1 βιит є Ãhʍ€ď, 2013, The Guggenheim Museum [Bilbao Spain], http://hqworld.net/gallery/data/media/130/louise_bourgeois_ sculpture__guggenheim_museum__bilbao__spain.jpg, accessed 18 March, 2016. FIGURE A.3.2 Unkown photographer, 2013, AD Classics: The Guggenheim Museum Bilbao/Frank Gehry, http://www.archdaily.com/422470/ ad-classics-the-guggenheim-museum-bilbao-frank-gehry/521fa097e8e44eb94a000038-ad-classics-the-guggenheim-museum-bilbaofrank-gehry-photo, accessed 16 March, 2016. FIGURE A.3.3 Iker Merodio, 2013, AD Classics: The Guggenheim Museum Bilbao/Frank Gehry, http://www.archdaily.com/422470/ad-classicsthe-guggenheim-museum-bilbao-frank-gehry/521fa07fe8e44e56b500006b-ad-classics-the-guggenheim-museum-bilbao-frank-gehryphoto, accessed 16 March 2016. FIGURE A.3.4 - 8 Unkown editor, Guggenheim Bilbao: The Construction, http://player.vimeo.com/video/45965421, accesed 16 March, 2016. FIGURE A.3.9 - 13 http://www.archdaily.com/472197/shenzhen-bao-an-international-airport-studio-fuksas, accessed 17 March, 2016. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 The Guggenheim Museum: http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry http://www.guggenheim-bilbao.es/en/the-building/the-construction/ http://au.phaidon.com/agenda/architecture/articles/2012/november/23/buildings-that-changed-the-world-the-guggenheim-museumbilbao/ Shenzhen Bao’an International Airport Terminal 3: http://www.archdaily.com/472197/shenzhen-bao-an-international-airport-studio-fuksas http://www.e-architect.co.uk/hong-kong/shenzhen-airport

CONCEPTUALISATION 23

CONTENT

PART B CRITERIA DESIGN

B.1.

RESERACH FIELD

B.2.

CASE STUDY 1.0

B.3.

CASE STUDY 2.0

B.4.

TECHNIQUE: DEVELOPMENT

B.5.

TECHNIQUE: PROTOTYPES

B.6.

TECHNIQUE: PROPOSAL

B.7.

LEARNING OBJECTIVES AND OUTCOMES

B.8.

APPENDIX - ALGORITHMIC SKETCHES

CRITERIA DESIGN

......page.26 ......page.28 ......page.34 ......page.40 ......page.50 ......page.56 ......page.60 ......page.61

PART B CRITERIA DESIGN

CRITERIA DESIGN

B.1. RESEARCH FIELD

FIG.B.1.1 GREEN VOID

Green Void is derived from nature which is a great precedent study of digital design, using the latest digital fabrication techniques to create more with less. This means, minimizing the surface to maximize the occupation space of the product (Pohl, 2008). The quest of Green Void is to optimize the efficiency in material usage, construction weight, fabrication and installation time, and this project is successfully achieved those aspects by using only 40kg lightweight fabric to build a 20 meter-high installation within a 3,000 cubic meters of space, and also maximizing the visual impact at the same time. It also responses to the popular question for sustainable development nowadays, by reducing embodied energy since it is easily to transport to any place in the world, installing easily and quickly, and the material is fully reusable. The relationship between nature and technology is well-demonstrated from Green Void, where the performance is inspired by plants and corals, and use mathematical formula from digital tools to determine the minimal surface by setting the connection points only. It is also a great opportunity to exhibit such digital design geometry and structure in the presence, evaluating different perspective views from public in such era with full of ambitiously technologies (Pohl, 2008). FIG.B.1.2 GREEN VOID 26

CRITERIA DESIGN

FIG.B.1.3 VOLTA-DOM

Volta Dom as another great precedent study is one of the experiments (of the Skylar Tibbits’ firm) in computational design, revisiting a historically paramount structural element – the vault, which attempts to find the contemporary equivalent through various assembly and fabrication techniques. Since hundreds of vaults created the vaulted ceilings within the concrete and glass hallway, a great opportunity is provided to the visitors to immerse such historical atmosphere and experience the combination of sculpture and digital fabrication. The architectural element “surface panel” intensifies the depth of doubly curved vaulted surface, while maintaining the relative ease in fabrication and assembly. The assembly of such complex surface makes the possible to transform the curved vaults to developable strips, performing as rolling a strip of material (Lopes, 2007). However the appearance of Volta Dom is unflattering. It looks like a giant corpse flower by looking inward through glass window, and its interior looks like a nest of bee. Also, a depressing feeling will be generated due to the limited internal space, and it stops visitors’ pace by the vaulted ceilings (Lopes, 2007). Nevertheless, Volta Dom as a self-replicating system, successfully interprets the application of innovative fabrication technique, by creating such complex double curved vaults through the simple rolling of a sheet of material.

FIG.B.1.4 VOLTA-DOM CRITERIA DESIGN

B.2. CASE STUDY 1.0

VOLT-DOM

SPECIES 1

DIFFERENT NUMBERS OF CONE APPEARING WHILE NUMBERS OF POINT GETTING LARGER IN POPULATE 2D

CRITERIA DESIGN

SPECI

SHAPES CHANGING WHILE IN V-DIRECTION IS GETTIN

IES 2

E LOWER LIMIT OF DOMAIN NG LARGER

SPECIES 3

HEIGHT OF CONES GETTING HIGHER WHILE HEIGHT RATIO GETTING LARGER

CONCEPTUALISATION 29

SPECIES 4

BUILDING COMPONENTS ON CURVILINEAR SURFACE AND SPHERE SURFACE TO GET DIFFERENT SHAPES BY CHANGING SCALE AND AMPLITUDE

CRITERIA DESIGN

GEOMETRIES

SPECIES 5

ARE

AFFECTED

POSITIONS OF TWO CLOSEST POINTS

CHANGING

SPECIES 6

SET UP A CUBE REGION FOR POPULATE 3D REGION, DIFFERENT NUMBERS OF SPHERE APPEARING WHILE THE NUMBERS OF POINTS GETTING LARGER

SPECIES 7

BY CHANGING CONES TO SPHERE, NUMBERS OF COMBINATION APPEARING WHILE POINTS GETTING LARGER IN POPULATE 2D REGION

CRITERIA DESIGN

SELECTION CRITERIA I aimed to create some different geometries from the initial given definition that can be inspired me any possibilities on the further tasks. However they have not much change without changing any single definition if only amend the parameter (those number sliders), thus I tried to add or subtract some of definitions (e.g. I tried to re-create Volta-Dom with undulating surface instead of flat surface) and change the initial region (e.g. changing 2D rectangular region to 3D box region) and initial geometry (e.g. from cone to sphere or cylinder, and adding different number of points). As the results, four successful and interesting iterations have been developed and selected as the final outcomes of development from initial definition of Volta-Dom.

CRITERIA DESIGN

SELECTED OUTCOMES

POPULATE 2D # POINTS: 30

SEED #: 3

POPULATE 3D # POINTS: 10

SEED #: 5

By changing the number of points in Populate 2D, larger number of points, more cones appearings with random height.

A cube is created to be the box region for Populate 3D. Set this region as the base plane for sphere and hence multiple spherical surfaces can be placed on it.

DIVIDE DOMAIN2 & ISOTRIM SCALE: 2 AMPLITUDE: 3

DIVIDE DOMAIN2 & ISOTRIM SCALE: 0.2 AMPLITUDE: 5

A sphere surface is connected as the base domain and base surface, and is extracted to an isoparametric subset of a surface. Geometry will be affected by moving the points on Rhino.

Setting a curvilinear surface as the base plane, geometry is affected by controlling the factor of scale and the value of amplitude. And this is also the re-creation of Volta-Dom.

CRITERIA DESIGN

B.3. CASE STUDY 2.0

CRITERIA DESIGN

CANTON TOWER

FIG.B.3.1 CANTON TOWER

FIG.B.3.2 CANTON TOWER

Canton Tower as one of the important buildings in Guangzhou, is designed by Information Based Architecture (IBA). The idea of Canton Tower base on to create a â&#x20AC;&#x2DC;femaleâ&#x20AC;&#x2122; tower, which is complex, transparent, curvy, gracious and sexy. And also the tower aims to design in a free-form with a rich and human-like identity that represents Guangzhou as a dynamic and exciting city (Mark Hemel, 2010). The structure of Canton Tower is simply based on two ellipses. One at foundation level and the other at a horizontal plane. They are rotated relative to another. Since Canton Tower is a particular lattice-structure, it can be observed that it consists by connecting ring and bracing piece. As Architect Mark Hemel said that designers are able to create a more complex structures than before by using computerized analysis techniques, and therefore such unique form can be built.

FIG.B.3.3 CANTON TOWER

CRITERIA DESIGN

REVERSE ENGINEER

||CANTON TOWER||

STEP TWO:

Create a Construct Point as the starting point, and create another Construct Point that moved in the Z-direction, becoming the height of the building. Make a line between these two points, this is the core of the building.

Polygon is chosen to be the base plane, in this case, the two base planes are represented as the top and bottom shape of the building. Connect two Polygon commands from two Construct Point commands separately, and use number slider to control their radius, number of segements.

CONSTRUCT POINT

CONSTRUCT POINT RADIUS: 15 CONSTRUCT POINT SEGMENTS: 25

CRITERIA DESIGN

CONSTRUCT POINT

LINE

POLYGON

CONSTRUCT POINT

POLYGON

STEP ONE:

STEP THREE:

POLYGON

Create a Rotate command to connect with upper plane. For calculating the degree of rotation, an expression is added up to control the degree. Then, loft both of top and bottom plane.

DEGREE: 120

ROTATE

POLYGON

LOFT

EXPRESSION

STEP FOUR: To create the horizontal curvilinear that surrounded the building, setting Divide Distance along Line based on XY Plane. Find intersection between Line and Plane, connecting Loft surface and Plane to Brep | Plane. The outcome of those Section Curves become Boundary Surface. Area can be calculated by using Area component. Flatten values to create one list with multiple values. Total area of the building can be calculated by using Mass Adition. The total area of the building is approximately 8284 square meters.

LINE

DISTANCE

XY PLANE

BREP | PLANE

BOUNDARY SURFACES

AREA

MASS ADDITION

LOFT CRITERIA DESIGN

STEP FIVE: Lastly, the thickness of curvilinear surface has to be made. Create a Unit Z to extrude the surface in Z direction, a Number Slider is connected to control the thickness of the surface. The outcome from Boundary Surfaces as the base of Extrude. BOUNDARY SURFACES

THICKNESS: 0.5

CRITERIA DESIGN

UNIT Z

EXTRUDE

CRITERIA DESIGN

B.4. TECHNIQUE: DEVELOPMENT By developing the reverse-engineered definition from Case Study 2, several extend definitions have added and subtracted from the original one.

SPECIES 1

A twisting tower is developed by setting points in Z-direction based on XY Plane, and this becomes the base plane for Polygon. The Rotation angle is controlled by Pi and its factor is affected by the values of Domain. Set Polygon as the base geometry, the output value from Pi as rotation angle, and XY Plane as the rotation plane. Loft the rotated geometry to get the final lofted surface.