Air part c journal

STUDIO AIR

D E S I G N

J O U R N A L

TSUN FUNG WONG #814229 SM2, 2017

CONTENT A. CONCEPTUALISATION A. 0 INTRODUCTION // P. 4 - 5 A. 1 DESIGN FUTURING // P. 6 - 7

A. 1. 1 CASE STUDY 1 // P. 8 - 9

A. 1. 2 CASE STUDY 2 // P. 9 - 10 A. 2 DESIGN COMPUTATION // P. 11 - 12

A. 2. 1 CASE STUDY 1 // P. 13 - 14

A. 2. 2 CASE STUDY 2 // P. 15 - 16 A. 3 COMPOSITION / GENERATION // P. 17 - 18

A. 3. 1 CASE STUDY 1 // P. 19 - 20

A. 3. 2 CASE STUDY 2 // P. 21 - 22 A. 4 CONCLUSION // P. 23 A. 5 LEARNING OUTCOME // P. 23 A. 6 ALGORITHMIC SKETCHES // P. 24 A. 7 APPENDIX // P. 25

A. 0 INTRODUCTION

Hi, my name is Tristan, a second year architecture student studying in University of Melbourne. My interest in architecture has been developed since i was young. Lego was a great part of my childhood while it enhance my sensibility on three dimensional space as well as geometries.

Also, watching my father, who is an architect himself, drawing plans on AutoCAD provide me a foundation of computation design. This further pushes me into the feild of architectural study.

In my perspective, architecture is not only about forms and geometries. It is about the process of critizing and improving that aims to fully express the content of a building. Every aspects, including the impression and the funtion, should be connected and designed percisely. Thus, it can only be seen as a whole. My facourite architect is Alvar Aalto due to his dedication to design buildings in user’s persepective. Every elements such as form, color, proportion and materials are finally link to the funtion of his design. Therefore, I believe that humanizing architecture is the way and direction for architects in every curcumstances.

4

CONCEPTUALISATION

PART A CONCEPTUALISATION

CONCEPTUALISATION 5

A. 1 DESIGN FUTURING As it is presented in the reading “Speculative Everything”, the future is shaped by our designs.

Will it leads to a predictable future? Or can we successfully build our preferable future?

Sustainability is one of the main development direction for designers in the 21st century, responding to the disastrous global warming and all sorts of natural, environmental problems. Architects strive on designing buildings that can be describe as ‘ecofriendly’ as a protocall. All of a sudden, technologies such as green roofs, green walls and solar power is valued more so than ever. And this has became one of the mainstream for the futrue of architecture.

8

CONCEPTUALISATION

A. 1. 1 CASE STUDY 1 CALIFORNIA ACADEMY OF SCIENCE Renzo Piano (2008)

The California Academy of Science designed by Renzo Piano is one of the famous representative of green building in 21st century due to its curvilinear green roof, materiality, application of natural light, rainwater recovery and usage as well as energy production. This LEED platinum certificated design is revolutionary at the time1, as a sustainable building that almost can be seen as a small ‘eco-system’.

The green building is signified by its roof. The 2.5-acre merges into the landscape of the Golden Gate Park as Renzo Piano stated “lift up a piece of the park and put a building underneath”2. Although the green roof is well designed, it is not too surprising after all as the concept of a roof garden has been influencing long ago; on the other hand, the essence of this architecture is in its reduction of waste material and energy as well as its bio-diversity. Thus, it is a good design that influenced and inspired architects who pursue such sustainable architecture, as well as set up a whole new standard for environmental engineers.

1

“Our Green Building.” California Academy of Sciences, N.D.

2

“An Architect’s Vision.” California Academy of Sciences, N.D.

CONCEPTUALISATION 9

10

CONCEPTUALISATION

A. 1. 2 CASE STUDY 2 GARDENS BY THE BAY Wilkinson Eyre (2012)

Gardens by the Bay in Singapore is another wellknown green architecture in 21st century, led by Grant Associates1. Compare to the California Academy of Science, the impact of the 250-acre garden is excessive. This project revolutionarily created the vision of ‘city in a garden’2, contradicted the concept of a roof garden that only brings limited impacts on the building. It also has impact on popular culture (reference for the movie guardian of the galaxy3), people’s life style and even the direction of the country; it has already become one of the signatures of Singapore as being the most visited site for tourists who travel to Singapore4. In other words, this project has truly shaped Singapore’s future.

1

“Our Story.” Gardens by the Bay, N.D.

2

“About the Gardens.” Gardens by the Bay, N.D

3

“The VFX of Guardians of the Galaxy.” Fxguide, 2015.

4

“gbtb Annual report”, Gardens by the Bay, 2016

CONCEPTUALISATION 11

A. 2 DESIGN COMPUTATION Due to the development of technology, people has utilized as well as adopted to the new efficient and effective ways to work on their task in different field. The architectural industry is not an exception. Architects has been ‘evolved’ from writing a construction ‘recipe’ to technical drawings, from hand drawings to AutoCAD, from 2D representation to 3D modelling such as Rhino and Sketch Up. Presently, computation has become a great part in architectural design. Architects start using computer programs to document as well as acess and optimize their design, and this gradually becomes an unseperable part of the process of architectural designing.

12

CONCEPTUALISATION

CONCEPTUALISATION 13

14

CONCEPTUALISATION

A. 2. 1 CASE STUDY 1 HEYDAR ALIYEV CENTRE Zaha Hadid (2007)

Zaha Hadid is one of the famous architect in 21st century, and her architecture is well-known by its organic form. With computation, these forms can be easily generated as well as manipulated. The Heydar Aliyev Centre is one of her recognized design. The flow of the curvilinear lines continues to the landscape1. It is stated that it could serves as a device to welcome and direct visitors; the interior of the architecture is also flowed with the rhythm of the curve lines. It can almost be described as a poetic piece of sculpture, and it is undeniable that the elegant organic form is aesthetically pleasuring.

However, as an architect, aesthetic factors are far not the only aspect we are pursuing. An architecture is not a piece of gigantic sculpture, and our job is not just to carve out an organic shaped machine.

There are much more than art that we will have to consider. If computation is just a tool to present elegancy, it is beginning at a wrong end.

1

“Heydar Aliyev Center / Zaha Hadid Architects.� ArchDaily, 2013

CONCEPTUALISATION 15

A. 2. 2 CASE STUDY 2 AL BAHAR TOWERS Abdulmajid Karanouh (2012)

In a performance-oriented design, architects can rapidly resolve complex problems by using different programs. The Al Bahar Tower is the headquarter of the Abu Dhabi Investment Council. Its location, Abu Dhabi, is considered as hot desert climate.

Temperature can be extremely hot throughout the year, so a good shading system is necessary.

In fact, the tower has an largest solar-responsive shading system in the world1. By applying computation during the process of design, the performance of the adjustable louvers can be programmed to a specific pattern throughout the year by calculating the algorithm of the sun path. Each piece of triangular shading is coated with fibre glass and programmed independently2.

It will be closed and folded at night and seen more as a façade. During the daytime, the pieces will spread out and act as a shading device. It is estimated that this shading device can safe more than 50% energy usage of the building3. As the first project of computation oriented design that respond to solar and light conditions on a large scale, the Al Bahar Tower is a successful example of computation architecture.

1

“AL BAHR TOWERS.” Al Bahr Towers | Office & Workplace | AHR | Archi-

tects and Building Consultants 2

“Al Bahar Towers Responsive Facade / Aedas.” ArchDaily, 2012

3

Holloway, James. “Modernizing the mashrabiya: Smart-skinned Al Bahar

Towers near completion.” New Atlas - New Technology & Science News, 2013

CONCEPTUALISATION 17

A. 3 COMPOSITION / GENERATION The designed form of architecture have had a pattern since the construction of ancient classical architectures: The geometric pyramids, the symetric Roman temples, the rectangular glass boxes of skyscrapers... Through the application of parametric design, architects nowadays can generate more complex pattern for the form of their designs, an algorithmic pattern perhps. Thus, more dynamic and organic form can be generated and documented in a efficient way. This leads us to the question: To what extend should designers design parametrically?

18

CONCEPTUALISATION

CONCEPTUALISATION 19

20

CONCEPTUALISATION

A. 3. 1 CASE STUDY 1 WALT DISNEY CONCERT HALL Frank Gehry (2003)

The Walt Disney Concert Hall, located in Los Angeles, is designd by famous post modernism architect Frank Gehry. This architect is well-known by his application of sweeping, metalic facade, which he also applied it onto the concave facade of the Walt Disney Concert Hall. At first glance the elevation of the building seems dynamic and interesting; however this vigorous facade once had reflection problems due to the combination of concave panels and highly polished material1. It acted as a parabolic mirror which concentrated sunlight and heating up the area severely; after complaint by the neibourhood, Gehry came up with the solution of sanding the metalic panels to decrease the impact of glare2.

The incident perfectly demonstrate a possible problems that parametric designs may encounter.

1

Pogrebin, Robin. “Gehry Would Blast Glare Off Los Angeles Showpiece.”

The New York Times, 2004 2

Coates, Chris. “Dimming Disney Hall.” Los Angeles Downtown News - For

Everything Downtown L.A., 2005

CONCEPTUALISATION 21

22

CONCEPTUALISATION

A. 3. 2 CASE STUDY 2 BEACH AND HOWE Bjarke Ingels (In Construction)

Beach and Howe is a project directed by Bjarke Ingels. It is under construction in Vancouver downtown. The triangular podiums that hold up the parametric residential tower is served as a multipurpose urban village including working, shopping and leisure programmes1. However the biggest focal point of the project falls onto the strang twist of the tower itself. The lose area of the tower forms a slender base supporting a wider top. It, to a certain extend, preserve the space for pedestrians while maximizing the volumn of the building2. The parametric aspect of the project not only create an intriguing form for the architecture, but also is designed for the specific location for a specific reason. This successfully presents the direction that parametric design should follow.

1

“Beach and Howe: BIG Draws a Curtain Aside to Usher in Downtown

Vancouver.” Archute, 2015 2

Arch2O.com. “Beach and Howe Tower | BIG.” Arch2O.com, 2016

CONCEPTUALISATION 23

A. 4 CONCLUSION The world is gradually changing, so

also able to enhance one’s creativity.

do people. This change signifies new

However, we should not abuse such

challenges and new problems, and

powerfulness, to an extend when

we should not suppose that we can

we relies on it too much that we

overcome these new problems with

lost our primitive intention. Instead,

the old method. Thus, new ways, more

we should manipulate it as a usefull

effective ways perphs, is brought up

tool to make up our deficiencies.

and people must manage to master it before the old method is out of the way. Computation is the new way to solve problems and approach success. It not only assist human to complete repeatative labour, but it is

A. 5 LEARNING OUTCOME What sort of architect do you want

helps me to criticize my own work

to become, and what kind of

in the future. Last but not least, the

architecture do you want to design?

research deepen my understanding

This is an extremly simple yet critical

about computation design including

question that every architectural

its benefits and drawbacks. That

student should be able to answer.

demonstrates the importance of

Part A of the design journal helped

learning computation tools, and also

me to understand as well as to define

leads me to the right path during the

myself. It leads me to a favorable

application of such programmes

direction that I have never consider of.

Moreover, the critical think during the case study analysis helps me to reflect architects that are seen as successful in a different perspective. This not only contribute to my knowledge about the possibility of architecture, but also

24

CONCEPTUALISATION

A. 6 ALGORITHMIC SKETCHING

BLINK-BLINK NECKLACE Loft > Delauney Edges > Pipe

THE FLOATING LEGO Box Morph

CONCEPTUALISATION 25

A. 7 APPENDIX 1. “About the Gardens.” Gardens by the Bay. Accessed August 18, 2017. http://www.gardensbythebay.com.sg/en/the-gardens/about-us/corporate-information.html.

2. ”Al Bahar Towers Responsive Facade / Aedas.” ArchDaily. September 05, 2012. Accessed August 18, 2017. http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas.

3. “AL BAHR TOWERS.” Al Bahr Towers | Office & Workplace | AHR | Architects and Building Consultants. Accessed August 18, 2017. http://www.ahr-global.com/Al-Bahr-Towers.

4. “An Architect’s Vision.” California Academy of Sciences. Accessed August 18, 2017. http://www.calacademy.org/an-architects-vision.

5. Arch2O.com. “Beach and Howe Tower | BIG.” Arch2O.com. November 23, 2016. Accessed August 18, 2017. http://www.arch2o.com/beach-and-howe-tower-big/.

6. “Beach and Howe: BIG Draws a Curtain Aside to Usher in Downtown Vancouver.” Archute. November 11, 2015. Accessed August 18, 2017. http://www.archute.com/2015/09/27/beach-and-howe-big-draws-a-curtain-aside-to-usher-in-downtown-vancouver/.

7. Coates, Chris. “Dimming Disney Hall.” Los Angeles Downtown News - For Everything Downtown L.A.! March 21, 2005. Accessed August 18, 2017. http://www.ladowntownnews.com/news/dimming-disney-hall/article_25f5eec5-339b-5f51-810e-1f1af7fcd361.html.

8. “Heydar Aliyev Center / Zaha Hadid Architects.” ArchDaily. November 13, 2013. Accessed August 18, 2017. http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects.

9. Holloway, James. “Modernizing the mashrabiya: Smart-skinned Al Bahar Towers near completion.”

New Atlas - New Technology & Science News. February 07, 2013. Accessed August 18, 2017. http://newatlas.com/al-bahar-towers/26139/.

10. “Our Green Building.” California Academy of Sciences. Accessed August 18, 2017. http://www.calacademy.org/our-green-building.

11. “Our Story.” Gardens by the Bay. Accessed August 18, 2017. http://www.gardensbythebay.com.sg/en/the-gardens/our-story/introduction.html.

12. Pogrebin, Robin. “Gehry Would Blast Glare Off Los Angeles Showpiece.” The New York Times. December 02, 2004. Accessed August 18, 2017. http://www.nytimes.com/2004/12/02/arts/design/gehry-would-blast-glare-off-los-angeles-showpiece.html?mcubz=3.

13. “The VFX of Guardians of the Galaxy.” Fxguide. March 18, 2015. Accessed August 18, 2017. https://www.fxguide.com/featured/the-vfx-of-guardians-of-the-galaxy/.

26

CONCEPTUALISATION

CONCEPTUALISATION 27

B. 0 BRIEF

After the setting a general direction in part A, a certain level of understanding for the operation of computational design is developed.

This provides the foundation for part B of the journal: CRITERIA DESIGN. A particular technique or tectonic system is to be developed using compulational methods through case-study analysis, parametric modelling and physical prototypes.

28

CRITERIA DESIGN

PART B CRITERIA DESIGN

CRITERIA DESIGN

29

B. 1 RESEARCH FEILD GEOMETRY Geometry is a branch of mathematics which considers the shape, size and relative position of an object. The basic units of geometry are length, area and volumes1. The concept of geometry has been influential in the field or architecture since long ago. From the ancient pyramids to the modern parametric designs, geometry is one of the major concern for architects.

As mentioned in part A, architecture is not just about creating a set of nice looking geometry; instead, the geometry has to fulfil the architecture’s purpose of function and utility. Hence, I want to develop my computational skill on geometry in order to minimize its control over my design. This can not only improve my computation design techniques, but also enhance my sensibility over space and shapes.

1

30

H. M. S. Coxeter. “What Is Geometry.” Cut the Knot, N.D.

CRITERIA DESIGN

CRITERIA DESIGN

31

32

CRITERIA DESIGN

B. 1. 1 CRYSTALLINE SKYSCRAPER Adrian Smith & Gordon Gill (In Construction)

The Crystalline Skyscraper designed by Smith and Gill, the architects responsible for the Burj Khalifa, is under construction in Chengdu, China; it is designed for a hybrid use of office, residential as well as hotel. The form of the skyscraper is claimed to be “inspired by the unique ice mountain topography around Chengdu”1.

It is undeniable that architecture nowadays is gradually leaning towards form and geometry designs. Even the signature of modern architecture, skyscrapers, are designed with new, intriguing forms compare to the old, simple glass boxes. This further proves the importance for architects to master different geometries.

1

Frearson, Amy. “Construction starts on Smith and Gill’s ice-inspired sky-

scraper for Cheungdu.” Dezeen, 2014

CRITERIA DESIGN

33

B. 2 CASE STUDY 1. 0 GRIDSHELL Gridshell is a structure that derives from a double curvature grid. It is usually made of timber or steel due to their tensile and compression strength; hence, a gridshell is usually designed to be structural supportive. Also, gridshell is also known for its properties of organic shape as well as free column space1.

In this part of the journal, I will study the potential of gridshell by developing different forms and patterns in grasshopper. The development will be mainly divided in to 4 species: Pipe, Offset, Pattern and Input; the outcomes will be assessed based on their Materiality, Fabricatability, Functionality and Aesthetic quality.

1

Anonymous. “Gridshells: Free-form and Free-span Buildings.� Geometrica,

N.D.

34

CRITERIA DESIGN

CRITERIA DESIGN

35

SPECIES 1. 0 - PIPES

Pipe = 10

Pipe = 15

Pipe = 25

Pipe = 30

Pipe = 40

Pipe = 50

Pipe = 100

Pipe = 500

Offset = 1

Offset = 3

Offset = 4

Offset = 5

Offset = 10

Offset = 15

Offset = 20

Offset = 25

SPECIES 2. 0 - OFFSET

36

CRITERIA DESIGN

SPECIES 3. 0 - INPUT

Triangles

Rectangles

Ovals

Non-flat Rectangles

Anti-Circles

Anti-Ovals

Non-flat Triangles

Stars

SPECIES 4. 0 - PATTERN

Delaunay = 5

Delaunay = 50

LB Diamond

LB Hexagonal

Delaunay = 500

LB Quads

Intersection Delaunay

LB Random Quads

CRITERIA DESIGN

37

SUCCESSFUL OUTCOMES

Iteration 1. 8

MATERIALITY FABRICATABILITY FUNCTIONALITY AESTHETIC

38

Iteration 2. 6

MATERIALITY FABRICATABILITY FUNCTIONALITY AESTHETIC

Iteration 1. 8 is formed with pipe; the

Iteration 2. 6 is generate by offsetting the

thickness of piping provides it a plenty

gridshell definition. The mesh patterns

amount of materiality. The bulging organic

on the iteration enhance its possibility

geometry gives it the impression of softness

on fabrication. Also, the double void in

and comfortability. Yet, the crossovering

the middle of the geometry provides

pipes make it very difficult to fabricate.

aesthetic quality to the structure.

CRITERIA DESIGN

Iteration 3. 6

MATERIALITY FABRICATABILITY FUNCTIONALITY AESTHETIC

Iteration 4. 5

MATERIALITY FABRICATABILITY FUNCTIONALITY AESTHETIC

Iteration 3. 6 is generated by changing

Iteration 4. 5 is generated by diamond

the base circular geometry of the gridshell

shaped lunchbox panels. As a characteristic

to rectangular. Its section makes it a very

of lunchbox panels, this iteration is relatively

functional geometry as it looks like two

easy to fabricate. while the grid shell forms

separated tunnels. The elegant curves

a structural frame, this iteration serves more

increase its aesthetic potential.

like a shelter. The diamond patterns provide a geometric quality to the structure.

CRITERIA DESIGN

39

B. 3 CASE STUDY 2. 0 CANTON TOWER Canton Tower, designed by Mark Hemel and Barbara Kuit form the Information Based Architecture in 2005, is located in Guangzhou, China. It was built for the Guangzhou New Television Tower Group; the 600 meter tall tower was once the tallest TV and Sightseeing tower in the world. Being the important new landmark of Guangzhou, Canton Tower was hopped to attract 10,000 visitors everyday1.

“Where most skyscrapers bear ‘male’ features; being introvert, strong, straight, rectangular, and based on repetition, we wanted to create a ‘female’ tower, being complex, transparent, curvy, gracious and sexy,” claim Mark Hemel, the director architect of the project. The famous curvilinear and human-like form of Canton Tower was hoped to represent the dynamic and the excitment of Guangzhou city2.

1

Anonymous. “Canton Tower / Information Based Architecture.” Archdaily,

2

Anonymous. “Information Based Architecture: Canton Tower.” Design

2010 Boom, 2010

40

CRITERIA DESIGN

CRITERIA DESIGN

41

42

CRITERIA DESIGN

B. 3. 1 REVERSE ENGINEERING CANTON TOWER In order to perform ‘female’ characteristic, curve is a main theme of the geometry of Canton Tower. The whole structure is formed by two ellipses; minimal surface is formed by rotating the elipses relatively, and it perfectly presents an elegant, slim and curvy ‘female figure’.

PSEUDOCODE 1. Create 2 Elipses 2. Loft the 2 Elipses 3. Lunchbox Structure [Base Grid 1-D Structure] 4. Cull verticle curves 5. Pipe verticle curves 6. Set radius of verticle pipes to 3 7. Cull diagonal and horizontal curves 8. Pipe diagonal and horizontal curves 9. Set radius of diagonal and horizontal pipes to 1 10. Rotate top elipse clockwise by 120 degree

CRITERIA DESIGN

43

TOP ELIPSE

CURVE

ROTATE

120 DEGREE

LOFT

BOTTOM ELIPSE

CURVE

TRUE FALSE FALSE

FALSE TRUE TRUE

44

LB BRACED GRID 1-D STRUCTURE

CRITERIA DESIGN

CULL

CULL

3

1

PIPE

PIPE

CRITERIA DESIGN

45

B. 4 TECHNIQUE: DEVELOPMENT CANTON TOWER To further develop my technique and understanding on the research field, I will alter the Canton Tower grasshopper definition that I reverse engineered in B.3. This can help me to further explore the potential of computational design. Also, playing around the definition of a real construction project like Canton Tower usefully helps me to understand the connection between virtual digital designs to the real world.

The development will be divided into 5 species: Input Geometry, Mesh, Lunchbox, Morphing, and Weaverbird. The first specie plays with different input to form distinctive base geometries, while the rest explore different method to further modify the base geometries. Same as B.2, the iterations in this matrix will be assessed base on their Materiality, Fabricatability, Functionality and Aesthetic quality.

46

CRITERIA DESIGN

CRITERIA DESIGN

47

SPECIES 1. 0 - INPUT GEOMETRY

SPECIES 2. 0 - MORPH

48

CRITERIA DESIGN

CRITERIA DESIGN

49

SPECIES 3. 0 - LUNCHBOX

SPECIES 4. 0 - WEAVERBIRD

SPECIES 5. 0 - MESH

50

CRITERIA DESIGN

CRITERIA DESIGN

51

SUCCESSFUL OUTCOMES

Iteration 2. 9

MATERIALITY FABRICATABILITY FUNCTIONALITY AESTHETIC

Iteration 3. 2

MATERIALITY FABRICATABILITY FUNCTIONALITY AESTHETIC

Iteration 2. 9 is generated by morphing

Iteration 3. 2 is generated with lunch box

spheres over the base geometry. The

panels. Lunchbox is a useful plug-in for

bulging spheres form a spongy outer

grasshopper that generates panels or structure

layer for the base geometry; it provides

through surfaces; it helps to break down large

a rich quality of softness and elasticity.

surfaces, making it easier to fabricate as well as providing patterning. In this iteration, the elementary geometries fold up and form a simple erecting structure. Considering the dynamic forms that skyscrapers are designed nowadays, this iteration could serve as the structural skeleton of a high-rise.

52

CRITERIA DESIGN

Iteration 4. 1

MATERIALITY FABRICATABILITY FUNCTIONALITY AESTHETIC

Iteration 5. 3

MATERIALITY FABRICATABILITY FUNCTIONALITY AESTHETIC

Iteration 4. 1 is generated by solid difference

Iteration 5. 3 is generated with meshing.

between voronoi and the base geometry.

This rectilinear structure generally looks like

Voronoi is a patterning method widely

modern glass skyscrapers; however, the

used nowadays in the architectural field.

missing pieces of the rectangular box form

However, there are still plenty of potential in

a negative space for the geometry. It could

this method that it is not yet discovered. In

be designed as roof garden or balcony to

this case, the pattern created is intriguing;

maximize the function of a special geometry.

however, the suspended geometry requires support. Hence, the aesthetic quality of this iteration can be used as a facade pattern.

CRITERIA DESIGN

53

B. 5 TECHNIQUE: PROTOTYPES FABRICATION TECHNIQUES Fabrication is a necessary step for computational design. It is the only way to transfer digital data into a real world object. Without the step of fabrication, a computation design is merely a digital artwork. Thus, it is also important to develop our fabrication techniques. In this part of the journal, I will test on a few fabrication methods such as laser cutting and vacuum forming.

54

CRITERIA DESIGN

CRITERIA DESIGN

55

B. 5. 1 LASER CUTTING Laser cutting is one of the new fabrication technologies.

It utilities laser to cut through materials in order to achieve high accuracy cutting. Another benefit of laser cutting is that it is capable of cutting complicated geometries such as curves; therefore, it can resolve tasks like sophisticated computational designs.

In order to explore the limitation or drawbacks of this fabrication method, my group has experimented with two laser cutting materials, 1mm boxboard as well as 3mm MDF. We tried to use the 1mm boxboard to create a profile of our sleeping cocoon proposal, designed with zip-teeth joints on it. We find out that some details are destroyed due to the high temperature during fabrication. Also, due to the fact that 1mm boxboard is relatively weak, some parts (especially the edging parts) falls off when we try to remove the profile from the boxboard.

We tried to make a box as well as a scaled roof prototype with 3mm MDF; sandwich joints are applied this time. Compares to boxboard, this materially significantly has a great strength. Also, we tried to avoid adding tiny details onto the design. As a result, none of the previous failure was repeated. However, the surface near the cutting edge is smoked which may affect the aesthetic quality of the model. Also, there will be a strong unpleasant smell for this specific material.

56

CRITERIA DESIGN

CRITERIA DESIGN

57

B. 5. 2 VACUUM FORMING & FOAM CUTTER Vacuum forming is a form of thermoforming. A sheet of PETG plastic board will be heated to forming temperature, when it can change its form.

Then, it will be stretched onto a single surface mould by a vacuum. The plastic sheet then will be moulded permanently into another shape.

We tried to use vacuum forming to form the transparent tessellation on the scaled roof prototype. We firstly decided to cut foam balls into shape and use it as the mould because we wanted to achieve the result of a bulging shape. During the progress, foam cutter is used to cut the foam balls in shape. A foam cutter is a tool used to cut polystyrene foam with a heated thin metal wire. I found that the foam cutter is a great tool to deal with polystyrene foam and similar materials due to the nice edges created after cutting.

We put the foam mould into the vacuum forming machine and ran the operation; however, the outcome is not satisfying: the foam mould cannot resist the heat from the melted plastic sheet. Therefore, we lastly used the laser cut roof frame as the mould and successfully fabricated the bulging shape we wanted.

58

CRITERIA DESIGN

CRITERIA DESIGN

59

B. 6 DESIGN BRIEF Nowadays, trends and fashions are mostly controlled by celebrities. They determine the definition of life style. People blindly follow their so called ‘trends’ and this atmosphere gradually forms the ridiculous consumerism. This is an abnormal state which people should keep in mind; therefore, my group tries to provoke this bizarre with our proposal.

The best way to change the mind-set of people is to make them question themselves; for that reason, we choose to play with sarcasm, and use extreme ironic examples to make them truly face the problems.

In our proposal, we take advantage of this unusual phenomenon to market architecture. Referencing to the Jeff Koon & Louis Vuitton hand bag, which combines the well-known art pieces with the handbag, we sell our luxurious spa by sticking it onto the famous Cabanon. Does combining two zeitgeist generates another monumental masterpiece? or will it becomes an uncanny, grotesque Frankenstein?

60

CRITERIA DESIGN

B. 6. 1 DESIGN PROPOSAL Our product is a luxurious spa sitting in a gridshell that can be hung behind the Cabanon. Playing with the quale of luxurious, we flip the general purpose of tessellation and gridshell. The gridshell, which also holds up the Jacuzzi, is made of carbon fibre, which is 14 times higher in embodied energy than steel cables; yet it is not able to support its own weight but rather relies on the tessellated roof. Whereas the unsustainable polystyrene roof is totally structural. The gridshell is fully covered in gold. This emphasizes on the absurd level of luxurious, and further contrast on the simple, humble Cabanon.

The site is located at the only place that people can view the Dight Fall, creates a photoboom effect, and the reflects on people’s vanity when they try to ‘own’ a masterpiece, or even a view in this case.

We chose Johnny Depp as our client, due to his extravagant life style. As a man in debt, his luxurious is virtual and vague. Also, his unusual taste is another reason we choose him. This leads to the question, will you follow such a celebrity’s ‘life style’ even if that is not really your ‘original’ savour?

CRITERIA DESIGN

61

B. 6. 2 MARKET RESEARCH DIAGRAM

62

CRITERIA DESIGN

B. 6. 3 SECTION & ELEVATION

CRITERIA DESIGN

63

B. 6. 4 EXPERIENCE RENDERING

64

CRITERIA DESIGN

B. 6. 5 EXPERIENCE RENDERING

CRITERIA DESIGN

65

66

CRITERIA DESIGN

CRITERIA DESIGN

67

68

CRITERIA DESIGN

CRITERIA DESIGN

69

B. 7 LEARNING OBJECTIVES & OUTCOME

Part B of the journal mainly focus on building the foundation of computational design. It

develops my algorithmic skill, fabrication technique as well as a basic concept for my future proposal. In the first section of part B, I learned to generate gridshell and minimal surface through grasshopper, and further alter it to provide new qualities for its geometry. Also, the research about the research field strengthen my understanding of the application of geometries in different architectures and the reason behind it. The second section of part B grounded computational concepts by fabrication. I comprehend the importance of fabrication; it not only turns a virtual design into reality, but also discovers the flaws of the design. Different fabrication tools, materials and joints are tested in this section; both benefits and drawbacks are analgised during the process. This provides me a wider range of methods to fabricate my future design.

Last but not least, the last section of Part B leads me to utilities my own iterations into an architectural project; all the fragments is merging together and form a bigger composition. I start to understand how can different grasshopper definition and input can be used together and integrate a dynamic design. Also, this section provides me a general direction, theme and base for my later designs. I personally found the sarcastic tone of our project is intriguing while meaningful, and I will keep the style for the rest of the studio group designs. In conclusion, unlike Part A, Part B of the journal is more about applying computational technique into design. This is the first step to the final semester design, but also the most important step.

70

CRITERIA DESIGN

B. 8 ALGORITHMIC SKETCHES

POSH-PORCH 7

KACOON 7

PORCH ITERATION

KACOON 6

KACOON 5

THE LAST SPA COLUMN

CRITERIA DESIGN

71

B. 8 APPENDIX 1. “Canton Tower / Information Based Architecture.” Archdaily. Retrieved September 15, 2017. http://www.archdaily.com/89849/canton-tower-information-based-architecture 2. “Construction begins on Smith and Gill’s crystalline skyscraper in Chengdu, China.” Architectural Design. Retrieved September 15, 2017. http://www.architectureanddesign.com.au/news/construction-begins-on-smith-and-gill-s-crystallin 3. “Gridshells: Free-form and Free-span Buildings.” Geometrica. Retrieved September 15, 2017. http://geometrica.com/en/gridshells 4. “Information based architecture: canton tower.” DesignBoom. Retrieved September 15, 2017. https://www.designboom.com/architecture/information-based-architecture-canton-tower/ 5. “What Is Geometry?” Cut the knot. Retrieved September 15, 2017. https://www.cut-the-knot.org/WhatIs/WhatIsGeometry.shtml

72

CRITERIA DESIGN

CRITERIA DESIGN

73

C. 0 BRIEF

The criticism for our Part B proposal set up a direction for us to change our design. In Part C of the journal, the main concept of the project is re-examined, and a final design of the accessary for the cabanon will be composed based on the reseaches and the feedbacks throughout the whole semester.

74

DETAILED DESIGN

PART C DETAILED DESIGN

DETAILED DESIGN

75

C. 1 DESIGN CONCEPT

The concept of the proposal in Part B, which criticizes the present consumerism, is an interesting topic that we would want to keep exploring. However, we need to make some significant changes based on the feedbacks from the interim presentation.

FEEDBACKS: - The concept of an architecture version of the master’s bag is good. Perhaps create an Architectural Master X Louis Vuitton Collaboration.

- How could the fabrication techniques and joint logics represent the product.

- The prototypes, especially the tessellated panels, are really great. However, do not only test for techniques, but also qualities.

- Focus on just 1 or 2 research technique, rather than to justify all 3.

- The position of the product in the whole concept is not clear enough.

76

DETAILED DESIGN

DETAILED DESIGN

77

Architects abusing on voronoi patterns

78

DETAILED DESIGN

C. 1. 1 MAIN IDEA

Based on the feedbacks provided after the interim presentation, we decide to refine our concept in order to have a stronger voice towards the modern architectural style as well as consumerism culture.

Since new technologies and materials, such as glass and steel, was invented in the 19th century, architects had been too busy adapting these ideas while designing. Buildings with steel skeleton and large windows are all over the street. However, the architectural style, which represents the soul and the content of an architecture, is forgotten. Such phenomenon is very similar to today’s situation: architects nowadays has been abusing oncomputational technologies that they keep relying on such programmes to generate forms for them. Style is already not the main concern while designing. This is unacceptable and we will bring back the style to architecture with our final project.

DETAILED DESIGN

79

80

DETAILED DESIGN

C. 1. 2 ARCHITECTURAL STYLE

In order to bring back style to architecture, we will first have to understand what architecture style exactly is. An architectural style is characterized by the features that make a building or structure notable.

In other words, an architectural style is the spirit of an architecture which provides it’s meaning, content or purpose.

A good start to bring back style to architecture is to examine the master’s style. Andrea Palladio is arguably one of the, if not the, most influential architects throughout architectural history. He redefined classic architectural style and modified architectural languages. His rules for architecture is still applicable in modern architectures to a certain extend. Rules such as the golden ratio proportion, symmetry and rationalism shaped the architectural history. Palladio’s classicism had inspired different architectural styles such as Baroque, Rococo and Beaux Art. It is an important reference for us to if we want to revive the style in modern architecture.

DETAILED DESIGN

81

82

DETAILED DESIGN

C. 1. 3 RE-INTERPRET CLASSICISM

Andrea Palladio’s classicism is influential; however, we are not living in the 17th century anymore. We are living in the 21st century, when technologies are advanced enough for us to build much more complicatedly. Hence, the old Palladian Classicism is not the way to go anymore.

Our job is to re-interpret the meaning of Classicism; we will have to merge classical styles into the modern technology.

Referencing from all the remarkable architecture that Palladio had designed, such as Villa Rotonda and Villa Godi, there are few rules that the master had always followed: the fibonacci sequences, symmetry and simple geometries. The fibonacci sequences help to generate a deliberate proportion for an architecture, while symmetry is an inevitable quality that all classical architectures, from Ancient Pyramids to Hindu Temples and Gothic Cathedrals, have shared. Both elements are essential for Classicism. However, with modern technology and materials, simple geometries can be replaced by shapes that are more complex and organic.

Therefore, classical architecture does not necessary need a semi-sphere dome and a triangular pediment; columns no longer has to be plain cylinders; podium could be much more than just a rectangular platform.

DETAILED DESIGN

83

84

DETAILED DESIGN

C. 1. 4 ADAPTING CONSUMERISM

Other than combining with new technologies, architecture also need to readjust to the modern consumerism culture. Architectures nowadays are consumable products; therefore, it must be modified to befit the commercial nature.

We are living in the age when celebrities hold the authority to define lifestyle and taste. As Jeff Koon combines masterpieces with Louis Vuitton bags, he commercialize classic artworks; architectures also need to adapt to such culture. As a result, our final product will collaborate with Louis Vuitton.

DETAILED DESIGN

85

86

DETAILED DESIGN

C. 1. 5 DESIGN VERSION 1

Portico is a significant element in Palladian architecture. It is the entrance of the building, and it represents the first impression of an architecture. Therefore, we decided to design a portico as an accessary for the cabanon.

The design is centralized in front of the cabanon, following the rules of symmetry. It is served as the facade of the whole architecture. Golden ratio not only applies to the proportion of the structure, but also contributes to the form of the columns and the dome.

Design version 1 has touched on the main concept but yet is not developed thoroughly. The position of the product is not relevant to the front door of the cabanon, and the podium shows no difference from the classical Palladian portico. The general form fail to present the influence of modern technology as well as consumerism culture.

DETAILED DESIGN

87

88

DETAILED DESIGN

C. 1. 6 DESIGN VERSION 2

Based on the feedback after the presentation of design version 1, we optimized our design to further demonstrate our concept.

We placed the portico to the corner to further interact our product to the Cabanon, while still keep the symmetry quality. The design is still based on the golden proportion in both elevation and plan.

The design of the columns are integrated with Louis Vuitton patterns. Also, it is the fibonacci curve is now demonstrated in the capital instead of the bottom of the column in order to increase the stability of the columns.

Super formula is introduced in design version 2. It is a grasshopper plug-in which helps to generate organic shapes from the nature, which is also an important feature of classical architecture. The previous rectangluar podium is replaced with super shapes. When Palladio focused using organic shapes such as scallop shells on ornamentation, modern technology allows us to apply it in structures.

The dome designed with fibonacci curves are now serves as a support and we introduce the idea of gold chainmails. The gold chains designed with Louis Vuitton trade marks are overlaid onto the structure. It seperates the deluxe private space with the exterior public.

DETAILED DESIGN

89

C. 2 TECTONIC ELEMENTS & PROTOTYPES

A the concept is finalized, we start to build prototypes and test the quality and the workabiltiy of each elements. The whole product is mainly broken into 4 parts: The grid shell dome, the chainmails, the columns and the podium.

In this stage of part C, we aim to design the joint logic for each part of the product and optimized the fabrication process.

90

DETAILED DESIGN

DETAILED DESIGN

91

92

DETAILED DESIGN

C. 2. 1 GRID SHELL DOME

As to follow the first rule of Palladian architecture, we designed a dome that is composed of fibonacci curves. In design version 1, we first attempted to divide the dome into pieces. Each pieces is a individual panel which they will then be connected with teeth joints. Althought this method could present the curviture of the dome, the fibonacci curves is not as clear as we expected. Also, it is too expensive to fabricate each panels. Hence, we developed the fabrication logic in design version 2.

In design version 2, in order to lower the overall fabrication price, we tried to make use of the strength of the double curved grid shell, so we build the ribs with laser-cut polypropylene and use pin joints for the connection. The result is satisfying and the grid shell is able to present structural quality.

DETAILED DESIGN

93

94

DETAILED DESIGN

C. 2. 2 CHAINMAILS

We want to tessalate the surface of our product with luxurious material to emphasize the opulent quality of Louis Vuitton. Also, we would like to highlight the Louis Vuitton trade marks in our design. Therefore, we attempt to overlay a layer of Louis Vuitton patterned gold chains on top of our product which serves as an indicator of the ostentatious private space.

In order to show the quality of the gold chains, we attempted to laser-cut the MDF board with gold chain patterns, color them with gold spray-paint and manually stick them together. However, the gold spray paint on MDF board resulted in poor quality and the chains fell apart eventually.

DETAILED DESIGN

95

96

DETAILED DESIGN

C. 2. 3 COLUMNS

In design version 1, we tired to design the column with fibonacci curves. Despite that we are satisfied with the form it provided, we discover that a curved column is not stable enough to support the dome. Also, we noticed from the prototype that the connection between the column and the capital is very fragile that we will have to work on another joint logic.

As a result, we took away the curvy quality from the first design. Also, we merge the capital and the column as a whole and divide the whole columns into 4 fibonacci curves. The 4 pieces are then binded together with rings, illustrating a Louis Vuitton trade mark in the section cut. In this way, the joints not only perform much more stably, but also present the quality and traits of our design.

DETAILED DESIGN

97

98

DETAILED DESIGN

C. 2. 4 PODIUM

As designed with super formula, the podium consist of four different super shapes. We decide to fabraicate the podium with laser-cut MDF board due to its effectiveness. The outcome is satisfying as the prototype successfully present the scale as well as atmosphere of our design.

DETAILED DESIGN

99

C. 3 FINAL DETAILED MODEL

This part is the showcase of all the finalized physical model, digital model, experience perspective as well as posters.

100

DETAILED DESIGN

DETAILED DESIGN

101

102

DETAILED DESIGN

DETAILED DESIGN

103

SITE

Column Plan

Elevations

104

DETAILED DESIGN

PLAN

Capital Joint

PRIVATE

Public

n cut

Supershape Podium

DETAILED DESIGN

105

106

DETAILED DESIGN

DETAILED DESIGN

107

108

DETAILED DESIGN

DETAILED DESIGN

109

1:20 COLUMN MODEL

1:5 COLUMN DETAIL MODEL

1:1 COLUMN CAPITAL MODEL

110

DETAILED DESIGN

DETAILED DESIGN

111

C. 4 LEARNING OBJECTIVES & OUTCOME

In this section of the journal, we will work on a final modification based on the feedbacks provided after the final presentation, and finally conclude the learning outcome throughout the final project.

FEEDBACKS: - Analyse and list down Palladio’s rules and have a stand on it.

- There are a lot of details, which is good. However, the overall form needs more progress. Develop the general form to drive it further away from the classical Palladian architecture.

- Take reference on how Jeff Koon change the rules when he design the Louis Vuitton collaboration

112

DETAILED DESIGN

DETAILED DESIGN

113

114

DETAILED DESIGN

C. 4. 1 FINAL ADJUSTMENT

Considering the feedback provided after the final presentation, we have came up with a possible final alteration. Based on the first feedback, we decide to keep our concept: we would still follow Palladian’s golden ratio and symmetical rules, and abandon his rule of simple shape; however, we would have to exaggerate the organic shapes in the design.

Responding to the third feedback, we realize that architecture style should also adapt to the modern color usage. We decide to change the color of our product to a more fresh color, as how Jeff Koon incoporated cute color such as pink with the vintage masterpieces.

DETAILED DESIGN

115

GOLDEN RATIO COMPARISON (ELEVATION):

116

DETAILED DESIGN

DETAILED DESIGN

117

GOLDEN RATIO COMPARISON (PLAN):

118

DETAILED DESIGN

DETAILED DESIGN

119

PROFILE ANALYSIS COMPARISON (ELEVATION):

120

DETAILED DESIGN

DETAILED DESIGN

121

PROFILE ANALYSIS COMPARISON (PLAN):

122

DETAILED DESIGN

DETAILED DESIGN

123

INTERIOR PERSPECTIVE:

124

DETAILED DESIGN

EXTERIOR PERSPECTIVE:

DETAILED DESIGN

125

C. 4. 2 LEARNING OUTCOME

The learning objective of the air studio is to provide us

a chance to explore computation design. Using algorithmic programmes, such as grasshopper, to design is very different to a normal sketch design; when using such programmes, designers have the chance to explore plenty of different options that they had never encountered or thought of. While designing the final product for the studio, I recognized there are uncountable possibilities that the computer had provided. I understand that the biggest challenge of computation design is to have as much control on the design as possible. Plug-in such as super formula provide designers a wide range of choices when it comes to form designing; yet, it is the designer’s responsibility to select the best iteration for their design, based on their demands. After this studio, I believe that there are infinite possibility for architecture. As my group bring out in our final design, computation architecture is not about how crazy you can get randomly; rather, it is about breaking and re-defining rules that are outdated from the past.

Perhaps the bald, classical architecture is not the way to go nowadays; however, style should still be a big part during the designing process, and architects should still thoroughly consider the reason behind their design.

126

DETAILED DESIGN

DETAILED DESIGN

127