Studio Air Final Journal - Sunday Hao Li 852660 by Sunday Hao Li 852660

STUDIO AIR 2018, SEMESTER 1, DAVID WEGMAN SUNDAY HAO LI

A CONTENTS

PART A. CONCEPTUALISATION

A.0 INTRODUCTION

A.1 Design Futuring A1.1 Case Study 1

A1.2 Case Study 2

A.2 Design COMPUTATION A2.1 Case Study 1

A2.2 Case Study 2

A.3 COMPOSITION/GENERATION A3.1 Case Study 1

A3.2 Case Study 2

A.4 CONCLUSION

A.5 LEARNING OUTCOME

A.6 APPENDIX-Algorithmic Sketchbook

A.0 Introduction

CONCEPTUALISATION

Hello! Gâ&#x20AC;&#x2122;day!

My name is Sunday. I am currently a third year architecture student studying in The University of Melbourne. I was born in Liuzhou, China and came to Australia four years ago. I have finished my Diploma of Art and Design as the pathway to my university degree before I started my journey in architecture. While living and studying in Melbourne, I have more freedom and opportunities to explore architecture world. Architecture, in my opinion, is a witness of time. Architecture engages with people and environments, also records every happening inside the building and surrounding. I studied Digital Design and Fabrication as my elective last year. Digital program offers me possibility to design something out of my expectation or even something unknown, which I found it surprising and interesting.

CONCEPTUALISATION

A.1 Design Futuring

Design, in Tony Fryâ&#x20AC;&#x2122;s statement, has to be recognised and understood in an anthropological way, which points out the significant relationship between humanism and design. Designing is the fundamental characteristics that every human being lives with.[1] In order to suit a more sustainable future, architectural design should satisfy the needs of nature and human beings. With the rapid development of technology, this generation is fortunate due to the computational aids from the digital world. In digital environment, it tends to be more precise and efficient to design projects in designerâ&#x20AC;&#x2122;s mind. However, sustainability is one of the key concepts should be taken into consideration when thinking about future.

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.2.

A1.1 CASE STUDY 1 INSTANT CITY, ARCHIGRAM, 1960 The Instant City is a concept of future city complex that industrialises the urban space into a mega machine-based city. City spaces inhabit in the balloons floating above the big canopy. The Instant City has been described as a temporary network of information and entertainment, which is an advanced imagination of circus.[2] The Instant City is an example that believes in the development of architecture in relation to technological growth and environmental change. The Instant City considers the movability of the complex, which offers new opportunity for human or any livings to migrant with future decay of urban spaces. The idea of Instant City is on the opposite of permanent architecture. It could come from the insecurity after the World War II that architects tried to find a solution for post-war damaged cities and people. However, the Instant City or any of Archigram’s proposals has never been built. The canopy structure of the complex is parametric shape that formed by the force of the balloons. The balloons also represent the intervention of new technology. With the development of technology, the imagination of the Instant City might be fulfilled. Architecture as the shell of living hence should focus on the spatial arrangement and interaction between human mind and body. Image Source: http://www.archigram.net/projects_pages/instant_city.html http://news.psu.edu/photo/452107/2017/02/21/instant-citypeter-cook

2. Victoria and Albert Museum, ‘Archigram: The Walking City, Living Pod and the Instant City‘, V&A The World’s Leading Museum of Art and Design <http://www.vam.ac.uk/content/ articles/a/archigram-walking-city-living-pod-instant-city/ >[4 March 2018]

CONCEPTUALISATION

A1.2 CASE STUDY 2 J-OFFICE & SILK WALL, PHILIP YUAN/ARCHI-UNION ARCHITECTS, 2009-2010 This project is an architect firm office located in an old industrial park. New materials are often associated with digital design; however, this project is mainly constructed by traditional materials such as cement blocks.[3] The interior of the architecture also engages with nature that allowing plants grow inside of the yard in the office. It is reasonable to say that parametric design is a recent trend in architecture industry, which makes people feel futuristic in terms of its characteristic. Philip Yuan states the idea of parametric regionalism that points out the importance of adaptability in parametric architecture, and materiality reflects the regionalism in his design.[4] The Silk Wall is made of hollow concrete blocks. The materiality of concrete is mass and heavy, whereas the Silk Wall expresses the sense of lightweight and softness.

3.Archi-Union Architects, ‘J-Office & Silk Wall’, Archi-Union <http://archi-union.com/Homes/Projectshow/index/id/47> [4 March 2018] 4.Philip Yuan, ‘Parametric Regionalism’, Architectural Design (2016) 92-99, (p.93).

CONCEPTUALISATION

New materials are frequently taken into consideration when thinking about designing the future, especially parametric design. Technology and new materials are developing but no one can promise they will always develop on a positive track. It is too radical to deny the benefit from high technology in this period. But the future is unknown. It is more convincing to argue that the earth and nature will live longer than any of us. Thus, returning to the old times that relying on traditional natural materials could be a new era of architecture in the future.

Image Source: http://archi-union.com/Homes/Projectshow/index/id/47 https://www.archdaily.com/82251/au-office-and-exhibitionspace-archi-union-architects-inc

CONCEPTUALISATION

A.2 Design Computation

CONCEPTUALISATION

Computation provides an environment to develop, analyse and test design concepts. Architecture now also has the potential to be conceived and produced by digital computation.[5] Computerisation helps to modify and refine the design and then confirm the final result. While computation is a more advanced ideological method that collecting data in order to produce design outcome. Designing by computation benefits the workload of architects in terms of increasing the efficiency because computation can systematically analyse the concepts and solve problems. Thus, parametric design can be found more and more commonly. It is undoubtedly a powerful tool to generate designing process.

5. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York: Spon Press, 2003) p.3.

CONCEPTUALISATION

A2.1 CASE STUDY 1 RESEARCH PAVILION, ICD/ITKE, 2012 This project is one of the robotic-fabricated pavilions that ICD/ITKE have done so far. The design of this pavilion is a collaborated result of biomimetic transformation and computational design. It also focuses on the materiality and morphological principles of creatures in relation to construct new architectural paradigm. The pavilion is inspired by a biological model - lobsterâ&#x20AC;&#x2122;s exoskeleton by means of analysing the morphological principles of its characteristics, such as a soft part as the endocuticle and a relatively hard layer as the exocuticle. Thereby, the pavilion aims to embody this feature. Designing by digital computation allowed the researchers to integrate form finding, material and structural design directly. Moreover, Variability and manoeuvrability of computational models benefit the generation and analysis in designing process. Image Source: http://icd.uni-stuttgart.de/?p=8807

Computational design also has a bonus for previewing the robotic fabrication, which provides the digital information relating the model, finite element simulations, material testing and robot control.

CONCEPTUALISATION

Image Source: https://www.archdaily.com/804275/chadstone-shopping-centre-callisonrtkl-plus-the-buchangroup

CONCEPTUALISATION

A2.2 CASE STUDY 2 CHADSTONE SHOPPING CENTRE (EXPANSION), CALLISONRTKL, 2016 The expansion of Chadstone Shopping Centre is a domestic example of using computational designing tool. As Rivka Oxman and Robert Oxman mentioned that parametric design provides a new form of digital design logic, which can produce various geometric relationships by algorithmic procedures.[6] The expansion is based on the existing architecture in Chadstone Shopping Centre. Thereby, parametric concept helps the new design of the expansion to adapt to the current site in terms of finding the most suitable relationship with the existing building. The gridshelf roof is indisputably the icon of the building, thus the roof of the expansion continues the feature and turns it into a new design in parametric form. The 31-meter high, 7000-square meter roof was a production from 3D parametric modelling that also refining the massing through a combination of video animation and computer rendering. The parametric panel layout comes out from a project-specific script that translated a 2D point-controlled quadrilateral grid into a 3D parametric mesh. The computational tool provides a platform to consider the interrelation of the roof form, the glass panels and structural efficiency. Computational design, especially parametric designs can be visually similar in terms of the pattern of the exterior. However, the parametric design of this expansion is lucky in a way that it also dresses like an echo of the existing building. 6. Theories of the Digital in Architecture, ed. By Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p.3.

CONCEPTUALISATION

A.3 Composition/Generation

CONCEPTUALISATION

Architectural design is shifting from composition to generation. Generative architecture optimises the function and occupation of the building thus also contributes to create a more sustainable environment. Using algorithm to set the gene of design, architects would have the opportunities to construct more complex prototypes and receive the feedback immediately. [7] Moreover, following a certain pattern to generate architectural design can come out unexpected or even ‘impossible’ results. However, working on the computational way can be a challenge for architects in terms of the potential complexity of building and mess of parameters.[8]

7.Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), p.15. 8. Peters, (p.15)

CONCEPTUALISATION

A3.1 CASE STUDY 1 DIGITAL GROTESQUE, MICHAEL HANSMEYER AND BENJAMIN BILLENBURGER, 2017

Digital Grotesque is made of two grottos that entirely designed by digital algorithms. It also depicts the idea of printing architecture, or can be defined as a highly ornamental structure came out from computational design. The concept of the Digital Grotesque is to create an architecture that expresses classification and reductionism.[9] Designing by algorithm is a process of defining a recipe, method or technique in order to create form in computational program.[10] The appearance of the Digital Grotesque rouses my memory about Rococo decorative style due to its organic forms and complexity. Whereas, computational design is used in this project that generates the design to a more abstract level with dramatic impact. The complex forms in this project were produced from the computational program that has the ability to modify a big amount of parameters and offers the potential of inspiration beyond the intelligence of designers.[11] The algorithm manipulates the action of designing process. Digital Grotesque is generated by the algorithm, which refines and enriches surfaces. Following a simple process of dividing forms, the algorithm changes the division ration with an endless permutation thus to create a surprising variety of forms.

Image Source: https://digital-grotesque.com/

Computational-designed architecture is often associated with smooth form and minimal surface. By contrast, Digital Grotesque aims to create a complex and organic form, but also synthetic.

9. Digital Grotesque, Design Concept, <https://digitalgrotesque.com/concept/> [14 March 2018] 10.Definition of â&#x20AC;&#x2DC;Algorithmâ&#x20AC;&#x2122;, ed. by Robert A. Wilson and Frank C. Keil (London: MIT Press, 1999), p.11-12. 11.Peters, (p.15).

CONCEPTUALISATION

A3.2 CASE STUDY 2 SHELLSTAR PAVILION, ANDREW KUDLESS/MATSYS, 2012 Shellstar is a temporary pavilion that entirely designed by computational tools including Rhino and Grasshopper. Digital program as the form-finding method allows designers to explore different possibilities and solve design problems.[12] Furthermore, algorithm is behind the computational design method that inputs the parameters then gets the designing result. The concept of Shellstar Pavilion is based on the idea of creating a spatial vortex. The algorithm modifies the natural system of a vortex thus generating design varieties. Designing with a parametric modelling environment speeded up the process of making this pavilion including design, fabrication and assembling the structure. Surface optimisation in Shellstar Pavilion is the main part of designing the pavilion replied on algorithm script. The computational method defined and refined the surface of 1500 cells through a systematic design process. Moreover, using a custom script benefits the surface in which minimises any interior seams and smooths the surface as much as possible. Digital tool can also analysis the curvature of each cell and then decide the cell orientation, which is difficult to accomplish manually. The Shellstar Pavilion is a place for visitors that opened to public, thereby the spatial quality is significant. Designing by computation allows designer to test and analysis the structure alongside generating the spaces. Image Source:

12.Peters, (p.8).

http://matsysdesign.com/2013/02/27/shellstar-pavilion/

CONCEPTUALISATION

A.4 Conclusion Architecture is more than just a shelter for living. Architecture is a powerful installation with a long history to change or even elevate the environment. Within an era filled with technology and computers, architects have the opportunities to combine computation and architectural concept together in order to design a better environment. Most of the precedents I have presented in Part A are strongly related to computational design. The precedents show how computation can engage with ideas for designing, fabricating and building purposes. Through the generation of algorithmic script, architects are able to design more exciting projects. Digital programs not merely offer a tool to express concepts, but also provide a platform to generate, analyse, test and solve problems.

CONCEPTUALISATION

A.5 Learning Outcome Personally speaking, merging computation and architectural design together is a new concept. After researching about precedents, I realized computational design is an advanced concept that requires relatively intellect to work with. Studio Air has given me this chance to explore more about computation or just elevate my skill of using Rhino and Grasshopper. However, designing with digital tools can be dangerous.[13] Parametric design sometimes makes me feel aesthetic fatigue due to the similarities of the exterior look, whereas digital aesthetics is not only parametric. Digital aesthetics can be various and customized by its unique algorithm. I consider computation is an assistant to help my design rather than to control my design. People might get lost in the digital world nowadays, but architecture should still remain anthropologically sustainable in the future. 13.Peters, (p.15).

CONCEPTUALISATION

A.6 Appendix-Algorithmic Sketchbook

CONCEPTUALISATION

BIBLIOGRAPHY

Archi-Union Architects, ‘J -Office & Silk Wall’, Archi-Union <http://archi-union. com/Homes/Projectshow/index/id/47> [4 March 2018] Definition of ‘Algorithm’, Robert A. Wilson and Frank C. Keil (London: MIT Press, 1999) Digital Grotesque, Design Concept, <https://digital-grotesque.com/concept/> [14 March 2018] Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) Kolarevic, Branko. Architecture in the Digital Age: Design and Manufacturing (New York: Spon Press, 2003) Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83,2 (2013) 8-15 Theories of the Digital in Architecture, Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014) Victoria and Albert Museum, ‘Archigram: The Walking City, Living Pod and the Instant City‘, V&A The World’s Leading Museum of Art and Design <http://www.vam.ac.uk/content/ articles/a/archigram-walking-city-living-pod-instant-city/ >[4 March 2018] Yuan, Philip. ‘Parametric Regionalism’, Architectural Design (2016) 92-99

CONCEPTUALISATION

B CONTENTS

PART B. CRITERIA DESIGN

B.0 Self Reflection B.1

Model for Variation A1.1 Case Study 1

A1.2 Case Study 2

B.2 CASE STUDY 1

B.3 CASE STUDY 2

B.4 Expanding The Algorithm B.5 3D PRINTING B.6 PROPOSAL

B.7 learning objectives and outcomes B.8 appendix

CONCEPTUALISATION

manipura Will Proactive Expansion Electricity

CONCEPTUALISATION

B.0 Self Reflection

The Manipura Chakra represents the umbilicus and solar plexus surrounding area that relates with fire and the power of transformation. Yellow is the representative colour of the Manipura Chakra; it is also the colour we usually associate with sunlight and solar power. Thus, this Chakra is also the centre of energy field in human body, which contains personal wisdom, abilities, power, courage and spirit. The triangle in the middle symbolizes the battery of human body that keeps all the energy. Personally, yellow is my favourite colour and triangle is my favourite geometry. I think yellow is a sign of hope and warmness. The Chakra also relates to solar, which is the sun. I found it surprisingly suits me, or it is part of me, Sunday! Triangle is one of the simplest geometries, which comprises stable and balance. Physically, the Manipura Chakra is the main focus of human bodyâ&#x20AC;&#x2122;s coeliac plexus, which is the abdomen area that impacts the digestive system. I am suffering from stomachache and sore tummy for my whole life. It happens physically but also mentally. The Chakra relates to myself more than what I expected.

CONCEPTUALISATION

B.0 Collage

RESTRICTION/BLOCKAGE/PROBLEM

NEGATIVE FEELINGS - PHYSICAL PAIN COEXISTENCE - WELCOME - ENDURANCE STRENGTH

CONCEPTUALISATION

B.1 Model for Variation

CONCEPTUALISATION

NATURAL SYSTEM: How the painkiller reacts in the body – ADME Mechanism It is arguably one of the natural systems. We can’t live without painkiller, or just panadol. Personally, physical pain is my restriction and B1.1 blockage. MODEL FOR VARIATION Painkiller is strongly related to my narrative and the process demonstrates the nature of painkiller and how it works on human body.

ADME MECHANISM

ADME is a pharmacological abbreviation for “Absorption, Distribution, Metabolism, and Excretion ity of the drug.

ABSORPTION It is the movement of the chemical from

ABSORPTION

the drug capsule to the bloodstream. The human organ intestine will absorb the drug particles within the digestive process, then

EXCRETION

ADME MECHANISM

into blood vessels.

DISTRIBUTION

DISTRIBUTION It describes the reversible transferring process of the painkiller from the intestine to the brain within the human body. The chemical will flow into the brain and start to work.

METABOLISM METABOLISM The chemicals will break down when they enter the organs in human body. Liver is the organ to carry out the painkiller metabolism in order to decrease the negativities the chemicals that might effect to the body.

EXCRETION Residue and metabolites will be ejected from the human body via excretion process. Kidney will be the organ to accomplish the job.

CONCEPTUALISATION

B1.1 DIAGRAM

CONCEPTUALISATION

B1.2 TRANSLATE

STEPS + PARTICIPANTS Pain Killer Capsule Intestine [Absorption] + *System Circulation Drug Particles Drug Particles Release Human Brain Drug Particles [Distribution] [Metabolism] [Excretion]

CONCEPTUALISATION

COMPONENTS

PSEUDO CODE Object

Surface

Platform

Plane

Movement

Offset

Points

Populate Geometry

Movement

Vector 2Pt

Volume

Voronoi 3D

Points and Movement

Point and Move

Movement

Project

Reduction/Subtraction

Move

CONCEPTUALISATION

B1.3 BUILD

Plane Normal PopGeo Srf

Srf CP

Vec2Pt

Vector Voronoi

Offset

Unit Z

CONCEPTUALISATION

Point Vector

Unit Vector

Move

Vector Display Multiplication AxB

Multiplication AxB Join Curves Scale

Point Project End Points

Move

Line

Join Curves

Cull Index

dupLine

CONCEPTUALISATION

B1.4 SCRIPTING THE PROCESS

n=100

n=50

n=0.1 44

CONCEPTUALISATION

n=150

n=0.3

n=0.5

Different surfaces

#1 Scale of sharp changes

n=200

n=250

#1 Vector changes

XYZ

#1 Vector 2Pt changes

n=1

n=1.5 CONCEPTUALISATION

#1 Scale Changes

n=0.1

n=0.3

#1 Amount of Points

n=10

n=30

#2 Scale changes

n=0.2

CONCEPTUALISATION

n=0.8

n=0.5

n=1

n=70

n=50

n=1

n=1.5

n=100

n=22

CONCEPTUALISATION

n=6

n=3

n=20

n=6

n=40

n=0.5

n=9

n=1

CONCEPTUALISATION

n=1.2

n=1.5

#3 thickness

n=12

n=15

#4 Amount of Points

n=100

n=200

#5 â&#x20AC;&#x201C;Scale changes

n=2

CONCEPTUALISATION

B.2 Case Study 1

CONCEPTUALISATION

VOLUME HEIGHT VARIATION

It is a simple example that having control of the combination of lines and planes. It was used a line (curve) as reference to create surfaces. And there is a control to change the parameter in order to generate different results of the pattern. The curve and organic shape forms a contrast with the geometric and rectangular pattern. In our design, the organic form is the main focus. The action and movement in the chosen natural system is extremely unpredictable and I wanted to simulate the process of the natural system in the algorithm in order to design the structure. Thus, the curvy and organic shape is the representation of the dynamism of our natural system. The surface depicts a sense of weightlessness and a texture of silk, which is what I was trying to explore â&#x20AC;&#x201C; a light-weighted structure and surface. Image Source: https://explodebreps.wordpress.com/grasshopper- definitions/responsive -sur face -volume -heightvariation/

CONCEPTUALISATION

Number of Divide (Odd)

Number of Divide (Even)

Factor of Pi

Geometry added

Pipe added

Box Array added

CONCEPTUALISATION

SUCCESSFUL ITERATIONS

1. The lightweight feeling and the silk-like texture is revealed in this iteration. The strip surfaces are spread out from one point, thus forming a space like a tunnel. And the wave of the model expresses the dynamism that I would like to develop with.

CONCEPTUALISATION

2. By adding the geometries to the reference curves, it changes the envelope and the appearance of the structure. Even though the surface is replaced by the geometries, the loose distance between the geometries and their floating position still offer a sense of weightlessness.

3. The added geometries have been changed by controlling the parameter of the scale. Thus, the space changes from an open space to a relatively closed space. It can be used as a real structure in the design because the stacking geometries are able to build unlike the previous iteration. The enlargement of the geometries not only changes the spatial quality, but also affects the texture and tectonics of the structure.

4. Connecting pipes to the reference curves totally changed the form of the original model, whereas it created a new structure. The shape demonstrates the growing or spreading process, which fit into the spreading motion of the chosen natural system. And pipe is a reliable structure element to use if the design gets proposed to build up in real life.

CONCEPTUALISATION

B.3 Case Study 2

CENTRE FOR IDEAS MVS ARCHITECTS 2001

CONCEPTUALISATION

The façade of the building is created by computational design. The generative design of the building was expanded from an algorithm based on voronoi tessellation of a plane, which is an interesting graphic pattern with mathematical logic and change of natural principle. [1] The random size of the form of voronoi pattern gives the unexpected surprise in the designing process. Beside the voronoi element of the design, the ‘blossom’ form also draws my attention. It expresses a sense of dynamism and shockwave. The division of the ‘blossom’ form is regular, which can be contrasted with the random pattern of voronoi. The ‘blossom’ form is also a shell-like or umbrella-like structure that reminds me of the concept of private and protection.

1. MvS Architects, Centre for Ideas, <http:// w w w. m v s a r c h i t e c t s . c o m . a u /d o k u . php?id=home:projects:victorian_college_of_the_arts> [14 April 2018]

Image Source: ht tp: //w w w.mvsarchite cts.c om .au /doku. php?id=home:projects:victorian_college_of_the_arts

CONCEPTUALISATION

Reverse-Engineer by Grasshopper

Divide Curve Circle

CONCEPTUALISATION

Offset

Move

Divide Curve

Offset

Move

Divide Curve

Line

Pipe Extrude

Loft

Cape Holes

Unit Z Extrude Loft

Boolean Difference

Cape Holes

Unit Z Pipe

CONCEPTUALISATION

Extruded Surface got created with curves

Pipes got applied on the Extruded Surface without Boolean Difference.

STEP 1. The circle gets offset twice to create

STEP 2. Divide the circules (curves) into

three circles.

segments and identify all the end points. Then, connect the points with lines.

STEP 5. Finall step is to subtract the unneeded part by u

the Boolean Difference command. Hence, the ‘blossom’ f is finished. 60

CONCEPTUALISATION

Reference Images

STEP 3. Two surfaces were created by using

STEP 4. Transform the previous created lines

the loft command. Also, extrude the surfaces

into pipes.

in order to apply some thickness.

using

form

CONCEPTUALISATION

B.4 Expanding The Algorithm

CONCEPTUALISATION

B4.1 DIAGRAM

Capsule goes into stomach after swallowing. Then the capsule is digested in stomach and propeled into intestine.

Pain Killer Capsule

The released absorped in circulation vi vessel in the in

In the intestine, the capsule decomposes and the active chemical is released from the matrix of capsule.

Intestines

Drugs particles released while capsule dissolving

The active chemical is brought to brain by systemic circulation after passing through the blood-brain barrier.

Human Brain

The chemical some specific inhibit the syn an internal c lead to pain fe the pain feelin

CONCEPTUALISATION

chemical is nto blood ia capillary ntestine.

Systemic Circulation

Prostaglandins (PG)

l interacts with c receptors to nthesis of PG, chemical that feeling. Hence, ng stops.

After interaction, the chemical then follows the bloodstream to go to other organs. In the liver, the compoud is metabolised.

Liver

Kidney

The residue becomes more hydrophilic so that it is easy to be excrete.

The residue is evacutated by kidney through urine. CONCEPTUALISATION

B4.2 TRANSLATE

STEPS + PARTICIPANTS

PROCESS

Pain Killer Capsule

Swallowed into body

Intestine

Absording drugs

[Absorption] + *System Circulation

Absording and moving

Drug Particles Release

Particles moving

Human Brain

Drugs activated

Drug Particles [Distribution]

Drugs particles working

Inhibiting PG [Distribution]

Reducing PG

*System Circulation + [Metabolism]

Residue leaving

Liver

Metabolising drugs

Kidney

Metabolising drugs

[Excretion]

Excreting

*System Circulation

Vessels

CONCEPTUALISATION

PSEUDO CODE

COMPONENTS

Geometry

Surface

Movement or Rotation

Move

Points

Populate Geometry

Volume

Voronoi 3D

Selected Points

Volume

Reduction/Subtraction

Random Reduce

Reduction/Subtraction

Mesh Difference + Reduce Mesh

Geometry/Form

wbJoin

Geometry/Form

wbLoop

Reduction/Subtraction

Reduce Mesh

Lines/Mesh

Weaverbird Mesh

CONCEPTUALISATION

B4.3 BUILD

Volum

Crv Crv

EdgeSrf

Srf

Geo

Crv

Move Construct Point

Building the main body

Reduce

wbJoin

wbLoop

MDif

C# Script Reduce Mesh True

CONCEPTUALISATION

me Scale

Volume

Voronoi 3D

Scale

PopGeo

Reduce

Random Construct Domain

Adding Weaverbird Mesh

wbLoop

C# Script Reduce Mesh True

C# Script Reduce Mesh

MSmooth

True wbFrame

CONCEPTUALISATION

B4.4 SCRIPTING THE PROCESS

Control of the points (Drug particles)

n=10

n=20

Vavieties of minimum holes (Distributed areas )

n=1

n=0.8

n=2

n=4

Random size of holes (Distributed areas )

CONCEPTUALISATION

n=30

n=40

n=50

n=0.6

n=0.4

n=0.2

n=6

n=8

n=10

CONCEPTUALISATION

n=20

n=40

n=0.9

n=0.8

n=8

CONCEPTUALISATION

n=6

n=60

n=0.7

n=4

Amount of holes (Distributed areas )

n=80

n=100

Vavieties of maximum holes (Distributed areas )

n=0.5

n=0.4

Reduction of holes (Inhibiting PG areas)

n=2

n=0

CONCEPTUALISATION

Smoothness with mesh added

n=0.1

n=0.2

Forms of holes with mesh added

n=1

n=2

Amount of holes with mesh added

n=100

n=80

n=1

n=2

Distance of mesh

CONCEPTUALISATION

n=0.6

n=3

n=60

n=3

n=1

n=0.8

n=4

n=5

n=40

n=4

n=20

n=5

CONCEPTUALISATION

B4.5 FORM REFINING

From Triangle to Curve From 2D to 3D Form

Variation of Surface Created by Edges

Transformation from Surface to Mesh Mesh to Piles

CONCEPTUALISATION

Mesh Distance

n=20

CONCEPTUALISATION

n=40

n=60

n=70

n=80

CONCEPTUALISATION

B.5 Technique: Prototypes

In order to make the requirement of 3D printing, the mesh on our original model has been

Check and confirm all the settings of th

changed into pipes and set to 2mm of thickness. Then the model got to place in the

density of the infill material.

MakerBot Print software.

However, the first printing was a failure due to its complexity. Hence, we decided to print the surface instead of the structure pipe of our model.

CONCEPTUALISATION

Once again, confirm everything in the s

he printing model, such as the chosen material and

software.

Adding the support for the model due to most part of our model is basically floating, and no support underneath to the printing platform. Preview the printing process, and we thought it was ready to print.

With the help of NExT LAB, our model is finally ready to print!

CONCEPTUALISATION

B.6 Technique: Proposal

CONCEPTUALISATION

Vegetation River 88

CONCEPTUALISATION

Site Plan 1:1000 CONCEPTUALISATION

B B

CONCEPTUALISATION

Ground Floor Plan 1:100 CONCEPTUALISATION

CONCEPTUALISATION

Section A 1:100

Section B 1:100 CONCEPTUALISATION

CONCEPTUALISATION

DESIGN NARRATIVE: • A meditation space, a self-healing space. • A structure can represent Dukkha, a Buddhist concept that means suffering, pain, in Chinese “ku zhong zuo le” – when you living with bitter, you would get the sweet. Hence we want to create a temple-like structure or self-healing clinic for practice mindfulness meditation. • Create a contrast between strength and restriction, because the pain can be either. • Dynamic, curvy, organic shape represents the biomimicry designing based on the ADME system. • The triangle shape of the structure – went back to the chakra, the triangle symbolises the power battery.

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B.7 Learning Objectives and Outcomes

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Part B Criteria Design is my first time using Grasshopper to design. With the foundation of analysing the natural system I chose, the Grasshopper algorithm follows the behaviour like telling the story of the system. It was a very helpful research because it gave me a starting point to write the algorithm. However, designing in Grasshopper can be very challenging. When translating the behaviour into the actual components in Grasshopper, there are many things did not work out as the way I thought they would or they came out in an unexpected way. I think this is the surprise that generative design would offer to designers. In the reading, Kristina Shea suggests that â&#x20AC;&#x153;generating new forms while also having instantaneous feedback on their performance from different perspectives would not only spark the imagination in terms of deriving new forms, but guide it towards forms that reflect rather than contradict real design constraints.â&#x20AC;?[2] With the control of the parameters, it is more efficient and easier to change the design in order to reach the best result rather than making a whole new prototype just to test one idea. Trying different components in Grasshopper is the process of testing ideas, which helps me to learn more theories of Grasshopper. 2. Theories of the Digital in Architecture, ed. By Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p.109.

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B.8 Appendix - Algorithmic Sketches BIBLIOGRAPHY

MvS Architects, Centre for Ideas, <http://www.mvsarchitects.com.au/doku. php?id=home:projects:victorian_college_of_the_arts> [14 April 2018] Theories of the Digital in Architecture, Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014)

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First built model is structured by meshes.

Replacing the mesh with pipes in order to simulate the structure in real life, and also to help the 3D printing prototype. CONCEPTUALISATION

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c CONTENTS

PART C. DETAILED DESIGN

c.1

Design concept c1.1 feedback

c1.2 site analysis c1.3 site photos

c1.4 scripting the process c1.5 first proposal

c1.6 scripting the process of final version c1.7 final design c1.8 drawings

c.2 tectonic elements & prototypes c2.1 resilience design c2.2 storage layer detailed model c2.3 model with green roof c2.4 structure model c2.5 3d printing process c2.6 3d printed detailed model

c.3 final detailed model c.4â&#x20AC;&#x192;learning objectives and outcomes

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C.1 Design Concept

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C1.1 FEEDBACK

The feedback from our interim presentation gives us a direction to develop our design in Part C. The main problem we had is how people can actually use the space, or in another word, how the architecture contributes to people and environment. The original proposal is a shell-like structure, thus the internal space is a bit empty and consistent. To improve our design in terms of spatial function, we can create more spaces of varieties, such as a unique, more private space. Conceptually speaking, our idea is to represent our strength of â&#x20AC;&#x153;pain as a joy.â&#x20AC;? It is an interesting and challenging concept that we want to keep in our further development. Our studio is focus on using 3D printing technique. Due to some technical problem with our model and lack of communication with the NExT Lab, we were able to print out the exact model we designed. Hence, we need to consider the possibility of our design to get 3D printed.

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C1.2 SITE ANALYSIS

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SUN PATH

Summer Winter

NOISE

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TRANSPORTATION

Eastern Freeway Trenerry Cres Main Yarra Trail

VEGETATION

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SURROUNDING

RIVER

Dights Falls Reserve Small Pavilion

Charles “Little” Stuart Memorial Platform Dights Falls

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C1.3 SITE PHOTOS

The site is a reserve park located by the Yarra River. It is a getaway for people from the urban community that can engage with the natural environment. The location is near the Dights Falls, which is an artificial weir built on a natural rock bar. It was an outstanding feature of the side, thus we wanted to choose a land near the fall.

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After we walked around the park, we decided to pick this higher ground near the fall, where people can see the fall. We noticed that it is quite noisy near the Merri Creek because it is next to the Freeway. However, the higher ground we chose is quieter. People can only hear the sound from the fall and bird song. And the ground is surrounded by trees, our design can be engaged more with nature. It would be ideal for a place for contemplation.

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C1.4 SCRIPTING THE PROCESS

The feedback from interim presentation pointed o Hence, we developed our script in Grasshopper.

results did not satisfy our aesthetics, or some did

Original surface

Developed surface

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out that our â&#x20AC;&#x153;shell-likeâ&#x20AC;? design is lacked of some spatial qualities, which we also agree that the structure is quite empty inside. We created different column forms inside the original surface in order to create different rooms for different functions. Some

d not function well as a contemplative architecture, thus we picked the one we like the best.

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C1.5 FIRST PROPOSAL

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C1.6 SCRIPTING THE PROCESS OF FINAL VERSION

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The first proposal established our essential design. However, we found out that the model we designed is almost impossible to print out. In the scale of 1:200 or 1:100, the mesh in our model is too fine and complex. The minimum requirement of 3D printing is 2mm. Even though we can thicken the mesh a bit. It was still too easy to break if we insist to print. Our studio is aim to engage with 3D printing technique, so our design needs to be able to 3D print. In order to meet the requirement of 3D printing, we changed and developed our design. By controlling the parameters in our Grasshopper script, we had created many different models. We ended up choosing this form, because we think that it fits in with our design intention. To us, contemplation is a very personal reflecting experience so this model provides two small rooms for individual use. And there is a medium room for small group of 2-3 people. The rest of the space is generous that can fit in a big group. After we got this model from Grasshopper, we saw this is a good foundation to develop further more. The triangle forms can be trays to embed panels, thus create a structure that is more private. Moreover, we can use the hollows to manipulate the lighting condition inside the architecture, which create an interesting atmosphere.

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C1.7 FINAL DESIGN

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C1.8 DRAWINGS

Vegetation River 126

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100

500m

Site Plan 1:1000 CONCEPTUALISATION

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Ground Floor Plan 1:100 CONCEPTUALISATION

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Section A 1:100 CONCEPTUALISATION

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Section B 1:100 CONCEPTUALISATION

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MORE PUBLIC MORE PUBLIC

CIRCULATION CIRCULATION

PUBLIC / PRIVATE PUBLIC / PRIVATE

GREEN ROOF + WALL GREEN ROOF + WALL

VISION VISION

MORE PRIVATE MORE PRIVATE

North Elevation 1:200 134

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CIRCULATION CIRCULATION

GREEN ROOF +GREEN WALL ROOF + WALL

PUBLIC / PRIVATE PUBLIC / PRIVATE

VISION

Diagram and Analysis

West Elevation 1:200 CONCEPTUALISATION

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A medium space for small group of 2-3 people to contemplate together CONCEPTUALISATION

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Two small spaces for individual to contemplate in private CONCEPTUALISATION

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From the individual meditation room, you can see the outside view. It is a small secret of our design. CONCEPTUALISATION

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C.2 Tectonic Elements & Prototypes

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C2.1 RESILIENCE DESIGN

PLANTS

SOIL

FILTER F

To make our design more â&#x20AC;&#x153;alive,â&#x20AC;? we decided to develop our structure in a resilience way, so it can engage more with the side and the whole environment. We intend to create the architecture as an organism of the

INSULAT

nature. A green roof is a typical example of resilience design, which is a living surface of plants layering on top of the structure. The roof covering with vegetation has many advantages, for instance cooling effects. The plants

WATERP

will block the heat from the sun and chill the surround area; also the water will help cooling down the temperature. Furthermore, with the help of 3D printing technique, we can easily print out the drainage/storage layer of the green roof.

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PROTEC

FABRIC

DRAINAGE / STORAGE LAYER

TION

PROOF MEMBRANE

CTION BOARD + ROOF DECK

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C2.2 STORAGE LAYER DETAILED MODEL

We used Grasshopper to create the seed pots on the storage layer. It is convenient to adjust the amount of pots in Grasshopper in order to fit on different sizes of the panels.

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A preview of one green roof panel including the storage layer, and it would be 3D printed out as our detailed model.

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C2.3 MODEL WITH GREEN ROOF

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C2.4 STURCTURE MODEL

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C2.5 3D PRINTING PROCESS

STEP1 Place the model in the software, MakerBot Print

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STEP2 Confirm all the settings (For examp

ple, the density of he infill material)

Simulate the printingprocess of the mode. Not only the model will be printed, and also the support for the model

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C2.6 3D PRINTED DETAILED MODEL

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C.3 Final Detail Mod

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del

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C.4 Learning Objectives and Outcomes

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FEEDBACK Before the final presentation, we had received some constructive criticism from our tutor. It helped us to solve our design’s problems of spatial quality and privacy issue. The criticism from the final presentation suggested that our proposal is a complicated design that got solved in a simple, understandable way. However, it can be further developed in terms of the presentation of our concept. For instance, the rendering images can be done better in order to show the concept of the structure is really “growing” from the nature. It is a very useful feedback that I would take more cares in the future that communication of my design concept needs to be clearly and careful in order to let people understand my design without any explaination.

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LEARNING OBJECTIVES OUR HUMANISM IN DIGITAL ARCHITECTURE? Our design began with the Chakra Manipura â&#x20AC;&#x201C; a spiritual centre of the human body. The design concept came from the research of the Chakra Manipura, which is enormously related to me personally and an interesting starting point to begin my journey in parametric design. The theme of our studio is to design a contemplative space. Discovering the relationship between human body and nature is the main concept of our design in which how architecture can perform in a balanced way, and how digital tool can help designer to design architecture while remain humanism. GENERATIVE DESIGN FROM THE NATURE Before Studio Air, parametricism was quite a commercial concept to me that only can be heard from magnificent practical architecture such Zaha Hadid and MAD architects. However, now I have the chance to experience parametricism myself in Studio Air. Compared to design something manually, using Grasshopper offers me the ability to change things easily just by controlling the parameters. Different to Rhinoceros, Grasshopper produces generative design that requires imputing data. Hence, we have chosen a natural system to write the script. The natural system we selected is the ADME mechanism that demonstrates how pain killer reacts on the human body. Every step of the behaviour been translated into components in Grasshopper, which generate our first design. It is an exciting experience to design architecture by following a natural behaviour.

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FABRICATION TECHNIQUE AND DESIGN Our studio is focus on engaging architectural design with 3D printing fabrication technique. 3D printing is highly developing technique that widely used in many area including building construction. The 3D printing technique gives design more freedom in terms of designing “crazy things.” And it is a good way to testing ideas from printing small models from 3D printing. In terms of large scale printing or straightly 3D printing a building, it can save a lot labour and time cost. However, the first attempt of 3D printing our model was a failure due to the complexity of our model. Thus, we had to change our design in order to meet the requirement of 3D printing. We went back to our Grasshopper script and developed it. To conquer the difficulty we had, I had more control on our script. It notices me that design can go wild but it still needs to be in the required range. CRITICAL THINKING BETWEEN ARCHITECTURE AND AIR Similar to other studios, Studio Air has required us to design an architecture on a certain site. Besides the site context, our group is also aim to discover an organic relationship between human body and architecture. The experience in space reflects how well architecture can perform for the whole environment. At the beginning, my partner and I were stuck at the idea of creating a big, empty, shell-like pavilion. Soon we realised that we have ability to develop further in order to produce better design. Sometimes we need to step back and think critically about our own design, and receive feedback from our tutor and peers. So finally we have created an architecture that engages with natural environment. And it expresses our concept of “pain as a joy” as a self-healing contemplative space. ABILITY TO SEE THROUGH MYSELF Through the journey of Studio Air, I have better understanding in the philosophy of the relationship between architecture and human beings. Studio Air assigns us a challenging project with a strict requirement - design with Grasshopper. I had zero knowledge about Grasshopper before Studio Air. Thus, I have to spend extra on learning Grasshopper. Luckily I have gained a lot on Rhinoceros and Grasshopper skills. Moreover, I have become more like an architect after Studio Air due to we were working as a team. Architect never works alone! It is extremely important to listen partners’ ideas and improve myself.

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