Tsz Yeung Liu, Tom STUDIO AIR (Final Part A+B+C)

STUDIO AIR

2015 | SEMESTER 1 | FINNIAN WARNOCK LIU TSZ YEUNG, TOM | YEAR 3

STUDIO AIR

2015 | SEMESTER 1 | FINNIAN WARNOCK LIU TSZ YEUNG, TOM | YEAR 3

CONCEPTUALISATION 3

CONTENTS INTRODUCTION P.6 PART A CONCEPTUALISATION DESIGN FUTURING P.8 A1 | DESIGN COMPUTATION P.16 A2 | COMPOSITION / GENERATION P.24 A3 | CONCLUSION P.30 A4 | LEARNING OUTCOMES P.31 A5 | APPENDIX - ALGORITHMIC SKETCHES P.32 REFERENCE PART A P.37 ------------------------------------------------------------------------------------------PART B CRITERIA DESIGN B1 | RESEARCH FIELD P.40 B2 | CASE STUDY 1.0 P.42 B3 | CASE STUDY 2.0 P.46 B4 | TECHNIQUE: DEVELOPMENT P.52 B5 | TECHNIQUE: PROTOTYPES P.56 B6 | TECHNIQUE: PROPOSAL P.64 B7 | LEARNING OBJECTIVES AND OUTCOMES P.68 B8 | APPENDIX - ALGORITHMIC SKETCHES P.70 REFERENCE PART B P.72 ------------------------------------------------------------------------------------------PART C DETAILED DESIGN C1 | DESIGN CONCEPT P.76 C2 | TECTONIC ELEMENTS & PROTOTYPES P.94 C2 | FINAL DETAIL MODEL P. 108 C3 | LEARNING OBJECTIVE AND OUTCOMES P.136 REFERENCE PART A, B, C P.138

CONCEPTUALISATION 5

Fig.1 Low-Rise Kindergarten design and model by Revit 6

CONCEPTUALISATION

E N O M I T T C U U O D B O A R T IN

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Fig.2 High-Rise Office Building design and model by Revit

Fig.3 Prince’s Office in Saudi Arabia, Riyadh, 2015 CONCEPTUALISATION 7

DESIGN FUTURING

Design Direct Our Future In modern century, the growth of technology makes everything easier and convenient. Design are no longer a difficult thing to achieve, everyone can do design. However, the fact is what we design will directly affect our future, how can a future actually be secured by design? It comes to the term of sustainable design which a good design shows how it could react with the environment and then to the magnitude of the action in the world. [1] Everyone should take the responsibility to reshape better environment and our future by design. Here are two selected precedent projects showing how its design direct our future.

The missing of internal structure created a huge public plaza at the ground floor for recreation. Such design changes people patterns of living successfully as there are lots of people using that area for recreation and doing public functions [Fig.].

Hongkong and Shanghai Bank Headquarters, Foster and Partners, Hong Kong, 1979 - 1986

Additionally, sun shades are provided on the external facades to block direct sunlight going into the building and to reduce heat gain.

The building is designed and constructed in 70s - 80s which high-rise office building were start common in Hong Kong. However, it is a revolutionary case indicating the new change of high-rise building design sustainable high rise building design combining innovative sustainable construction tectnology and detailing.

The building has a modular design consisting of five steel modules prefabricated out of site. The main characteristic of HSBC Hong Kong headquarters is its absence of internal supporting structure which bring up the concept of structural expressionism at the time.

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CONCEPTUALISATION

Another notable feature is that natural sunlight is the major source of lighting inside the building. There is a bank of giant mirrors at the top of the atrium, which can reflect natural sunlight into the atrium and hence down into the plaza. Through the use of natural sunlight, this design helps to conserve energy.

Though the extreme designs are expensive which cost US$780 million, the innovative sustainable elements and the idea of public space inside building affect the later building design in Hong Kong and even the world.

Fig.4 Atrium inside HSBC

Fig.5 HSBC Building

CONCEPTUALISATION 9

Fig.6 Public plaza at the ground floor of HSBC

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CONCEPTUALISATION

Fig.7 Public Plaza inside HSBC CONCEPTUALISATION 11

DESIGN FUTURING

Reichstag, New German Parliament Berlin, Foster and Partners, Germany 1992 - 1999 This great project is also done by Foster which is more than ten years after the HSBC building. The project is actually a transformation of the Reichstag which is rooted in four related issues: the Bundestag’s significance as a democratic forum, an understanding of history, a commitment to accessibility and a vigorous environmental agenda. The reason why I select the project is that it indicated the future: the future of design, the future of history and the future of historical building.

The cupola on the roof of Reichstag become a symbol of rebirth, it also drives the building’s natural lighting and ventilation strategies to the building. The cupola becomes a beacon on the skyline,signalling the vigour of the German democratic process. The integration of historical spirit with sustainable elements is surely a kind of sustainable design which the design theorey convey the message of looking forward to future while not forget the past.

Through the cases, we can see the adoption of sustainable consideration directly reshape our future environment and inspire other designers for future design. Again, a good design shows how it could react with the environment and then to the magnitude of the action in the world. [1]

Fig.8 Sectioin: Project on a historical Building

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CONCEPTUALISATION 13 Fig.9 Exterior view of the Dome

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CONCEPTUALISATION

Fig.10 Interior Space of the Dome CONCEPTUALISATION 15

A1 DESIGN COMPUTATION Benefits of Computational Design In Architectural Design Process Within the last decade, there is trend shifting the design of architecture from analog to digital because of popular of computer and the growth of computer performance and technology. Computer acts as a medium that supports a continuous logic of design thinking and making. It provides architectural and construction industries a comprehensive digital continuum from design to production, from form generation to fabrication design[2].

Moreover, computational design provides fast and accurate solution in conceivable and achievable geometries through the usage of different computational design platform like scripting. It comes to a term of parametric design which parametric design is a new form of the logic of digital design thinking.

Parametric design thinking focuses upon a logic of associative and dependency relationships between objects and their parts-and-whole relationships. By changing the values of parameters such as geometric relationships, a multiplicity of variable instances can be created. Parametric systems enable the writing of rules, or algorithmic procedures, for the creation of variations.

Therefore, parametric design, i.e. computational design in architecture develops as a new form of design logic. [2] Here we look at the two cases to find how computational design benefits to design process.

Fig.11 Aerial Rendering

Fig.14 Aerial View

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CONCEPTUALISATION

Fig.12 Accessable Curved Green Roof

Fig.13 Nightview Rendering

Fig.15 Curved Bridge Connected the Building Each Other

Fig.16 The Opening Day of Galaxy Soho

CONCEPTUALISATION 17

A1 DESIGN COMPUTATION

Fig.17 Exterior Rendering

Express Rail Link West Kowloon Terminus, Aedas, Hong Kong, In Construction - 2017 It is a high-speed rail terminus station which will connect Hong Kong to various major cities in the Mainland China.

It was considered vital to connect the station with the surrounding urban context and make one aware of the city’s character whether arriving or departing. Therefore, the Terminus building is characterised by its free-form geometry.

In the design process, due to its free-form geometry, structures should be designed with complex forms to achieve component geometries that could be manufactured to the required quality, tolerance and budget. The architects and engineers have developed parametric tools using the software packages Grasshopper and Rhino

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CONCEPTUALISATION

to create the structural geometry. As part of the design process, these computational tools were used to repeatedly check for clashes with the architect’s 3D model and to adjust conflicting elements. Without such frequent model exchanges and the parametric tools to interrogate them, accurate coordination of the geometry would have been a difficult and time consuming obstacle to progress.

Through the usage of computational design process, there process was refined into a fast and accurate design allowing the design team to gain speedy feedback on design options, enabling quick and informed decision making.

Fig.18 Exterior Facade and Bridge Connected Between Building

Galaxy Soho, Zaha Hadid Architects, Beijing, 2009 - 2012 Galaxy Soho is a eye cashing complex project comprises five continuous flowing volumns setting apart which is fused or linked by a sequence of stretched bridges.

Each volume adapts outwards, generating a panoramic architecture devoid of corners and abrupt transitions.

Zaha Hadid has developed an approach to building design which makes consistent use of powerful computational design technologies. The integration of design intention and accurate, efficient project delivery is achieved through a digital codification of design as a series of parametric geometric operations, in which families of design solutions can be rapidly generated by controlling associative geometries and driving parameters.

In construction, the use of in-house scripts, written specifically for the project, creating an advanced and integrated design process capable of repeatedly cycling through the: Geometry generation of the structural elements; Structural analysis to determine the resulting member forces; Strength design of the members, allowing for optimisation; Documentation production using BIM for both project coordination and construction purposes.

Parametric design allows Zaha to rapidly and efficiently tackle a wide range of complex design problems and produce a flexible range of viable results in a short amount of time, while being able to effectively deliver building projects with confidence.

CONCEPTUALISATION 19

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Fig.19 Express Rail Link West Kowloon Terminus CONCEPTUALISATION 21

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Fig.20 Galaxy Soho CONCEPTUALISATION 23

A2 COMPOSITION / GENERATION Comparing computerization and computation, computerization enhance the precision and effectiveness of an architect to work while computation is a powerful solution which designer able to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a building formation. Computation can be expressed as algorithm that able to provide inspiration to architects to explore new design options and to analyse architectural decisions during the design process.

Mercedes Benz Museum, UNStudio, Germany, 2001-2006 We can selectively study for performative behaviors such as structural performance, energy, circulation,etc through scripting the algorithms of a mediated variability.

[3] The Benz Museum in Germany is exactly the case using parametic design to study the performative behaviors of circulation. It introduce the new concept of circulation which is a infinity MOBIUS STRIP in three dimensional form make by a series of continuous, interlocked set of ramps. The slope, width and length of the ramp are generated through an algorithm to study the possibility.

Fig.21 Mercedes Benz Museum

Absolute Towers, MAD, Canada, 2010-2012 The digital linkage also established an advanced environment for interactive digital generation and performance simulation as a paradigm of collaborative design between the architects and engineers[3] The Absolute Towers using the concept of twisting which provides a big challenge to structural engineers. The design and simulation of structural support are done through computational approach which is interactive to both architects and engineers and finally it is built.

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CONCEPTUALISATION

Fig.24 Absolute Towers

Fig.22 Concept of MOBIUS STRIP for Circulation

Fig.23 Computational Approach for Analysis of Design

Fig.25 Simulation of Twisting Towers

Fig.26 Absolte Towers Floor Plans Generated by Computational Design

CONCEPTUALISATION 25

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CONCEPTUALISATION

A2 COMPOSITION / GENERATION The Limitation Computational geometry enables the design and manufacturing of complex surface configurations, a capacity beyond the repertoire of analog architectural practices constrained by the limitations of descriptive geometry.

However, computational design also has its limitations. In many cases the relationship between design idea and computational tools seem reversed.

[5] This resulting buildings appear as reductionist materialization of the possibilities of software that shaped them. Moreover, there are only few examples exist where computational tools are used to develop design solutions for complex building programs within a moderate budget.

Fig.27 Mercedes Benz Museum CONCEPTUALISATION 27

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Fig.28 Absolute Towers CONCEPTUALISATION 29

A3 CONCLUSION Design Futuring Design are no longer a difficult thing to achieve, everyone can do design. However, the fact is what we design will directly affect our future. A good design shows how it could react with the environment and then to the magnitude of the action in the world - Sustainable design. Everyone should take the responsibility to reshape better environment and our future by design. It is time to rethink about how can we create and reshape a better environment for our future generations and the reason why we are doing design.

Design Computation Contemporary architectural production employs an increasing number of computational tools that undergo continuous proliferation of functions and expand their role within the design process. With increasingly user-friendly programme structures and an efficient exchange between various analytical tools, computational geometry enables the design and manufacturing of complex surface configurations. It is a capacity beyond the repertoire of analog architectural practices constrained by the limitations of

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CONCEPTUALISATION

descriptive grometry. This technologies have been used successfulkly to achieve novel architectural expression by enabling digital geometry to drive digital fabrication process.

These innovations have changed the work flow and design approach of a wide range of architectural practices.

A4 LEARNING OUTCOMES Composition / Generation The shift from composition to generation in architecture design is increasingly significant nowadays. Algorithm, parametric modelling and scripting are being mature which computational skill becomes something an architect should know. Computation is a powerful solution designers able to capture the multitude of parameters that are instrumental in a building formation.

Having finished a lot of reading and research about future sustainable design and computational architecture, I realized that I gain a lot about the new concepts. I would like to rethink about why, what and how should I design an successful architecture. I think it is the matter of making a better future of our environment, i.e. sustainability.

In the following weeks, I look forward to start thinking my own computational architecture design which is well responding to the site and environment and apply what I have learnt in Studio Air Part A. I hope i could equip more knowledge and skill to create a sustainable and responding work in the final stage. I am sure I will work as hard as I can and enjoy my unversity life in UniMelb.

CONCEPTUALISATION 31

A5 APPENDIX - ALGORITHMIC SKETCHES

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CONCEPTUALISATION

Lindenmayer System (L - System) This is one of the example from my algorithmic sketchbook showing the occurence of looping system in an interesting shape - L - System.

I learnt the concept of L - Sustem from my tutor during the tutorials. After that, I tried to research more about the L - system, it is very basic concept of recursion. The definition of a L - System is: “Lindenmayer system is a parallel rewriting system and a type of formal grammar. An L-system consists of an alphabet of symbols that can be used to make strings, a collection of production rules that expand each symbol into some larger string of symbols, an initial “axiom” string from which to begin construction, and a mechanism for translating the generated strings into geometric structures.” [10] I found it very insteresting that the shap is a very natural tree shape which let me think about is any natural shape in nature can be represent by an algorithm?

Meanwhile, I also tried the L - System in 3 dimensional form by add three axis of rotations for each loop [Fig.29, 30], I found it is very amazing that an awesome tree is then created!

I realized the power of computational modelling which drive me to adjust the parameter to create the totally different form and shape.

Fig.29 Grasshopper Definition of Three Dimensional L - System

CONCEPTUALISATION 33

A5 APPENDIX - ALGORITHMIC SKETCHES 34

CONCEPTUALISATION

Fig30 Three Dimensional L - System CONCEPTUALISATION 35

REFERENCE Part A Content Reference [1] Fry, Tony. Design futuring: sustainability, ethics, and ne w practice. English ed. Oxford: Berg, 2009. P.11-13 [2] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 [3] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 [4] Sean Ahlquist and Achim Menges, ‘Introduction’, in Sean Ahlquist and Achim Menges (eds), Computational Design Thinking, John Wiley & Sons (Chichester), 2011.

[5] Christoph Gengnagel, A. Kilian, Norbert Palz, Fabian Scheurer. Computational Design Modeling: Proceedings of the Design Modeling Symposium Berlin 2011.P.18-31 [6] Schumacher, Patrik. The autopoiesis of architecture a new framework for architecture. Chichester: Wiley, 2011. P.2 [7] Wong, T. C. (2008). Integrated resort in the central business district of Singapore: The land use planning and sustainability issues. In Spatial planning for a sustainable Singapore. P.59-78 Image Reference Fig.4 Foster + Partners, 2015, “Hongkong and Shanghai Bank Headquarters” in Foster + Partners, <http://www.fosterandpartners.com/media/1706191/img1.jpg> [accessed 18 March 2015] Fig.5 Foster + Partners, 2015, “Hongkong and Shanghai Bank Headquarters” in Foster + Partners, <http://www.fosterandpartners.com/media/1706186/img0.jpg> [accessed 18 March 2015] Fig.6 Foster + Partners, 2015, “Hongkong and Shanghai Bank Headquarters” in Foster + Partners, <http://www.fosterandpartners.com/media/1706221/img7.jpg> [accessed 18 March 2015] Fig.7 Foster + Partners, 2015, “Hongkong and Shanghai Bank Headquarters” in Foster + Partners, <http://www.fosterandpartners.com/media/1706211/img5.jpg> [accessed 18 March 2015] Fig.8 Foster + Partners, 2015, “Reichstag, New German Parliament” in Foster + Partners, <http://www.fosterandpartners.com/media/Projects/0686/drawings/img2.jpg> [accessed 16 March 2015] Fig.9 Foster + Partners, 2015, “Reichstag, New German Parliament” in Foster + Partners, <http://www.fosterandpartners.com/media/Projects/0686/img7.jpg> [accessed 16 March 2015] Fig.10 Foster + Partners, 2015, “Reichstag, New German Parliament” in Foster + Partners, <http://www.fosterandpartners.com/media/Projects/0686/img19.jpg> [accessed 16 March 2015] Fig 11 Aedas, 2015, “Express Rail Link West Kowloon Terminus” in Aedas, <http://www.aedas.com/cms/UserFiles/project/West%20Kowloon%20Terminus%204-20150227184773.jpg> [accessed 18 March 2015] Fig 12 Aedas, 2015, “Express Rail Link West Kowloon Terminus” in Aedas, <http://www.aedas.com/cms/UserFiles/project/West%20Kowloon%20Terminus%203-20150227184706.jpg> [accessed 18 March 2015] Fig 13 Aedas, 2015, “Express Rail Link West Kowloon Terminus” in Aedas, <http://www.aedas.com/cms/UserFiles/project/West%20Kowloon%20Terminus%204-20150227184713.jpg> [accessed 18 March 2015] Fig 14 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://vimeo.com/58125205> [accessed 18 March 2015] Fig 15 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://www.zaha-hadid.com/wp-content/files_mf/cache/th_ded8de6ef54c061a659828a26028150e_galaxy_soho_zha_1210_5971.jpg> [accessed 18 March 2015]

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Fig 16 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://www.zaha-hadid.com/wp-content/files_mf/galaxy_soho_zha_1210_6481.jpg> [accessed 18 March 2015] Fig 17 Aedas, 2013, “Express Rail Link West Kowloon Terminus” in Archdaily, <http://www.archdaily.com/253254/express-rail-link-west-kowloon-terminus-andrew-bromberg/south-view-of-the-station-and-the-proposed-commercialdevelopment/> [accessed 18 March 2015] Fig 18 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://www.zaha-hadid.com/wp-content/files_mf/galaxy_soho_zha_1210_54d51.jpg> [accessed 18 March 2015] Fig 19 Aedas, 2015, “Express Rail Link West Kowloon Terminus” in Aedas, <http://www.archdaily.com/253254/express-rail-link-west-kowloon-terminus-andrew-bromberg/south-view-of-the-station-and-the-proposed-commercialdevelopment/> [accessed 18 March 2015] Fig 20 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://www.zaha-hadid.com/wp-content/files_mf/galaxy_soho_zha_1210_653481.jpg> [accessed 18 March 2015] Fig 21 UN Studio, 2007, “Mercedes-Benz Museum” in Archdaily, <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/08/1281541696-foto-16-125x125.jpg> [accessed 7 March 2015] Fig 22 UN Studio, 2007, “Mercedes-Benz Museum” in Archdaily, <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/08/1281626966-316234807-3c3b1c7e5c-o-125x125.jpg> [accessed 7 March 2015] Fig 23 UN Studio, 2007, “Mercedes-Benz Museum” in Archdaily, <http://www.archdaily.com/72802/mercedes-benz-museum-un-studio-photos-by-michael-schnell/316234769_55aa413d4e_o/> [accessed 7 March 2015] Fig 24 MAD, 2014, “Absolute Towers” in materialicious.com, <http://mat2.materialicious.com/images/absolute-towers-by-mad-architects-o.jpg> [accessed 4 March 2015] Fig 25 MAD, 2014, “Absolute Towers” in Absolute World - Wikipedia, <http://upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Absolute_World_Tower_1_massing_model.svg/2000pxAbsolute_World_Tower_1_massing_model.svg.png> [accessed 4 March 2015] Fig 26 MAD, 2014, “Floor plan of Builidng D” in archlukeyu, <http://3.bp.blogspot.com/-yrQLO7ICmjw/UzCbJQooYqI/AAAAAAAABdQ/GEud1Cx-alM/s1600/peruarki9.jpg> [accessed 5 March 2015] Fig 27 UN Studio, 2007, “Mercedes-Benz Museum” in Archdaily, <http://www.archdaily.com/72802/mercedes-benz-museum-un-studio-photos-by-michael-schnell/foto_14/> [accessed 7 March 2015] Fig 28 MAD, 2014, “Absolute Towers” in Archdaily, <http://ad009cdnb.archdaily.net/wp-content/uploads/2012/12/50c8c974b3fc4b706200000a_absolute-towers-madarchitects_absolute_mad_1628_by_iwan_baan.jpg> [accessed 20 March 2015] Fig 29 Gizmodo, 2013, “Computing Architecture Based On The Brain” in gizmodo.com.au,<http://img.gawkerassets.com/img/18wcvytv6ibrepng/original.png> [accessed 20 March 2015]

CONCEPTUALISATION 37

PART B

CRITERIA DESIGN

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CRITERIA DESIGN

CRITERIA DESIGN

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B1 Research Field

Fig31 Basic Stages of Sectioning

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CRITERIA DESIGN

Sectioning Sectioning Sectioning is an innovative architectural technique expressing the beauty of geometry from points, lines to surfaces by cutting an object into many pieces or solids. It is being popular and became a common technique of architects world wide after the development of algorithmic modeling technique like the one I will use through this part: Grasshopper.

Theory & Implications Basic sectioning is quite a simple technique compared to other complex algorithmic modeling techniques. However, it can be complex one by introducing different kind of sectioning methods like waffling, contouring, patterning, etc.

In my future case studies in part B, I will mainly focus on the contouring technique of sectioning in order to explore the limitations and opportunities in architectural forms, functions, construction and fabrication of such computational technique.

Basic sectioning can be divided into several stages. From the diagram on the right, I tried to demonstrate the defination of basic sectioning technique which can be done manually or by algorithmic programming. Dividing, Cutting and Extruding are the actions to generate sectioning form.

Dividing: A form and also a cutting form should be generated for dividing. This can be done manually or through grasshopper to generate parametric forms.

Cutting: It is an action to cut the form out and cull the unwanted parts. Grasshopper is the beast solution as there will be thousands of plates to be culled out.

Extruding: Having cut out the shape, it is time to generatiethe actually form of the shape.

Opportunities & Fabrication Sectioning technique provides thousands of solution to express and emphasize the shape and form architecturally especially curvature in three dimensional expression. It basically adopt the abstract illusion of human being able to complete and recognize the form of an incomplete object like a serious of lines, patterns, etc. Also, sectioning technique provides easier fabrication and construction environment as elements are simple and easy for fabrication. Mostly, plywood are used for fabrication as the material colour is raw and natural which help expressing the organic form of a sectioning model.

Next: The Case Studies

CRITERIA DESIGN

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B2 CASE STUDY 1.0

AA DriftwoodPavilion Plan 3D

Orginal form

o=3 d = 0.18 a = z-axis

o=6 d = 0.18 a = z-axis

Variations in the number of offset plates (o)

o = 96 d=6 a = z-axis

o = 96 d=3 a = z-axis

Changes in distance between plates (d)

o = 96 d=6 a = 30

o = 96 d=3 a = 60

The changes in different angle of extrusions (a)

o = 10 d=6 a = z-axis

o = 20 d=3 a = z-axis

The alterations of different form (Ring)

o = 96 d = 0.38 a = z-axis

The alterations of different form (Strip) 42

CRITERIA DESIGN

o = 96 d = 0.18 a = z-axis

o = 12 d = 0.18 a = z-axis

o = 24 d = 0.18 a = z-axis

o = 48 d = 0.18 a = z-axis

o = 96 d = 0.18 a = z-axis

o = 96 d = 1.5 a = z-axis

o = 96 d = 0.75 a = z-axis

o = 96 d = 0.38 a = z-axis

o = 96 d = 0.18 a = z-axis

o = 96 d = 1.5 a = 90

o = 96 d = 0.75 a = 120

o = 96 d = 0.38 a = 150

o = 96 d = 0.18 a = 180

o = 30 d = 1.5 a = z-axis

o = 10 d=6 a = 30

o = 20 d=3 a = 60

o = 20 d=3 a = 120

o = 96 d = 0.38 a = 30

o = 24 d = 0.38 a = z-axis

o = 48 d = 0.38 a = 120

o = 48 d = 0.38 a = 4xmirror

Fig.32 Matrix Exploration CRITERIA DESIGN

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B2 CASE STUDY 1.0

AA DriftwoodPavilion Selection Criteria & Speculate of Design Potential

o = 96 d=6 a = 30

o = 30 d = 1.5 a = z-axis

Complexity

Repetition

This iteration shows the complexity of geometry through non-vertical sectioning plates (angled) and holes are formed within the sectioning plates which make whole thing complex and non-boring.

This iteration shows repetition of similar curve in the two direction to generate an effect of radiation.

This is done by making curved cutting object to split the orginal form. The shape of the cutting object still see clearly on plan view above.

Potential

Potential

Such design makes fabrication more easier as no curved sectioning plates are formed which is more suitable for wood construction because of its structural property. Also, there is solar shading potential because of the direction of the Non-vertical sectioning plates.

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CRITERIA DESIGN

The repetition of sectioning plates vertically has the potential to generate space for people get inside. This can be done by change the parameter of separation of sectioning plates.

o = 96 d = 0.75 a = 120

o = 20 d=3 a = 60

Fig.33 Successful Iterations

Twisting

Angle

It was surprised that an twisting effect generated through keep chaning the angle of cutting object.

It is vistually good but it is quite hard to fabricatie as soft materials are needed and is relatively expensive.

“Angle” is integrated into curved object generating a contrast among the model which make a harmony feeling. This is done by changing the shape of orginal form of the model.

Potential

Potential

Such design is eye-catching and showing the beauty of curve in three dimension way. However, material selections for fabrication should be careful as some materials are difficult to bend like hard wood, etc. Metal or plastic can be a good choice.

The “angles” on the object make the sectioning plates’ direction changing which make the shape more interesting. Such design can be site-responding which the angle of bending may vary according to site conditions.

CRITERIA DESIGN

45

46

CRITERIA DESIGN

B3 CASE STUDY 2.0

East Beach Cafe Design Intent & Reverse Engineering of the Project

East Beach Cafe East Beach Cafe is a private cafe located in Littlehampton, West Sussex and is designed by Thomas Heatherwick. He is an english architect which his famous project is the Seed Cathedral of UK Pavilion at Shanghai Expo and the East Beach Cafe. The reason I selected East Beach Cafe as my case study because it make use of the sectioning technique fully and take advantage of parametric modelling to generate the irregular sectioning plates which is extreme interesting.

The design was awarded by many architectural design awards after it had constructed.

Design Intent The concept of the cafe is to create an iconic and unique cafe in font of the seaside. The design fully respond to the site condition from materials, structure to building form. Because of its high salt content near seaside, the building is made by rust steel instead of wood but give the feeling of wood.

Analysis As mentioned above, environment and site conditions are so important that we should consider.

Not only the building should respond to site conditions, materials, structures, internal spaces, connections, etc should also be considered. That is why the East Beach Cafe has been successful.

Fig.34 East Beach Cafe

CRITERIA DESIGN

47

B3 CASE STUDY 2.0

East Beach Cafe Reverse Engineering

1

Model Lines

1 Start a Free Form by Lines

3 Create Cutting Objects

Use several polyline (6-8 lines) to sketch out the form of the East Beach Cafe which is used for lofting in the next step.

This step is to create cutting plates to cut the “orginal form” generated in step 2. It is done by using glasshopper to generate and extrude the cutting plates.

2 Loft to form an “orginal form” I Use the lines from step 1 for lofting in grasshopper to generate the “orginal form” to be cut in the future steps.

48

2

Loft

CRITERIA DESIGN

3

Divisio

3

4

on

Split & Cull

5

Extrusion

Fig.35 Reverse- Engineer of East Beach Cafe Using Grasshopper

4 Split and Cull the Unwanted Parts

5 Extrude the Sectioning Plates

These actions are mainly aims to cut the sectioning plates off. It composed of two actions: CUT and CULL. I make use of the grasshopper skills I have learnt from Case Study 1.0 of AA DriftwoodPavilion which has similar actions to achieve my purpose here and finally, it works!

Having cut out the sectioning plates, the finally step is to extrude each plates. It should be ensured that the thickness of extrusions should be the same as the separation between two plates.

CRITERIA DESIGN

49

B3 CASE STUDY 2.0

East Beach Cafe Reverse Engineering Final Outcome

Fig.36 Final Outcome and Comparsion to Real Photo

Input 1:

Input 2:

Parameter 1:

Curves to be Loft

1

No. of Sectioning Plates

50

Angle of Extrusion

CRITERIA DESIGN

Find Intersectio

2

Offset

Curves of Cutting Object

Parameter 2: Separation Between Plates Parameter 3:

Loft

Series

X/Y/Z Axis

Extrude

3

Explode to Su

80% of Similarity The figures on the left show the final outcome of my reverse engineering of the East Beach Cafe through Grasshopper. I was satisfied that the result is quite similar to the orginal one and I tried to provide the rust steel material on my model to make it more realistic.

Differences However, I found the exact shape of each plate of East Beach Cafe is difficult to achieve as approximate form is used to start up the grasshopper defination. (refer to Fig. 35, 37)

Futher Developments I think the case study 1 & 2 is a good learning process to me for future developments. For example, The case study 1 is usefull for me to develop the reverseengineering of the East Beach Cafe especially for the part of â&#x20AC;&#x153;Cull Objectâ&#x20AC;? that I can really apply my knowledge to develop the next. For now, I would like to show how I use the East Beach Cafe as a base to develop my own design in the next parts.

on

3

urfaces

Split (Cutting)

Cull (A group of functions from Case Study 1.0 AA DriftwoodPavillion)

4

Cull Pattern

Y-Axis

5

Extrude

Fig.37 Diagram Shows the Project Designed Using Parametric Tools

CRITERIA DESIGN

51

B4 TECHNIQUE: DEVELOPMENT

Matrix of Iterations East Beach Cafe o = 150 d = 0.53 a = z-axis

o = 150 d = 0.53 a = z-axis

o = 150 d = 0.53 a = z-axis

o = 150 d = 0.53 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.81 a = 45

o = 80 d = 2.81 a = 45

o = 80 d = 2.81 a = 45

o = 80 d = 2.81 a = 45

Y-Axis Sectioning

o = 80 d = 2.81 a = 90

o = 80 d = 2.81 a = 90

o = 80 d = 2.81 a = 90

o = 80 d = 2.81 a = 90

Curved Sectioning

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

Solid Sectioning

Thick Solid Sectioning

X-Axis Sectioning

Angled Sectioning

Patterning

52

Plane

Strip

CRITERIA DESIGN

Ring

Sphere

Complex Infinity Ring (Mobius Strip)

Infinity Ring

o = 150 d = 0.53 a = z-axis

o = 150 d = 0.53 a = z-axis

o = 150 d = 0.53 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.81 a = 45

o = 80 d = 2.81 a = 45

o = 80 d = 2.81 a = 45

o = 80 d = 2.81 a = 90

o = 80 d = 2.81 a = 90

o = 80 d = 2.81 a = 90

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 2.49 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

o = 80 d = 5.242 a = z-axis

Fig.38 Matrix Exploration CRITERIA DESIGN

53

B4 TECHNIQUE: DEVELOPMENT

Matrix of Iterations Selection Criteria & Speculate of Design Potential

o = 80 d = 2.81 a = 45

o = 150 d = 0.53 a = z-axis

Changing Patterns

Density

This iteration shows the opportunity of the technique of changine patterns on sectioning.

It is the combination of two technique to generate interesting patterns which the diretion of each sectioning plate is changing.

Althrough the iteration looks simple and boring, I want to highlight that density of sectioning can truly express an objectâ&#x20AC;&#x2122;s orginal form and it is good to emphasize some perfect and smooth curvatures by hundreds or thousands of sectioning plates which is glorious.

Potential

Potential

Such design prevents boring direct sectioning and provides more opportunities of variations. It would be interesting if the design was in large scale that people can pass through each curved spaces between.

54

CRITERIA DESIGN

The criteria can be adopted in sculpture, furniture, or installation in shopping mall or public space.

Also, it can be integrated with other sectioning iteration to form interesting combinations.

o = 80 d = 2.49 a = z-axis

o = 80 d = 5.242 a = z-axis

Fig.39 Successful Iterations

Massive

Curve in Curve

I found that massive sectioning plates are beatuiful. That is because it expresses its strong and durable properties and a feeling of pixelate in curved and three dimensional form.

This is the best iteration and I would like to develop it further. Each sectioning plates are curved in relate to its form to provide a â&#x20AC;&#x153;curve in curveâ&#x20AC;? feeling. I used a sin/cos curve here to form the cutting object spliting the form to generate the curved sectioning plates. Because it needs bending of materials, it must be careful in material selection for model making especially laser cut.

Potential Such sectioning iteration can be used when there is high structural requirement. It can also provide sitting area because of the thickness of each sectioning plate if it is in large scale.

Potential It can strongly express complex curvature and people can easily recognize the overall form and shape of it. Here I will develop my prototypes base on this iteration.

CRITERIA DESIGN

55

B5 TECHNIQUE: PROTOTYPES Materialisation, Fabrication & Assembly

Materialisation I would like to use wood as major material as this project will be located in Merri Creek which wood is the best material because of its raw in colour and sustainable which respond to the natural environment.

Fabrication & Assembly Using wood, it would be easy to fabricate and assembly through different kind of wood joint like Mortise and Tenon, Dowel joint, Housing joints, etc. Shown in the photo, I use rectangular wood pieces to simulate the Mortise and Tenon joint in reality and start assemble by joining a the fabricated sectioning plates together. Being tested, it is strong enough to resist fall from 50cm. (Broken after that) 56

CRITERIA DESIGN

Fig.40 Wood Joint Simulation and Assembly Sequence of Model Making

CRITERIA DESIGN

57

B5 TECHNIQUE: PROTOTYPES Materialisation, Fabrication & Assembly

58

CRITERIA DESIGN

Fig.41 Physical Model Photo 1 CRITERIA DESIGN

59

B5 TECHNIQUE: PROTOTYPES Materialisation, Fabrication & Assembly

60

CRITERIA DESIGN

Fig.42 Physical Model Photo 2 CRITERIA DESIGN

61

B5 TECHNIQUE: PROTOTYPES Materialisation, Fabrication & Assembly

62

CRITERIA DESIGN

Fig.43 Physical Model Photo 3 CRITERIA DESIGN

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B6 TECHNIQUE: PROPOSAL Location, Proposed Usage & Design Intent

SPENSLEY PRIMARY

WALK COM KIND

Location and Analysis I would like to choose the location in The Quarries Park of Clifton Hill. Here is the site just near the residential area of Clifton Hill. When I have site visit there, I found there are many children playing in the playground of the park.

Having research for information, I found there is a kindergarten and a primary school just nearby.

It is a good opportunity to create something aims to kindergarten and primary school children.

Proposed Usage As my site location is inside the park and playground, i would like to create a sustainable and multi-purpose recreational facility on the site. It comes to the concetp of recreation by all people. Not only children can enjoy playing on my facility through climbing, sliding, hiding, parents or everybody can relax through sitting, lying, reading in there relaxed ways.

How Does it Work Sectioning provides steps for children climbing and sliding. The complex infinity ring provides space for hiding. Moreover, the extruded curved area can provide comfortable space for sitting and lying.

It would be a good place for communication!

64

CRITERIA DESIGN

Y STREET Y SCHOOL

KER STREET MMUNITY DERGARTEN

Architectural Features MERRI CREEK

It is not only a recreational facility, it is an innovative computational sculpture design through algorithmic design of sectioning. It is an innovative architectural technique expressing the beauty of geometry from points, lines to surfaces by cutting an object into many pieces or solids.

Materials and sustainability The use of wood is a renewable material and make a great respond to nature. Not only the energy or environmental issue, using wood as design approach can make the atmosphere near Merri Creek harmonic. It is good for human or even animals which pursue social sustainability.

YARRA RIVER

Fig.44 Site Map and Site Location CRITERIA DESIGN

65

B6 TECHNIQUE: PROPOSAL Location, Proposed Usage & Design Intent

66

CRITERIA DESIGN

Fig.45 Proposed Rendering CRITERIA DESIGN

67

B7 LEARNING OBJECTIVE AND OUTCOMES

68

CRITERIA DESIGN

Studio Air Having finished Part A and B of Stuido Air, I really gain a lot about computational design especially the process of how to generate a computational design project from zero. The answer is exploration. Do not give up any kind of probability, be critical and keep thinking. This is what I learnt form Studio Air.

The Project I feel upset when I receive my grade of Part A which is not pass and became the frist fail assignment after I came to Melbourne. I really realized that the important of citation in academic works and I am sure I will work hard and hard in the rest of semester! For the project, I really learnt a lot about algorithmic design especially my research field of sectioning. I tried to understand othersâ&#x20AC;&#x2122; grasshopper definations and adopt to my project. Althrough I need to spend a lot of time to understand a defination, it is worth to be success and to create your own innovative design .

After doing part A & B, I am able to create and design using parametric modelling. I think grasshopper is really interesting that inspire me a lot. I am sure I will keep learning parametric modelling even finished Studio Air. I hope it would be useful in my architectural career in the future!

CRITERIA DESIGN

69

B8 APPENDIX - ALGORITHMIC SKETCHES

The L System with Boundary Surfaces

70

Recursion = 1

Recursion = 2

Recursion = 3

Recursion = 5

Recursion = 6

Recursion = 7

Recursion = 9

Recursion = 10

Recursion = 11

CRITERIA DESIGN

L System, L - Tree

Recursion = 4

There are many different variations of L system from two dimension to three dimension. It is usually a tree form while some are complex geometry form. Here the L system with “leaves” generated by boundary surfaces is an evolution of basic L system in tree form.

I learnt the defination from my tutorial teacher during wk5 tutorial. I found it was extreme interesting that it really like a real tree that I can watch it growth by inputting the number of recursion into a plugin called anemone in grasshopper.

Recursion = 8

The diagram shows the growth of my tree from baby to old tree within a minutes. Though I have the defination already, I tried to understand and re-write the defination again and finally it works.

It can be done by defining next points to construct lines and hences construct surfaces through three boundaries on a “leave”.

I enjoy the growing process of the tree as it is very interesting.

Recursion = 12

Fig.46 The L System with Surfaces

CRITERIA DESIGN

71

REFERENCE Part B Content Reference Fry, Tony. Design futuring: sustainability, ethics, and ne w practice. English ed. Oxford: Berg, 2009. P.11-13 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Christoph Gengnagel, A. Kilian, Norbert Palz, Fabian Scheurer. Computational Design Modeling: Proceedings of the Design Modeling Symposium Berlin 2011.P.18-31 Schumacher, Patrik. The autopoiesis of architecture a new framework for architecture. Chichester: Wiley, 2011. P.2 Image Reference Fig.34 East Beach Cafe, 2014,” East Beach Cafe” in Coolplaces <http://www.coolplaces.co.uk/places/uk/england/west-sussex/7910-east-beach-cafe> [accessed 23 April 2015] Fig.36 East Beach Cafe, 2014,” East Beach Cafe Signboard” in thefhd.net <https://www.thefhd.net/east-beach-cafe-unusual-roof-complete-with-metal-waves/east-beach-cafelittlehampton-who-won-london-design-medal-2010/> [accessed 23 April 2015]

72

CRITERIA DESIGN

CRITERIA DESIGN

73

PART C

DETAILED DESIGN

74

DETAILED DESIGN

DETAILED DESIGN

C1 Design Concept Location: Adventure Playground Quarries Park of Clifton Hill VIC, 3068

76

DETAILED DESIGN

Climb and Play

Structure

Fig.47 Site Plan DETAILED DESIGN

C1 DESIGN CONCEPT

Climb and Play Structure in Adventure Playgroun Design Concept Having the Part B interim presentation, I have got several significant feedbacks from my tutor and guest panel what I can push my design further and better.

Here are the summary of feedbacks I have got in Part B and actions I will do in Part C: 1. Finding a way of making sectioning as interesting as possible 2. Expressing a meaningful program rather than a ‘sculpture’ 3. How people will use it 4. Expressing Why is my project innovative and what am I proposing that hasn’t be done before

Location: Proposed Usage My site is in the Adventure Playground of The Quarries Park in Clifton Hill. Here is the site just near the residential area of Clifton Hill. When I have site visit there, I found there are many children playing there. Having a research for site information, I found there is a kindergarten and a primary school just nearby. It is a good opportunity to create something aims to kindergarten and primary school children.

78

DETAILED DESIGN

SPENSLEY STREET PRIMARY SCHOOL

WALKER STREET COMMUNITY KINDERGARTEN

nd

MERRI CREEK

CLIMB AND PLAY STRUCTURE

ADVENTURE PLAYGROUNF

Fig.48 Site Conditions DETAILED DESIGN

C1 DESIGN CONCEPT

Climb and Play Structure in Adventure Playgroun

Fig.49 Existing Playground

Orginal VS Innovative Adventure Playgroung

Inspiration: Climbing Boulder

The picture shows the orginal site condition in Adventure Playground. There is already several playing facilities for children but are conventional and boring. Also, the park is not easy to notice when walking along the Merry Creek Trail. Therefore there is not so many children playing there. In order to make the Adventure Playgroung alive, I am going to design an innovative and landmarkable climb and play structure inside the Adventure Playground.

Climbing Boulders are common in par children. It insires me a lot to start desi because its beauty of natural shape an

The program will suitable to all children and parents spending hours of fun in the park while children can play (climbing structure) and parents can communicate (sitting area).

80

DETAILED DESIGN

As a landmarkable climbing facility in an innovative climbing structure with boulder within it. There are some spec 1. Climbable

2. Safety

3

nd

Fig.50 Climbing Boulders

Fig.51 Landmarkable Structure

rs

Landmarkable and Innovative Climb and Play Structure

rk and playgroung in Melbourne for igning my climb and play structure nd material providing usable function.

By make use of glasshopper to generate a computational form and the sectioning technique to generate sectioning plates as â&#x20AC;&#x153;stepsâ&#x20AC;? for climbing, the result is landmarkable and innovative climbing structure compared to orginal playing facilities within Adventure Playground.

Adventure Park, i am going to design an innovative form of climbing cial requirement I have considered:

3. Aestheic

4. Functional

In responds to the material of existing playing facilities in the surrounding, Wood is used as main construction material for my project. Plywood is used as it can easily form the curved shape. It is a raw material which generate a harmony feeling with natural environment (Quarries Park and Merry Creek).

Sustainability can be achieved as Wood is a low embodied energy materials.

DETAILED DESIGN

C1 DESIGN CONCEPT

Climb and Play Structure in Adventure Playgroun

Workflow of Design

Ring

Infinity Ring

Complex Infinity Ring (Mobius Strip)

Solid Sectioning

Thick Solid Sectioning

X-Axis Sectioning

Angled Sectioning

Y-Axis Sectioning

Curved Sectioning

Patterning

Fig.52 Matrix Exploration 82

CRITERIA DESIGN

nd Climbable Structure In order to make the structure climbable, some specific features are designed to facilitate its functions.

1. Angled Sectioning Plates 2. Sectioning Gap controlled within 120mm 3. Inter-crossing forms Spaces 4. Curved with Thickness

CURVED SECTIONING

Fig.53 Curved and Angled Sectioning CRITERIA DESIGN

83

C1 DESIGN CONCEPT

Climb and Play Structure in Adventure Playgroun

Zoning wall and Long Chairs Climbing Boulders and Climbing Structure

Fig.48 Site Conditions

Curved and Angled Sectioning Plates All sectioning plates are curved and angled at 35 degrees in order to make the structure more easy to climb. Such inclined and curved sectioning plates also make the whole climbing structure strong in architectural feeling.

Zoning Wall with Long Chairs The zoning wall act as a boundary and guide of the climbing structure so that children are not easily lost from parents as they only play within the climbing structure area. Also, the zoning wall provides long chair for parents to sit down and looking at their children and communicate with other parents..

84

DETAILED DESIGN

Sectioning Gap controlled w

.All the gaps between each sectionin 120mm for safety reason. This is to a hands from being trapped betwenn of the plates are even fully soid while between to provide different difficul

nd

within 120mm

ng plate are controled within avoid childrenâ&#x20AC;&#x2122;s head / foots / n the sectioning plate. Some e some are having a gap lty for children to climb.

Fig.54 Whole Design

Inter-crossing forms Spaces The basic form and concept of the climbing structure is a infinity ring which called mobius strip. The inter-crossing of the strip generated several interesting paces within. These spaces provide funny area for children to play or to hide. Children would love the space as it provides privacy to hide.

DETAILED DESIGN

C1 DESIGN CONCEPT

Climb and Play Structure in Adventure Playgroun

86

DETAILED DESIGN

nd

Fig.55 Curved and Angled Sectioning Plates DETAILED DESIGN

C1 DESIGN CONCEPT

Climb and Play Structure in Adventure Playgroun

88

DETAILED DESIGN

nd

Fig.56 The zoning wall provides long chair for parents to sit down and looking at their children and communicate with other parents..

DETAILED DESIGN

C1 DESIGN CONCEPT

Climb and Play Structure in Adventure Playgroun

90

DETAILED DESIGN

nd

Fig.57 Overall Rendering DETAILED DESIGN

C1 DESIGN CONCEPT

Climb and Play Structure in Adventure Playgroun

92

DETAILED DESIGN

nd

Fig.58 Overall Rendering DETAILED DESIGN

C2 TECTONIC ELEMENTS & PROTOTYPES

Core Structural Element

Core Structural Element The climbing structure should be strong and rigid enough so that it can resist additional load for children to climb through. In C1, Plywood is selected for construction due to its site condition. Having done a deep research on different wood connection like dowel joint, motise & tenon joint, dado joint, etc and with a reference to the project of Dermoid by RMIT 2013. I would like to adopt a jointing method without any bolts - Cheeks & Pin Joint. It is done by using a wood pin inter-lock with a wood plate (the wood plate is passing through several sectioning plates) to form the joint. This joint is designed on each and both sides of the sectioning plates so that all the plates are holded together.

94

DETAILED DESIGN

Fig.59 Cheeks & Pin Joint

DETAILED DESIGN

C2 TECTONIC ELEMENTS & PROTOTYPES

Core Structural Element

1

2 Fig.61 Cheeks & Pin Joint

96

DETAILED DESIGN

Climbing Boulders and Climbing Structure

3

Fig.60 Cheeks & Pin Jointing Procedures

Core Structural Element Having done a deep research on different wood connection like dowel joint, motise & tenon joint, dado joint, etc and with a reference to the project of Dermoid by RMIT 2013. I would like to adopt a jointing method without any bolts - Cheeks & Pin Joint. It is done by using a wood pin inter-lock with a wood plate (the wood plate is passing through several sectioning plates) to form the joint. This joint is designed on each and both sides of the sectioning plates so that all the plates are holded together.

DETAILED DESIGN

C2 TECTONIC ELEMENTS & PROTOTYPES

Prototype

98

DETAILED DESIGN

THE PROTOTYPE Fig.62 The Prototype DETAILED DESIGN

C1 DESIGN CONCEPT

Prototype

1

Fig.63 Fabrication of Plates

Fabrication of Sectioning Plates The technique of sectioning makes fabrication easier as it is already divided into many parts and then joint together. However, the curved sectioning plates add difficulty to fabrication. To duel with this, unrolling each surface is needed before fabrication. Since there are more hundreds sectioing plate in my design, unroll of sectioning plates is done by grasshopper automaticlly.

Moreover, holes are reserved for jointing plates to pass through.

100

DETAILED DESIGN

2

Fabrication of Jointing Eleme

The function of jointing plates is to ho plates together. It is designed to fit the plates. With the use of joint pins, secti together firmly by intercepting the join

ents

old the sectioning e inclined sectioning ioning plates are locked nt plates and pins.

Fig.64 Jointing Elements

3

Fig.65 Joints Installated

Installation There are 3-6 joints on each side of each sectioning plate to provide strong connection between. This jointing method is clear and adheresive-free which is suitable for children equipments and providing high efficient connection at the same time.

DETAILED DESIGN

C2 TECTONIC ELEMENTS & PROTOTYPES

Prototype

102

DETAILED DESIGN

THE PROTOTYPE Fig.66 The Prototype DETAILED DESIGN

C2 TECTONIC ELEMENTS & PROTOTYPES

Prototype

104

DETAILED DESIGN

THE PROTOTYPE Fig.67 The Prototype DETAILED DESIGN

C2 TECTONIC ELEMENTS & PROTOTYPES

Prototype

106

DETAILED DESIGN

THE PROTOTYPE Fig.68 The Prototype DETAILED DESIGN

C3 Final Detail Model

Final Model

1:100 Final D 108

DETAILED DESIGN

Detail Model Fig.69 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model

Fabrication The model is made of 349 fabrication elements including 140 sectioning plates and 209 of other elements like the curved parametric wall and climbing rods.

As the thickness of each plates are inconsistent and some of the plates are highly curved. I have tried to use the method of lasercutting of 1mm box board to make the final model, however, the outcome is not perfect because box board is much harder to make curved object than Plywood. In reality, plywood can be bended through several methods: 1. Steaming the plywood to bend 2. Laminating several thin pieces of plywood together 3. Soaking the plywood Finally, I use the method of ABS 3D printing to generate my final model. In the model, there are strong visual effects of expressing curvature in pure work of intricate design. The back of the model shows the parametric surface treatment of the zoning wall which is difficult to make by hand but is good in 3D printing.

110

DETAILED DESIGN

1: 100 Final Model Fig.70 Fabrication of Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model

112

DETAILED DESIGN

1: 100 Final Model Fig.71 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model

114

DETAILED DESIGN

1: 100 Final Model Fig.72 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model

116

DETAILED DESIGN

1: 100 Final Model Fig.73 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model

118

DETAILED DESIGN

1: 100 Final Model Fig.74 Final Detail Model

DETAILED DESIGN

C3 Final Detail Model

Final Model

120

DETAILED DESIGN

1: 100 Final Model Fig.75 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model With Site

122

DETAILED DESIGN

1: 100 Final Model Fig.76 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model With Site

124

DETAILED DESIGN

1: 100 Final Model Fig.77 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model With Site

126

DETAILED DESIGN

1: 100 Final Model Fig.78 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model With Site

128

DETAILED DESIGN

1: 100 Final Model Fig.79 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model With Site

130

DETAILED DESIGN

1: 100 Final Model Fig.80 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model With Site

132

DETAILED DESIGN

1: 100 Final Model Fig.81 Final Detail Model DETAILED DESIGN

C3 Final Detail Model

Final Model With Site

134

DETAILED DESIGN

1: 100 Final Model Fig.82 Final Detail Model DETAILED DESIGN

C4 Learning Objectives and Outcomes

STUDIO AIR

136

DETAILED DESIGN

Studio Air Before Studo Air, i was designing several practical building like mid-rise residential, high-rise office building in the architectural studio of City Univerity of Hong Kong. I just heard the name of grasshopper but I never touch it because it seems a very difficult software. However, Studio Air really gives me an unforgetable experience of computational design.

At the begining, it seems I am nothing and I found difficult to start learning of grasshopper. With the guidance of my Studio tutor Finnian every week and the guidance of bulk of online resources. I realised the way to learn computational design. As I have mentioned in Part B, the key thing I have learnt from Studio Air are: Do not give up any kind of probability, be critical and keep thinking. This is what I learnt form Studio Air and I really gained a lot here!

The Project After doing part A to C, I am able to create and design using parametric modelling. I think grasshopper is really interesting invention that inspire me a lot especially in innovative geometric expression. Having studied for a semester, changing my design from un-workable to workable, though there are so many things could be improved, I think the most important things are experiences.

Through this design experiences, i will able to face harder and harder problems in the future. I am sure I will keep learning parametric modelling even finished Studio Air now. I hope it would be useful in my architectural career in the future!

Wish me all the best! I would like to say thank you to my studio tutor, lecturers and all classmate who help me a lot when I was facing problems!

Fig.83 Rendering

DETAILED DESIGN

REFERENCE Part A, B, C Content Reference [1] Fry, Tony. Design futuring: sustainability, ethics, and ne w practice. English ed. Oxford: Berg, 2009. P.11-13 [2] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 [3] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 [4] Sean Ahlquist and Achim Menges, ‘Introduction’, in Sean Ahlquist and Achim Menges (eds), Computational Design Thinking, John Wiley & Sons (Chichester), 2011.

[5] Christoph Gengnagel, A. Kilian, Norbert Palz, Fabian Scheurer. Computational Design Modeling: Proceedings of the Design Modeling Symposium Berlin 2011.P.18-31 [6] Schumacher, Patrik. The autopoiesis of architecture a new framework for architecture. Chichester: Wiley, 2011. P.2 [7] Wong, T. C. (2008). Integrated resort in the central business district of Singapore: The land use planning and sustainability issues. In Spatial planning for a sustainable Singapore. P.59-78 Image Reference Fig.4 Foster + Partners, 2015, “Hongkong and Shanghai Bank Headquarters” in Foster + Partners, <http://www.fosterandpartners.com/media/1706191/img1.jpg> [accessed 18 March 2015] Fig.5 Foster + Partners, 2015, “Hongkong and Shanghai Bank Headquarters” in Foster + Partners, <http://www.fosterandpartners.com/media/1706186/img0.jpg> [accessed 18 March 2015] Fig.6 Foster + Partners, 2015, “Hongkong and Shanghai Bank Headquarters” in Foster + Partners, <http://www.fosterandpartners.com/media/1706221/img7.jpg> [accessed 18 March 2015] Fig.7 Foster + Partners, 2015, “Hongkong and Shanghai Bank Headquarters” in Foster + Partners, <http://www.fosterandpartners.com/media/1706211/img5.jpg> [accessed 18 March 2015] Fig.8 Foster + Partners, 2015, “Reichstag, New German Parliament” in Foster + Partners, <http://www.fosterandpartners.com/media/Projects/0686/drawings/img2.jpg> [accessed 16 March 2015] Fig.9 Foster + Partners, 2015, “Reichstag, New German Parliament” in Foster + Partners, <http://www.fosterandpartners.com/media/Projects/0686/img7.jpg> [accessed 16 March 2015] Fig.10 Foster + Partners, 2015, “Reichstag, New German Parliament” in Foster + Partners, <http://www.fosterandpartners.com/media/Projects/0686/img19.jpg> [accessed 16 March 2015] Fig 11 Aedas, 2015, “Express Rail Link West Kowloon Terminus” in Aedas, <http://www.aedas.com/cms/UserFiles/project/West%20Kowloon%20Terminus%204-20150227184773.jpg> [accessed 18 March 2015] Fig 12 Aedas, 2015, “Express Rail Link West Kowloon Terminus” in Aedas, <http://www.aedas.com/cms/UserFiles/project/West%20Kowloon%20Terminus%203-20150227184706.jpg> [accessed 18 March 2015] Fig 13 Aedas, 2015, “Express Rail Link West Kowloon Terminus” in Aedas, <http://www.aedas.com/cms/UserFiles/project/West%20Kowloon%20Terminus%204-20150227184713.jpg> [accessed 18 March 2015] Fig 14 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://vimeo.com/58125205> [accessed 18 March 2015] Fig 15 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://www.zaha-hadid.com/wp-content/files_mf/cache/th_ded8de6ef54c061a659828a26028150e_galaxy_soho_zha_1210_5971.jpg> [accessed 18 March 2015]

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Fig 16 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://www.zaha-hadid.com/wp-content/files_mf/galaxy_soho_zha_1210_6481.jpg> [accessed 18 March 2015] Fig 17 Aedas, 2013, “Express Rail Link West Kowloon Terminus” in Archdaily, <http://www.archdaily.com/253254/express-rail-link-west-kowloon-terminus-andrew-bromberg/south-view-of-the-station-and-the-proposed-commercialdevelopment/> [accessed 18 March 2015] Fig 18 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://www.zaha-hadid.com/wp-content/files_mf/galaxy_soho_zha_1210_54d51.jpg> [accessed 18 March 2015] Fig 19 Aedas, 2015, “Express Rail Link West Kowloon Terminus” in Aedas, <http://www.archdaily.com/253254/express-rail-link-west-kowloon-terminus-andrew-bromberg/south-view-of-the-station-and-the-proposed-commercialdevelopment/> [accessed 18 March 2015] Fig 20 Zaha Hadid Architects, 2012, “Galaxy Soho” in Zaha Hadid Architects, <http://www.zaha-hadid.com/wp-content/files_mf/galaxy_soho_zha_1210_653481.jpg> [accessed 18 March 2015] Fig 21 UN Studio, 2007, “Mercedes-Benz Museum” in Archdaily, <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/08/1281541696-foto-16-125x125.jpg> [accessed 7 March 2015] Fig 22 UN Studio, 2007, “Mercedes-Benz Museum” in Archdaily, <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/08/1281626966-316234807-3c3b1c7e5c-o-125x125.jpg> [accessed 7 March 2015] Fig 23 UN Studio, 2007, “Mercedes-Benz Museum” in Archdaily, <http://www.archdaily.com/72802/mercedes-benz-museum-un-studio-photos-by-michael-schnell/316234769_55aa413d4e_o/> [accessed 7 March 2015] Fig 24 MAD, 2014, “Absolute Towers” in materialicious.com, <http://mat2.materialicious.com/images/absolute-towers-by-mad-architects-o.jpg> [accessed 4 March 2015] Fig 25 MAD, 2014, “Absolute Towers” in Absolute World - Wikipedia, <http://upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Absolute_World_Tower_1_massing_model.svg/2000pxAbsolute_World_Tower_1_massing_model.svg.png> [accessed 4 March 2015] Fig 26 MAD, 2014, “Floor plan of Builidng D” in archlukeyu, <http://3.bp.blogspot.com/-yrQLO7ICmjw/UzCbJQooYqI/AAAAAAAABdQ/GEud1Cx-alM/s1600/peruarki9.jpg> [accessed 5 March 2015] Fig 27 UN Studio, 2007, “Mercedes-Benz Museum” in Archdaily, <http://www.archdaily.com/72802/mercedes-benz-museum-un-studio-photos-by-michael-schnell/foto_14/> [accessed 7 March 2015] Fig 28 MAD, 2014, “Absolute Towers” in Archdaily, <http://ad009cdnb.archdaily.net/wp-content/uploads/2012/12/50c8c974b3fc4b706200000a_absolute-towers-madarchitects_absolute_mad_1628_by_iwan_baan.jpg> [accessed 20 March 2015] Fig 29 Gizmodo, 2013, “Computing Architecture Based On The Brain” in gizmodo.com.au,<http://img.gawkerassets.com/img/18wcvytv6ibrepng/original.png> [accessed 20 March 2015] Fig.34 East Beach Cafe, 2014,” East Beach Cafe” in Coolplaces <http://www.coolplaces.co.uk/places/uk/england/west-sussex/7910-east-beach-cafe> [accessed 23 April 2015] Fig.36 East Beach Cafe, 2014,” East Beach Cafe Signboard” in thefhd.net <https://www.thefhd.net/east-beach-cafe-unusual-roof-complete-with-metal-waves/east-beach-cafelittlehampton-who-won-london-design-medal-2010/> [accessed 23 April 2015]

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STUDIO AIR

2015 | SEMESTER 1 | FINNIAN WARNOCK LIU TSZ YEUNG, TOM | YEAR 3