Zhang yanxing 778635 journal

Page 1

STUDIO AIR Yanxing Zhang 778635 Semester 1, 2018 Tutor: David Wegman


CONTENT INTRODUCTION PART A CONCEPTUALISATION

PART B CRITERIA DESIGN

A.1 DESIGN FUTURING 2

B.0 CHAKRA

CASE STUDY 1 CASE STUDY 2

A.2 DESIGN COMPUTATION CASE STUDY 3 CASE STUDY 4 CASE STUDY 4

11 12 15

8

A.4 CONCLUSION 23 A.5 LEARNING OUTCOMES 24

38

B.6 TECHNIQUE: PROPOSAL

27

STAGE 1 DIAGRAMI PROCESS 40 STAGE 2&3 TRANSLATION + PSEUDO CODE 42 STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL 45 STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL 46 STAGE 5 ANALYSIS 51

B.2 CASE STUDY 1.0

52

SCRIPT - BRANCHING FIELD 2D ITERATION

54

3D ITERATION

56

54

LINK TO BONE GROWTH SYSTEM

B.3 REVERSE ENGINEERING CASE STUDY 2.0 60 TRANSLATION 63 RESULTS 65

58

60

B.4 EXPANDING THE ALGORITHM

67

CONTINUE FROM B1 67 DIAGRAM 69 TRANSLATION 70 EXPERIMENT 72 ANALYSIS 78 PROPOSAL 80 DEVELOPMENT FROM PREVIOUS OUTCOME MORE ITERATIONS 89

02

TEST 01 94 TEST 02 96 SOLUTION 97 STEP 3 TIDYING & FINSIH

B.1 SCRIPTING THE PROCESS 40

19 20

A.6 ALGORITHMIC SKETCHES

B.5 TECHNIQUE: PROTOTYP

35

B.1RESEARCH FIELDS 38 BONE GROWTH

A.3 COMPOSITION/ GENERATION 16 CASE STUDY 5 CASE STUDY 6

35

RESTRICTION & STRENGTH - SACRAL SACRAL COLLAGE 36

4 7

86

SITE PLAN 103 SIDE ELEVATION SIDE ELEVATION SECTION 107 IN CONEXT 115

107 107

B.7. LEARNING OBJECTIVES 117 B.8. APPENDIX - ALGORITH 118


PART C DETAILED DESIGN

PES 94

L

C.1.1 DESIGN CONCEPT 123

C.3. FINAL DETAIL MODL

CHAKRA_ STRENGTH & RESTRICTION 98

7 7

S AND OUTCOMES

HMIC SKETCHES

ABS PRINTING

172

GROWING BEHAVIOR ON PLAN 124

POWDER PRINTING 174

BONE SYSTEM BEHAVIOR

CEMENT WITH ABS FORMWORK

124

GROWING BEHAVIOR ON ELEVATION

100

123

171

DEVELOPMENT OF FORM

125

127

PLA SECTIONAL MODEL

176

178

PLA SECTIONAL MODEL FINISH 183

FUNCTION/ AMENITY 128

C.4. LEARNING OBJECTIVES AND OUTCOMES 191

ITERATIONS 130 BASIC FORM 135 BEFORE & AFTER

DETAILING/FINALISING

C.1.2 FINAL DESIGN

TIMELINE 191

136 137

CONLUSION 192

139

SITE PLAN 141 GROUND FLOOR PLAN 1:200 FIRST FLOOR PLAN 1:200

REFERENCE 142 143

SECTION 144 ELEVATION 146 INTERIOR 150

C.2 TECTONIC ELEMENTS & PROTOTYPES 158 3D PRINTING 158 3D PRINTING PREPARATION

164

FURTHER MODIFICATION

166

001


INTRODUCTION

DESIGNI

I’m Yanxing and my friends call me Viya. I’m from China and this is my third year studying architecture. Before I came to Melbourne, I studied one year architecture in a Chinese University. In Unimelb, I have done Designing Environments, Studio Earth and Water. As the previous projects show, I’m good at hand drawing, but not very familiar with digital software. Before Air, to be honest, I only have the basic skills for Sketchup, AutoCAD, Photoshop and Rhino and I have touched Grasshopper before. I hope I can explore more about digital design through this studio and establish a deeper understanding about computational design.

STUDIO E

STUDIO W


ING ENVIRONMENTS

EARTH

WATER

1


A.1 DESIGN

Design and sustainment are tools that we environment. As architects, we need to jum future and try to offer possibilities for everyo we should not be restrained by the narrow to communicate with all kinds of disciplines and sustainment. Not only to make our l to re-establish the relationships between offer us infitive possibilities and also simpli redefines design for everyone. The limitati and design threshold has been open to to understand the potential of new techn contribute to future as individual in a colle of computation will help us solve problem But it is also important that we need to k relied on digital. That’s how we can establi

2


N FUTURING

e can use to improve our life, society and mp out of the box to speculate about the one. Facing the serious futuring destructive, and superficial definition of design but try s and embrace a new recognition of design life style more sustainable, we also need n design and digital. Digital technologies ify various complex problems, moreover it tion has been broken out by computation everyone. Thus, we should make efforts nologies and try to figure out how can we ective society. To maximise the advantages ms and at the same time sketch the future. keep our independency from being overish a healthy relationship with digital.

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CASE STUDY 1 “What lies in the future of our cities? How should one grasp the concept of emerging highdensity cities? How can city dwellers be immersed with an enriching experience of nature when its presence steadily diminishes in the face of the ever intensifying concrete inundation? Faced with these challenges, future high-rise buildings need to catalyze a higher level of complexity in our cities for the sake of harmonious civilization...” 1 --- MAD Architects The Absolute Towers, designed by MAD architects in 2012, are also well known as the building of ‘Marilyn Monroe’. The last two blocks of the buildings are featured by its human body-like shapes and a strong sense of fluidity. This twisting form is achieved by rotating each floor’s oval plan at a certain angle with displacement. Noticeably, this kind of torsional high rise is popular today, and one of the most famous projects is the Dynamic Tower in Dubai. In a sense, this project from MAD leads a trend to design the skyscrapers in a more organic way. As quoted above, the architects show a great passion to persuade a possible and sustainable future for architecture and to draw public’s attention to nature, to future,

to sustainability. In the current circumstances I won’t say this project has successfully connected people to the nature, but there’s no doubt that the idea of designing future is sufficiently expressed through creating a new form of building and bringing the speculation of future into public discussion. The more awareness people raise to their relationships to nature and the higher possibilities that architect can bridge public to nature. Nonetheless digital tools can extend the forms of sustainable architecture and efficiently influence or even change the way people live. As a consequent, this will bring chance to architects to alternate the public life style in to a healthier and more sustainable condition.

MAD Architects, Absolute Tower, 2012<https://www.archdaily.com/306566/ absolute-towers-mad-architects> [accessed 4 March 2018]

1 Arch Daily, ‘Absolute Towers / MAD Architects’, 2012 <https://www.archdaily.com/306566/absolute-towers-mad-architects> [accessed 4 March 4 2018]


Project: Absolute Towers Architect: MAD Architects Date: 2012 MAD Architects, Absolute Tower, 2012<http://www.i-mad.com/work/absolute-towers/?cid=4> [accessed 4 March 2018]

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Project: Echoviren Architect: Smith | Allen Date: 2013

Simen| Allen, Echoviren, 2013<https://www.archdaily.com/419306/echovirensmith-allen> [accessed 4 March 2018]

6


CASE STUDY 2 “Design can give experts permission to let their imaginations flow freely, give material expression to the insights generated, ground these imaginings in everyday situations, and provide platforms for further collaborative speculation.”1 --- Dunne, Anthony & Raby, Fiona Echoriven is the first large 3D-printed architectural installation and it took a desktop 3D printer two months to finish. In 2013, this was the very cutting edge design and functioned as a catalyst for discussions about 3D technology in architecture and other disciplines. This program merges art, architecture, technology and nature and it stresses the relationship between artificiality and nature. For me, the project is rough and requires many further developments. However, what I find most interesting is, this project raises the debate about the possibilities of applying 3D in design. At the same time, the other technologies are mentioned to join in the big party of design. In this way, design futuring becomes probable and it allows people to speculate and dream about futuring. By creating an open atmosphere which embraces all kinds of new technology to improve our situations, more chances to a sustainment have emerged. After raising this openness among public, the group of designing will also be extended to everyone, that is, everyone has the chance to speculate and design the future.

Simen| Allen, Echoviren, 2013<https://www.archdaily. com/419306/echoviren-smith-allen> [accessed 4 March 2018]

1 Dunne, Anthony & Raby, Fiona, ‘Speculative Everything: Design Fiction, and Social Dreaming’, (MIT Press, 2013), pp.6

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PART A

CONCEPTUALISATION A.2 DESIGN COMPUTATION

8

When discu compare it w method, com ideas as a d about algor power to des with less ph opportunitie of design en the work fl completely r computation urban conte of data. And multi-discipl


ussing about computation, it is inevitable to with computerisation. Like the reverse-hanging mputerisation helps solve problems and realise designing method, while computation is more rithmic thinking and use the computational sign. That is, computerisation allows us to design hysical restrictions, though computation offer es to think algorithmically and change the mode ntirely. Unlike the procedure of computerisation, flow of computation can be restructured or reversed. Anything has the possibility to trigger nal design: a simple shape, a specific function, ext, required performance or just a collection d computational design always associates with linarily collaborative works. Neverthenless, the

end of the computation design is always unpredictable and the unexpected outcomes always surprise us. In a sense, the process of computation blurs the demarcation of design and construction by not only producing the form and structure, but also research, fabrication and construction. Due to computation, the fabrication and construction can be tested and finished during the deisgn process and this shifts design and construction industries into more interactive system. As computation challenges the existing architectural forms and actualise digital, it also gives designers a new freedom to create with less limits. With the algorithmic design thinking, the whole process will be more logical and trackable and new meaning of the design has come to the production.

9


ICD-ITKE University of Stuttgart, ICD-ITKE Research Pavilion 2015-16, 2016<https://www.archdaily.com/786874/icd-itke-research-pavilion2015-16-icd-itke-university-of-stuttgart> [accessed 11 March 2018]

Project: ICD-ITKE Research Pavilion 2015-16 Architect: ICD-ITKE University of Stuttgart Date: 2016

“In synthesizing material culture and technologies within the expanding relationship between the computer and architecture, this phenomenon defines a digital continuum from design to production, from form generation to fabrication design.� 1 --- Rivka Oxman and Robert Oxman

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1 Oxman, Rivka and Robert Oxman, eds . Theories of the Digital in Architecture, (London; New York: Routledge, 2014), pp. 1


CASE STUDY 3 The ICD, as the leading figure in computational design, built up this projects in 2016, which applies robotic textile fabrication techniques for segmented timber shells. The project starts with researching fabrication techniques and morphological methods at the same with supports from a multi-disciplinary team. The workflow is totally different from the usual ways we are familiar with. It commences researching at different aspects and areas at the same time and these research stages are individually ongoing but they are also relevant to ech other. As a typical computational design, not only the form and morphogenesis

are considered and design, but also the fabrication and construction. Moreover, this is one the most important things that computation can contribute to future: an integral design. with computational power Research, basic formation, tectonics of materiality, fabrication method and performance are happening at the same time in a collective behaviour. In another word, this project indicates that the computation design changes the design process from a linear flow to a more interlinked structure. In response to this shift, working mode of industry will also become more collective and integrated.

ICD-ITKE University of Stuttgart, ICD-ITKE Research Pavilion 2015-16, 2016<https://www.archdaily.com/786874/icd-itke-researchpavilion-2015-16-icd-itke-university-of-stuttgart> [accessed 11 March 2018] 11


CASE STUDY 4 Project: CNC-Milled Screenwall for IBM Architect: Synthesis Design + Architecture Date: 2016

Synthesis Design + Architecture, CNC-Milled Screenwall for IBM, 2017<https://www.archdaily. com/870095/big-data-becomes-architecture-in-this-cnc-milled-screen-wall-for-ibm> [accessed 11 March 2018]

12


Synthesis Design + Architecture, CNC-Milled Screenwall for IBM, 2017<https://www.archdaily.com/870095/big-data-becomes-architecture-in-this-cncmilled-screen-wall-for-ibm> [accessed 11 March 2018] 13


“W

This info influ The mon cha cen pro info des inte patt ‘irre phe

14

Synthesis Design + Architecture, CNC-Milled Screenwall for IBM, 2017<https://www.archdaily.com/870095/big-data-becomesarchitecture-in-this-cnc-milled-screen-wall-for-ibm> [accessed 11 March 2018]

1 Syn milled


CASE STUDY 4

While the project is driven by data, the legibility of that data is abstract rather than literal.”1 --- Synthesis Design + Architecture

s screen wall is a great example of grabbing ormation from a set of data and can data uence and associate with architecture form. e data is from the influence of mobile phones on nthly consumer spending and which perfectly aracterise the project as a show space of a data ntre. By abstracting data and reforming, this ocess demonstrates new form of displaying ormation and introduces possibility to produce sign with power of computation. Another eresting part of this project is the parametric ttern. With the parameters, the previous egular’, ‘non-standard’ or even ‘unrealisable’ enomenon and form can be analysed and

represented. Computer can produce thousands or millions of solutions to achieve this sophisticated tectonic, while this is impossible for human being. The final product works really well and successfully converts the feeling of the data, but I also find that can be more innovative and bald. Why cannot the show space be a unitary structure instead of vertically standing walls? With the fantastic patterning, the whole space can be translated into digital language with a more expressive form. With the infinitive possibilities of computation, we can be more innovative and brave to redefine architecture, instead of restricting ourselves with the established concepts.

Synthesis Design + Architecture, CNC-Milled Screenwall for IBM, 2017<https://www.archdaily.com/870095/big-databecomes-architecture-in-this-cnc-milled-screen-wall-for-ibm> [accessed 11 March 2018]

nthesis Design + Architecture, CNC-Milled Screenwall for IBM, 2017<https://www.archdaily.com/870095/big-data-becomes-architecture-in-this-cncd-screen-wall-for-ibm> [accessed 11 March 2018]

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PART A

CONCEPTUALISATION A.3 COMPOSITION/ GENERATION

The shift from using computer to realise ideas to creating and generating form computationally is actually an inevitable process of design development. ‘Form-finding’ was an earlier version of algorithmic generation and it is also generative design. Without using the digital techniques, the design process of form-finding is similar to the computation design. Both are trying to generate new forms from algorithm. Computerisation can be considered as the phase before shifting to generation. I will not refer Gehry’s works as outcomes of Computational design, as the forms has been predefined and we still can find the trace of compositiona design inside it. Computer helps designers to realise their ideas and solve the complex problems, naturally there will be intentions to explore the capability and potential of computing. Then here comes computation, which changes the mode from using computer to sketch design algorithmically. As the algorithm, computation describes ‘how’ instead of ‘what’.1 Computation redefines design and enables it to have unlimited possibilities. Compared to ‘evolution’, I prefer to describe the computational designs process as mutation. With the finite input, there can be millions of possibilities to have infinitive forms. It is not saying that everyone has to do design with computing or to follow the trend of computation, but I feel there’s urgency to realise and understand the possibilities that computation can bring us. Otherwise, the loss will be our own.

16

1 Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design (2013), 83, 2, pp. 14.


y n s n f al y , , e

e o d

17


Zaha Hadid Architects, Venice Biennale 2012: Arum, 2012<https://www.archdaily.com/269061/venice-biennale-2012-arum-zaha-hadid> [accessed 13 March

This architectural installation called ‘Arum’ is a metal plated structure completely generated from Interestingly, the designer Zaha Hadid Architects pays homage to the leading figures of ‘form-findi Otto. Inspired by the earlier algorithmic design process of Frei Otto, they moved from the material-stru computational basis1. Designers not only simply shifted from the composition to the generational, bu how pioneers like Frei Otto create form through rational method and algorithmic thinking. Starting the computer generates all single forms with parametric scripting and continuously simulates and test Eventually the process ceases, and an art form of algorithm is born. At this project, we can clearly see of embracing algorithmic-based form generation and rejection to be ambiguous about following comp computation. But for this entirely algorithmic-based process, the role or influence of architect is easy to be neglected making during the process, how can designers reflect their own thinking and distinguish from just a s essential. A tendency of over-reliance on computation can be detected already, and I found that’s what with when we try to apply this new way of design. 18

1 Basulto, David, ‘Venice Biennale 2012: Arum’, 2012<https://www.archdaily.com/269061/venice-biennale-2012-arum-zaha-hadid> [accessed 13 March 201


CASE STUDY 5 Project: Venice Biennale 2012: Arum Architect: Zaha Hadid Architectsecture Date: 2012

h 2018]

m algorithmic base. ing’, especially Frei uctural basis to the ut also appreciated from a single pin, tes the new forms. e architects attitude positional design or

Zaha Hadid Architects, Venice Biennale 2012: Arum, 2012<https://www.archdaily.com/269061/venice-biennale-2012arum-zaha-hadid> [accessed 13 March 2018]

d. Besides decisionscript coder is also t we need to tackle

18]

19


CASE STUDY 6 Project: Kuwait international airport Architect: Foster + PartnersDate: 2020 (completion) As most common and representative compositional element, symmetry is achieved in this program through mathematic and algorithmic computation. As symmetry is associated with the Euclidean geometry, limitation emerges when the scales are too small or too big1. Thus a non-Euclidean symmetry is needed to break out the limitation. Specialist Modelling Group at Foster + Partners encode the symmetric form of Kuwait International Airport based on mathematic and algorithmic computation. The airport is featured by its triple rotational symmetry around the centre, and each wing is mirror symmetric. This form is based on the non-Euclidean symmetry derived from research of SMG and generated with digital tools2. Although designers can directly make the form to symmetry, in this program, they shift the rigid way of thinking to a computational mode. By incorporating with the computing and algorithm, they generate the a new ‘symmetry’ instead of only consider it as a simple composition. At the first glance, the form looks quite simple and seems achievable through traditional designing method. While the real fascination comes from the depth of thinking of algorithm and mathematic and efforts on generating new forms with new technologies.

20

1 De Kestelier, Xavier, ‘Symmetry aS Geometry Kuwait international airport’, Architectural Design, 83, 2 (2013), Pages. 28 2 De Kestelier, Xavier, ‘Symmetry aS Geometry Kuwait international airport’, Architectural Design, 83, 2 (2013), Pages. 31


Foster + Partners, Kuwait international airport, 2011<https://www.archdaily.com/175164/kuwait-international-airport-foster-partners> [accessed 13 March 2018]

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A.4 CONCLUSION Throughout part A, possibilities and potential of computational design has been discussed and explored. As designers, we are responsible to collaborate with all disciplines to solve problems and improve environmental circumstance and design a sustainable future. Computation enables us to embrace the future with a new definition of design. With algorithmic thinking and parametric modelling, there are more chances of new form generation and rethinking of design. Computational design also encourages us to work with multi-disciplinaries and form an integral system which design the form, fabrication and construction as a whole. As the current trend, digital design will play a significant role in designing environment. When we accept the possibilities this way of design can bring us, it is necessary to rethink our character as designers and figure out how can express the true self. I intend to use research on a specific natural system as a precedent and translate the variation of the process into script language. Innovatively, it is the action and transformation will be learned about and articulated in an architectural form instead of the morphogenesis of the system. By this approach, I will have the chance to shift the way I think to a real algorithmic thinking. This process enables me to design with less limitation and stimulate my desire to explore and create new form in my own language.

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A.5 LEARNING OUTCOMES I will say what I knew before was computerisation, instead of computation. I used to consider it as only a digital tool to assist realising ideas and I have always underrated it with ignoring its great potential. Now after learning only a small part of the computational world, I have completely abandoned my bias about it. During the exercise, I experienced the ‘happy surprise’ for several times, which I have never encountered before. I’m surprised that I am starting to release myself from all kinds of restrictions. When I was doing my previous design I always restricted myself with various rules, but with this new understanding and knowledge of computation I have the chance to change the rigidness of my previous works. Not only about the form of design, there is an opportunity to rethink about design in a more logic and innovative ways. For instance, for the design of water studio, I may put Kahn’s thinking or ideas into the design in a parametric represeantation instead of the direct forms from him. I will also try to discover more about the materiality with the possibilities brought by computing.

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25


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A.6 ALGORITHMIC SKETCHES This model is based on research on the bone growth system. As a very first try to grab information from a natural system and translate them into an algorthimic language, I found I successfully convey process and represent it in a very strong form. The thinking process behind this model is different from any of my previous design and I feel a big potential to design through this appraoch. As my chakra is Sacral representing creativity, computational design offers me a chance to release the creativity inside me and break out the restrcition I put on myself. The complexity of these models is beyond any of my earlier works, while the algorithmic is relatively simple. Just like discussed in the previous session, the computational tools simplify the process and entirely changed the workflow.

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SACRAL COLLAGE 28


A.6 ALGORITHMIC SKETCHES AA DRIFTINGWOOD VARIATION EXERCISE

29


A.6 ALGORITHMIC SKETCHES AA DRIFTINGWOOD VARIATION EXERCISE

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31


PART B

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33


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B.0 CHAKRA RESTRICTION & STRENGTH - SACRAL The Sacral Chakra is featured by creativity, emotion and movement. For us, the creativity can be the restriction and strength at the same time. We both have a great ability and strong desire to create, while our natures are too ‘shy’ to express ourselves and we sort of refuse to show outside what we are capable of. Besides this, sometimes we instinctly restrain ourselves when we are creating or expressing ourselves and we are often trapped by these obstacles without a real freedom.

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B.0 CHAKRA SACRAL COLLAGE The intention of this collage is to answer Sacral Chakra and also to indicate my own weakness and strength. The feeling of movement, emotion and creativity are strongly represented by two dancers. The interlocking between them shows a sense of balance, like Yin and Yang. Here, I will say, comes my ability to create, while noticeably the movement actually is governed by the golden ratio curve. I added up this curve subconsciously, and I think this just answers my weakness: always trying to restrain myself.

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B.1RESEARCH FIELDS BONE GROWTH - Cartilage in the region of epiphyseal plate next to the epiphysis to grow by mitosis (replication) - Chondrocytes next to diaphysis age and degenerate (cartilage stops growing and being generated) - Osteoblast move in and ossify the matrix to form bone (ossification in the centre) - Cartilage growth ceases and the epiphyseal plate completely ossifies, only the epiphyseal line remains (stop growing in length) - Continue to increase in the thickness or diameter throughout life in response to to stress from increased muscle - Osteoblasts in the periosteum from compact bone around the external bone surface. (external strong surface) - Osteoblasts in the periosteum break down bone on the internal bone surface around the medullary cavity (inner structure changed and form a void)

SEER Training Modules, BONE DEVELOPMENT & GROWTH, U. S. National Institutes of Health, National Cancer Institute<https://training. seer.cancer.gov/anatomy/skeletal/growth.html> [accessed 24th March]

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ENDOCHO

- M chondro - Ca perichon - Ca - Pe - Pe - Ca at the en - Se - Ca surface a


ONDRAL OSSIFICATION

esenchymal cells differentiate into ocytes artilage model of the bony skeleton and the ndrium form apillaries penetrate cartilage erichondrium transforms into periosteum eriosteal collar develops artilage and chondrocytes continue to grow nds of bone econdary ossification centres develop artilage remains at growth plate and at joint as articular cartilage

Marieb, Elaine Nicpon,Hoehn, Katja, Bone Formation and Development, OpenStax, 2008 <https://opentextbc.ca/anatomyandphysiology/> [accessed 24th March]

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B.1 SCRIPTING THE PROCESS STAGE 1 DIAGRAMI PROCESS 1. Centre point 2. Outwards growth 3. Invasion of new structure 4. Formation of new secondary points 5. Secondary outwards growth 6. New material replacing the elder structure 7. Formation of the whole structure

40


41


B.1 SCRIPTING THE PROCESS STAGE 2&3 TRANSLATION + PSEUDO CODE 1

2

3

Origin geometry

Origin

Create Point

Expand outwards to create bounds New centre geometry Expand outwards towards bounds New Secondary Centres within bounds Expand outwards towards bounds

Geometry massing Material effect New origin New geometry massing New effect New origins New massing New effect

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Create sphere Trim sphere Facet dome Centre Point Create sphere Trim sphere Facet dome New offset Points Create spheres Trim spheres Create circles to tangents

4 Crea orig Crea Soli Pop Face Pipe [var

New Crea Soli Pop Face Pipe [var

New Crea Soli Pop Circ Pipe [var


ate Point at gin ate sphere id difference pulate geometry et dome e riations]

w Point ate sphere id difference pulate geometry et dome e riations]

w Point ate sphere id difference pulate geometry cles to centres e riations]

43


n= 20

n= 25 (selected)

n= 60

TF

44

n= 80

n= 80 (selected)

n= 10

n= 40

n= 68

n= 75

n= 100

TFF

n= 140

TTF

n= 180 (

T


00

5

(selected)

TTFF

B.1 SCRIPTING THE PROCESS STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL

n= 160

POPULATE GEOMETRY NUMBER (CENTRE)

n= 100

POPULATE GEOMETRY NUMBER (SECONDARY CENTRES)

n= 200

TTFFF (SELECTED

POPULATE GEOMETRY NUMBER (OUTTER SKIN)

CULL PATTERN (CENTRE)

45


B.1 SCRIPTING THE PROCESS STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL

CULL PATTERN (OUTTER SKIN)

FRAME FORM

NUMBER OF SECONDARY CENTRE

46

TF

TFF

all piping

all mesh

n= 2

n= 3 (selected)


TTF (SELECTED)

all mesh+pipe

n= 4

TTFF

outter: mesh+pipe centre: mesh secondary: mesh

n= 5

TTFFF

outter: pipe centre: mesh+pipe secondary: mesh (selected)

n= 6

47


TF

48

TFF

TTF

R= 0.2

R= 0.5

R= 0.5

R= 0.2

R= 0.5

R= 0.8

n


B.1 SCRIPTING THE PROCESS STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL

TTFF

R= 1 (selected)

n= 1.5

TTFFF (selected)

R= 1.2

n= 2 (selected)

CULL PATTERN (CENTRE MESH)

FACET DOME CELL RADIUS (CENTRE)

FACET DOME CELL RADIUS (OUTTER SKIN)

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B.1 SCRIPTING THE PROCESS STAGE 5 ANALYSIS

We propose this structure can be used as a p

the height limitation makes people can only s

The outer skin symbolizes the primary out

relates to our coexisting strength and weakn

problematic. The cells are more like being pu its relevance to the chakra and bone system

OUTTER SKIN

CENTRE

SECONDARY CENTRES

50


pavilion and a contemplating space. The inner cell is more private than the outside corridor and

sit down on ground, which gives us a chance to stop and think.

twards and the inner cells is representing the secondary growth. This symbiotic relationship

ness, as it shows our creativity is depressed by our own restrictions. But the form itself can be

ut together irrelevantly and the connection between them can hardly be detected. Due to this, is weak.

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B.2 CASE STUDY 1.0 This script is by calculating the shortest walk to simulate a branch growing behavior. The reason we chose this script is that we also want to translate the growth of bone in a very organic way. The idea of using shortest walk is logic and the nature of growth. Due to the simplicity of this script, I found there are possibilities to play around, as it can cooperate with many other forms.

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B.2 CASE STUDY 1.0 SCRIPT - BRANCHING FIELD 2D ITERATION ITERATION 1 PROXIMITY GROUP NUMBER

n= 2

n= 3

n= 5 (or

ITERATION 2 SUB-CRUVE DOMAIN

n= 0.1

n= 0.3

n= 0

ITERATION 3 PRUNE TREE MIN.

n= 4 (original)

54

n= 6

n=


riginal)

0.6

=8

n= 10

n= 0.8 (original)

n= 9

n= 20

n= 1

n= 10

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B.2 CASE STUDY 1.0

SCRIPT - BRANCHING FIELD 3D ITERATION

original

increase

n= 3

n= 5

n= 8

r = 0.1

r=1

r = 2.5

delaunay

56

move upwards

delaunay with one start point

connection n=0


ITERATION 1 - START POINT

average ITERATION2 - PROXIMITY GROUP AMOUNT

n= 20 ITERATION3 - PIPE RADIUS

random

variable pipe ITERATION4 - DIVIDE CURVE

connection n=6

connection (+move) n=5 57


B.2 CASE STUDY 1.0

SCRIPT - BRANCHING FIELD LINK TO BONE GROWTH SYSTEM

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B.3 REVERSE ENGINEERING CASE STUDY 2.0

Kokkugia, ISAW, 2007 <http://www.kokkugia.com/iSAW> [ accessed 1st April]

PROJECT: ISAW by JONATHAN PODBORSEK + ROLAND SNOOKS

The ISAW project is trying to weave together disparate programs in

center and form derives from the foam lattice. It achieved a strong

entirety. We chose this project as we also need to improve our prob through algorithmic languages.

60


n the redevelopment and hyper densification of Warsaw’s urban

g connection between each space and establish a fine integral

blem of lacking connection and learn how to create usable space

61


1

2

4.1

3

4.2

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B.3 REVERSE ENGINEERING TRANSLATION 1. BOX 2. POPULATE 3D 3. VORONOI 3D 4.SCALE CELLS/FACES TO CENTRE OF EACH 5.FINDING END OF CELL/FACES 6. CREATE MESH THROUGH THE POINTS 7. SMOOTH MESH 8.CULL THE OUTER MESH

6

7

8

63


64


B.3 REVERSE ENGINEERING RESULTS During the reversing engineering, Grant and I had very different ideas to achieve the form. My instinct is to use the Voronoi 3d command and find the edge, then pipe them (I have a great obsession with the pipe command since I knew it). The problem of my method is that the variation of connection and joints can never be achieved. Both of our methods didn’t work out. After some researches, we found that we can use the very basic element points to build mesh as illustrated in previous pages. What I found really interesting during this process is that we are so drowned and trapped in the existing script. Referring back to my previous argument in part A, besides the possibilities these techniques brought us, they also limit our ability to create new stuff. With all these ‘convenient’ commands , we barely think deeper with what we are doing. And the final successful outcome is rather simple to use the most basic elements to create the forms we want. I find this is a little bit ironic, that we think the existing function of the software can reduce our workload. It is never the case. After this case study, I find we need to dig deeper for those stuff we are familiar with and then we can achieve a better understanding of what we have now and what we can create in the future.

65


66


B.4 EXPANDING THE ALGORITHM CONTINUE FROM B1 - FOCUE ON BEHAVIOUR: ONGOING GROWTH INVADED BY GROWT OF NEW STRUCTURE

- MORE CONNECTIONS BETWEEN TWO SKINS TO ACHIEVE A MORE INTEGRAL FORM

- MORE CONNECTIONS TO OUR STRENGTH AND RESTRICTION, BOTH FORMALLY AND FUNCTIONALLY

67


68

1

2

4

5


B.4 EXPANDING THE ALGORITHM DIAGRAM 1. Centre point 2. Outwards growth 3. Primary structure with ongoing growth 4. Formation of new secondary points 3

5. Secondary outwards growth 6. New material invading the primary strcuture and form blobs

6

69


B.4 EXPANDING THE ALGORITHM TRANSLATION RANDOMLY DISTRIBUTED POINTS CREATE BASE GEOMETRY

FACET DOME TRIM WITH BREPS

CREATE SUBTRACTING GEOMETRY

CREATE SPHERE SCALE AND MOVE SPHERE

REMOVE PORTION

MESH INCLUSION DISPATCH

CREATE SECOND SHELL

CREATE CONNECTIONS BETWEEN SHELLS

SCALE DECONSTRUCT BREP LINE BETWEEN TWO POINTS

FRAME PANELS

70

PIPE DECONSTRUCT BREP


CENTRE

POINT

ATTRACTORS

CHARGED POINTS FIELDS

GROWTH TO ATTRACTOR

FIELD LINES

GROWTH ON THE SHELL

POPULATE 3D EVALUATE FIELD CULL PATTERN

MOUNTING

DIVIDE CURVE CULL PATTERN SPHERE

MERGE TO A UNION

RANDOM RADIUS FOR SPHERE BREP TO MESH SMOOTH MESH

71


B.4 EXPANDING THE ALGORITHM EXPERIMENT

FRAME CELLS AMOUNT

n= 19

CUT AWAY CELL FACTOR

n= 0

n=1.152

n= 1.234

n= 0.971

INNER CELL SCALE FACTOR

72

n=48


n= 124 (selected)

n=237

n= 1.869 (selected)

n= 2.568

n= 0.778

n= 0.621 (selected)

n=360

n= 2.978

n= 0.257

73


74

no connection (selected)

one to one connection

pipes

panels

n= 6

n= 10

reduced one to one connection

pipes + panels (selected)

n= 20

c

pip wit

(do


shift connection

pes + panels th cull pattern

random omain: 8-12)

B.4 EXPANDING THE ALGORITHM EXPERIMENT

reduced shift connection

outer shell - pipes + mesh inner shell - pipes

RELATIONSHIP BETWEEN THE DOUBLE LAYERS

MATERIALITY OF THE FRAME

RADIUS OF INEER BALL random (domain: 6-12) (selected)

75


B.4 EXPANDING THE ALGORITHM EXPERIMENT

POSITION OF POINT FIELDS

DENSITY OF OUTER BLOBS

DENSITY OF INNER CELLS

Pt A - close Pt B - far

n= 0.6

T

Pt A - close Pt B - close

n= 0.5

FTF

SMOOTHING LEVEL l= 0 76

l= 3


e e

Pt A - close Pt B - far

n= 0.4

3T10F

l= 12 (selected)

close to each other (selected)

n= 0.3 (selected)

FTFTFTF FFTFFFT

l= 48

far from each other

n= 0.1

FTFFTFFFF FTFFFFFF (selected)

n= 100 77


B.4 EXPANDING THE ALGORITHM ANALYSIS

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79


B.4 EXPANDING THE ALGORITHM PROPOSAL

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81


B.4 EXPANDING THE ALGORITHM PROPOSAL

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83


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B.4 EXPANDING THE ALGORITHM ANALYSIS Formally the framing is representing our restriction on our creativity and the blobs are showing our intention to express ourselves and desire to create amazing stuff. We imagine the strong feeling of dynamism will evoke the willing to create. Also the intimate connections between them indicate the integral relationship between our strength and weakness. For the function, we want this to be working as an open and public studio. Everyone is encouraged to use this space to create what they want. In a sense, our rejection of showing our creativity will dissolve in this environment. The transparency of the space allow public to see what is happening inside the space, which will give a chance to public to raise their intention on creativity.

Problem: -

The rigid joint of the blob and pipes makes they are more individual instead of integral.

-

The use as a studio is not convincible.

85


B.4 EXPANDING THE ALGORITHM DEVELOPMENT FROM PREVIOUS OUTCOME CORE IDEA

INTENTION

CENTRE POINT

CREATE POINT

CREATE OUTER SHELL

CREATE INNER SHELL

CREATE FACETED DOME MAKE AN OPENING IN THE DOME SCALE TO CREATE INNER DOME CREATE LINES BETWEEN SHELL VERTICES

CREATE CONNECTIONS BETWEEN SHELLS

GENERATE AMORPHOUS GEOMETRY ON FRAME

CREATE TABLE

CULL LINES BELOW HEAD HEIGHT PIPE ALL FRAME SECTIONS

GENERATE RANDOM SPHERES ON OUTER SHELL GENERATE RANDOM CONNECTION CREATE TABLE FORM GENERATE RANDOM TABLE

SPHERES

SPHERES

ON

SHE

THROUGHO

TRIM TABLE SURFACE FLAT CREATE LINES BETWEEN TABLE AND FRAME

GENERATE RANDOM SPHERES ON THE LINES CREATE AMORPHOUS CONNECTION TO FRAME

ADJUST DISTRIBUTION AND SCALE OF ALL SPHER

SMOOTH TOGETHER ALL GEOMETRIES 86


L

ELL

OUT

RES

GRASSHOPPER COMMANDS

POINT POP3D -> FACET DOME -> TRIM SPHERE -> MESH INCLUSION -> DISPATCH SCALE LINE CULL DUPLICATES (TOLERANCE) BOX -> MESH INCLUSION -> DISPATCH PIPE DIVIDE LENGTH + AREA CENTROID SPHERES (RANDOM SCALE) DIVIDE LENGTH -> CULL PATTERN SPHERES (RANDOM SCALE) CURVES POPGEOMETRY + DIVIDE LENGTH -> CULL SPHERES (RANDOM SCALE) BOX -> MESH DIFFERENCE CLOSEST POINT -> LINE DIVIDE LENGTH -> CULL DUPLICATES SPHERE (RANDOM SCALE) POINT -> LENGTH/FORCES -> SCALE GRAPH MAPPER RANDOM VECTORXYZ CULL PATTERN UNION -> WEAVERBIRD SMOOTHING 87


n= 87 cut away factor= 2.2

l=0

cube

88

n= 87 cut away factor= 2.2

l = 20 (selected)

smoothed cube

n= 87 cut away factor= 2.2

l= 50

sphere

s


B.4 EXPANDING THE ALGORITHM MORE ITERATIONS

POPULATE 3D CELL AMOUNT n=153 cut away factor= 1.339 (selected)

n= 248 cut away factor= 0

SMOOTH LEVEL l = 100

smoothed sphere (selected)

l = 200

BLOB FORM triangles

89


B.4 EXPANDING THE ALGORITHM MORE ITERATIONS

OUTER BLOBS DISTRIBUTION linear decay

OUTER BLOB SCALE

BRIDGING

BRIDGING BLOBS

90

small

one to one

even decay

imbalance (selected)

large

one to one with cull pattern (selected)

cull


even distribution

super dense

heavy top

random

random decay (selected)

light top

fully shift

shift with cull pattern

no connection

offset

random cull answering the outer blobs ďźˆselected)

even 91


cull + offset (selected)

multiple

even

single layer

f= 0.9

f= 1.5 (selected)

sphere blobs

92

smoothed blobs

random blobs


B.4 EXPANDING THE ALGORITHM MORE ITERATIONS

CONNECTION TO TABLE fully

linear

RELATIONSHIP BETWEEN SKIN f= 1.5

f= 0.5

CENTRAL TABLE flat top with loft

flat top with blobs (selected)

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B.5 TECHNIQUE: PROTOTYPES TEST 01 STEP1: TO GET THE MODEL PRINTABLE, WE HAVE DONE THE FOLLOWING MODIFICATION:

original

union

STEP 2 TEST PRINGTING WITH MAKERBOT

Rhino Model

94

In Makerbot

Printing


smooth

flat base

cap hole

FAIL!!!

Problems: - the pipes are too close to 2 mm, which requires too many supports and also - more than 22 hrs. - better with powder printing Preview

95


B.5 TECHNIQUE: PROTOTYPES TEST 02 STEP 1 REDO PRINTING MODEL AND TEST

Rhino Model

STEP 2 PRINTING

96

In Makerbot

Printing

STEP 3 REMOVIN


SOLUTION

To have a thicker structure, we have a sectional prototype and then scale it to a printable size. Luckily, we have this printed with Grant’s own printer. But next time. time mangement and printability should be well considered .

g Preview

NG SUPPORTS

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B.5 TECHNIQUE: PROTOTYPES STEP 3 TIDYING & FINSIH The final outcome reveals that the 3D printing techniques is the optimal options for our project. The organic and dynamic forms can be achieved through this method. But this doesn’t mean that we have less work to do, on the contrary, the model need to be designed with more consideration and details. We also need to relate this to the future construction, when it is built in a bigger scale in real life, not only the structure but also more factors need to be included. Here I found that is the chance we can improve our design.

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99


B.6 TECHNIQUE: PROPOSAL Overall, we are satisfied with outcome and the project has successfully answered our restriction and also the strength. But at the same time, we feel there could be more possibilities that we can have for this proposal. Again, we were trapped in our restriction and we were too determined for we want in the end. One of the biggest advantages of parametric design was missed during this process and for the development, we want to try more forms and to get more exciting outcomes, instead of sticking into one result.

100


101


102


B.6 TECHNIQUE: PROPOSAL SITE PLAN The site is located at a big open space near Dights Falls. The high density of plants and Yarra River provides a cozy environment for public studio. As this is one of the major recreational place in this area, this location perfectly suit our intention to encourage the public to create. The steep cliff opposite to the site will also allow people a chance to view the project from above.

10m

103


B.6 TECHNIQUE: PROPOSAL

BIRD VIEW 1:100

FRONT ELEVATION 1:100

104


PLAN 1:100

REAR ELEAVTION 1:100

105


B.6 TECHNIQUE: PROPOSAL

SIDE ELEV

106


SECTION

VATION

SIDE ELEVATION

107


B.6 TECHNIQUE: PROPOSAL

108


109


B.6 TECHNIQUE: PROPOSAL INTERIOR

110


111


B.6 TECHNIQUE: PROPOSAL

INTER

112


RIOR

113


114


B.6 TECHNIQUE: PROPOSAL IN CONEXT As mentioned before, the studio will be open to public and we intend to evoke not only our own creativity but also everyone. The panels on outer skin will interactively show what is happening what is happening inside the studio, by which we hope to dress more interest from the visitors.

115


116


B.7. LEARNING OBJECTIVES AND OUTCOMES In the passing few weeks, my feelings about all these has been changing dramatically. At the beginning, I was excited to learn an entirely new way to design and also to explore the inner part of me. I believed that I could resolve my restriction with the infinite possibilities brought by parametric design. At least, I can be free this time. Starting from the system and algorithm is totally different process from what I had before. I tried not to restrain myself, while the final outcomes revealed that, the restrictions I put on myself were still haunting around. As the script getting more complex, I strated to have a very strong feeling of insecurity. The fear of cannot control the situation makes me feel like floating in the air. I started to rethink my understanding of my restriction. I found I might be wrong before, as I somehow enjoyed the feeling of creating with the restriction and sometimes something beautiful has been done. After introducing the proposal to the project, I felt the I was on the right track again, and this made me realise what I enjoyed actually is to have the control of what I’m doing instead of having restriction. Because I’m familiar with this way of design (with some clear purposes) and I feel safe to do this. The new way of parametric design requires me to have a deeper understanding then I can get the control on this. My weakness was still there and restraining my creativity. The restriction can be easily found in our final proposal, but I feel happy to see them. At least this time, I know what my real problem is and I’m prepared to have positive attitude to accept and solve it. I’m really looking forward to the next stage, that we can truly go wild. With a deeper understanding of what we have now, I do believe that we could have more chances to create something amazing and also overcome our weakness.

117


B.8. APPENDIX - ALGORITHMIC SKETCHES Field is the main area I was playing around, as I found it interestingly simulate a natural behavior and the logic behind is very clear. Also, I applied this technique into our program, as we want to give dynamic and organic characteristics to the form. The attractors, also can be thought as a type of restriction, guide the curves to create a such beautiful form. I can’t help thinking, if I can never get rid of those restrictions on myself, how can I embrace them and make them the positive parts of me. Maybe the fact I’m too focused on the restriction is the real blockage I have...

118


119


PART C According to the feedback and self- evaluation for the previous projects, the most needed change for our design is to be wilder, for both of our form and our ideas. At the same time, we are satisfied with what we have for the existing concept and forms. How to become wild? The first thought is referring to our natural system, bone. The nature of bone system is growing and expansion, which is brutal and energetic. This is also the true nature of every creature and it give us a chance to go wild. Consequently, the key worlds for next stage are expansion and growing. We intend to make the volume increase, not only two-dimensionally but also on elevation. Along with the growth, the spaces also get more variable and complex. Thus, more possibilities of forms and functions have been brought to our designs. Another significant idea of the final design is that we are determined to get an architectural outcome. I used to think having too much architectural thinking could be the blockage of our creativity, but this time we decided to play with it. Surprisingly, when we were trying to introduce architecture to the project, the direction became very clear and our amplifications become rational. ‘Architecture is dancing with shackless on’ is my favorite quote and I think that is exactly what we are doing.

120


121


C.1.1 DES

CHAKRA_

For the final studio is not system. Thro

Creativity, as have a great what I am cap or always go parametric d attitude to cr the chakra, b problem and language.

122


SIGN CONCEPT

_ STRENGTH & RESTRICTION

proposal, we decided to continue developing the previous project, a public studio. This t only answering the brief but also our response to our Sacral Chakra and biomimetic ough this design not only our blockage will dissolve, but also for everyone.

s the major feature of Sacral chakra, is my strength and also blockage. I believe in myself ability and potential to create great stuff, but at the same time I refuse to show others pable for. Besides being too shy, I spontaneously restrain myself by setting rules to myself oing for the safest way. To jump out of the box, I try to engage and explore more with design and wish to truly release myself. In the final design, we intend to show an open reativity, hence we can also overcome our weakness. Not only the forms representing but the typology and function are our response. In another words, we want to solve the d express ourselves in architectural language, instead of using the very direct and formal

123


GROWING BEHAVIOR on plan

C.1.1 DESIGN CONCEPT BONE SYSTEM BEHAVIOR

The basic language of the project is translated from the bone growth system and the translation ne always found the answer in the bone growing behavior. With this close relationship with our system, And that is the chance we can have with parametric design. We also had this kind of precedents in ou knowledge and rules, the transformations and reference are always superficial. Due to the different d parametric design, there are indeed less limitations on both thinking and designing. It is not the form have is the essence of the nature and a new way of understanding our environment.

124


GROWING BEHAVIOR on elevation

ever stops. Every time we got stuck, we , the project is more natural and logical. ur previous design, but with the existing design process and methods offered by ms we learned from our system, what we

125


MORE DYNAMIC MORE CONNECTED AND INTEGRATED

126


C.1.1 DESIGN CONCEPT DEVELOPMENT OF FORM

GROWING AND EXPANDING

The timeline on left side is clearly showing the track of the form refining. All the amplifications and developments are based on the concept discussed before. ‘Connected’, ‘integrated’, ‘dynamic’, ‘expanding’ and ‘growing’ are the keywords of our sacral chakra and bone system. Engaging with these key concepts, we have successfully illustrated them by rationalizing the forms.

127


C.1.1 DESIGN CONCEPT FUNCTION/ AMENITY This intention to be architectural is essential for the final stage and it is also the most difficult part to achieve. To give the formal outcome architectural quality, we decide to introduce function to the project, which is related details. Before we started the final form, we made a bubble diagram. It is interesting to put a relatively old method into the new (parametric) design process. Putting these two seemingly reversed processes together generated an unexpected outcome. The bubble diagram clearly illustrates what functions we want and how we expect people to use the space, which give us a clear guide to follow and help us use algorithmic language to meet the brief. I used to think to a true parametric design should be entirely independent from the existing design methods. While what we gained at last shows that there is no need to set distinct boundary of different design methods. Taking the good parts of each can sometimes create unexpected good outcome.

128

P Spa

Mode Spac


Presentation ace/ Exhibition

Meeting Space

el ce

Individual Pod Bridging/ Corridor

129


C.1.1 DESIGN CONCEPT ITERATIONS

Since we decided to improve the design based on the previous form, there are less formal iterations compared to pr and detailing. The criteria for form-selecting is based on the main concepts (chakra + bone) and the program. Beside to meet the users’ needs and at same time shows the function of the space. The outcome indicates that it is an effecti

INDIVIDUAL PODS DENSITY (CULL PATTERN)

DISTRIBUTION ON PLAN

DISTRIBUTION ON ELEVATION

130

n= 50

two sides

even distribution at same level

n= 40

even

culled even distribution at the same level


revious process. The iterations are mainly for the spatial arrangement es the form of building itself, we also consider the joinery, which needs tive way to make the parametric form more architectural and realistic.

n= 25

n=10

n= 32.608 (selected)

dense blob

culled dense blobs (selected)

centralised

even districbution at different height

irregular distribution on different height

culled irregular distribution on different height (selected) 131


n= 1

n= 20 (selected)

frame sphere

solid

sphere blobs

132

smoothed blobs

n= 50

facet dome frame

random blobs

face

fl


C.1.1 DESIGN CONCEPT ITERATIONS

n=100

et dome frame with panel

flat top with loft

n=200

SMOOTH LEVEL

smoothed facet dome frame with panel (selected)

CENTRAL TABLE

flat top with blobs (selected)

CENTRAL TABLE

133


PRESENTATION SPACE

1

2 INDIVIDUAL PODS

134


MODELLING SPACE

C.1.1 DESIGN CONCEPT BASIC FORM As the bond structure, there’re two basic forms of each space. Like our strength and restriction, these two forms are integrated with each other, but at the same time they are against each other. This conflict but interesting relationship increases the richness of the space and give the building a chance to attract public attention. The form differs because of the different function and also for showing the individuality and variability of people using the space. For instance, there are individual pods set up within entire framing structure, blobs or the combination of two. These distinct forms are trying to meet variable preference of working place.

135


BEFORE

AFTER

136


C.1.1 DESIGN CONCEPT DETAILING/FINALISING One of the most important and successful development we had is to detail and finalize the model. As shown in the before and after image, we managed to smooth the interior and add ramps for people to better interact with the space. This is how we make this project ‘architectural’ and more practical. The process of modification and adjustment was very tedious, while that is the proof of how we have the control of the project. Making the space usable and accessible is essential for our project, otherwise there will be no meaning left but the forms.

137


138


C.1.2 FINAL DESIGN

139


140


C.1.2 FINAL DESIGN SITE PLAN A big area of grassland in Dights Falls has been selected to be the site for our studio. We believe sitting in this natural and open environment will help people feel less stress and easier to create. The openness of the site allows us better display our works and its close relationship with nature and public will help us realise our intention. Besides the blobs inside the building, we have extended this form to the environment. However, the lack of interaction with site is still distinct, such as the transition of ground surface from exterior to interior. 141


C.1.2 FINAL DESIGN SITE PLAN

From the plans and sections, the variability and complexity can be clearly viewed. We intend to offer the visitor This is also showing our engagement with parametric design and biomimicry system. These forms can never be have been modified to be accessible and usable. That’s how we alter the sculptural quality to architectural.

A A

GROUND FLOOR PLAN 1:200 142


rs and users an ultimate experience of movement and dynamism, which is the key features of the Sacral Chakra. e purely human-made and the computational power is essential. Besides the spatial experience, all these spaces

B

B

FIRST FLOOR PLAN 1:200 143


C.1.2 FINAL DESIGN SECTION

144


SECTION A-A

SECTION B-B

145


C.1.2 FINAL DESIGN ELEVATION

FRONT ELEVATION

SIDE ELEVATION 146


147


C.1.2 FINAL DESIGN

148


149


150

C.1.2 FINAL DESIGN INTERIOR


151


152

C.1.2 FINAL DESIGN INTERIOR


153


154

C.1.2 FINAL DESIGN INTERIOR


155


C.1.2 FINAL DESIGN INTERIOR

156


FLYING TRHOUGH VIDEO BY GRANT LI VIDEO LINK: HTTPS://YOUTU.BE/ZDQJMO3LSGM PROGRAM: BLENDER FRAMES: 590 FRAMERATE: 8 FPS (RENDERED AT 10 FPS) RENDER TIME: 98 HOURS

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C.2 TECTONIC ELEMENTS & PROTOTYPES 3D PRINTING Our biomimicry design asks for a highly flexible and nonrestricted construction method and there is no doubt that 3D printing is the most suitable technique. The flexibility and applicability make our random and curvy form practical in real life. With acknowledging the convenience and possibilities brought by 3D printing, we also understand this does not mean less work to do with this construction method. There are indeed less limitation for 3D printing than the traditional technologies, while the restrictions still exist. Scale, materiality, buildability and the other essential factors need to be taken in consideration. When the scale goes bigger, there always will be more problems. Moreover, this technique is new and developing. There are so many difficulties for real constructions still waiting to be solved, for instance, we planned to use the translucent plastic as the main material while we cannot find any examples of plastic being primary structural members. This can be easily done with the small-scale project, while when it is required to be a size of two-story building, it is really a problem. Thus, we propose two methods to build: on site printing and printing formwork.

158

1

3

1. 3Dnatives, 3D Printing: 2. Building Radar, How revolutionise-the-constru 3. Direct Industry, Indust the-looking-glass/> [acce 4. Polymaker, PolyPlus™ P


2

4

: The Future of Construction, 2018<https://www.3dnatives.com/en/3d-printing-construction-310120184/> [accessed 11 May 2018] 3D Printing could Revolutionise the Construction Industry, 2015<https://buildingradar.com/construction-blog/how-3d-printing-coulduction-industry/> [accessed 11 May 2018] trial 3D Printing Steps Through the Looking Glass, 2017<http://emag.directindustry.com/article-long/industrial-3d-printing-steps-throughessed 11 May 2018] PLA Translucent Colour, 2018<http://www.polymaker.com/shop/polyplus-pla-translucent-colour/> [accessed 11 May 2018]

159


C.2 TECTONIC ELEMENTS & PROTOTYPES 3D PRINTING For the onsite printing, we first want to use the D-shape technology. This method uses binder-jetting to erect the structure layer by layer and can effectively shorten the construction time. As shown in the image, the building can be finished by only one printer with minimal required labours. However, considering the complex internal space and framing form, it will be problematic to print the whole building at once.

160


161


162


C.2 TECTONIC ELEMENTS & PROTOTYPES 3D PRINTING Besides using the crane printer, robotic arm is also applicable for our project, and the Contour Crafting technique can be used here. The structure can be printed separately at the same time and joined afterwards. This method will be less risky than the DoP method, while the joints need to be carefully taken care of.

163


C.2 TECTONIC ELEMENTS & PROTOTYPES 3D PRINTING PREPARATION For the final model, we planned to have three models: overall form model, sectional model and formwork model and we try to engage with both plastic and powder printing. To get it printed with different methods, we can better understand 3D printing technique. Besides the modification we had before (capping, meshing, etc.), we also adjust models to suit the different types of printing.

SELECTING SECTIONAL MODEL 164


OVERALL FORM MODEL PREPARATION

ORGINAL

THICKENED PIPES

For the sectional model, the printed part needs to be selected carefully with considering many factors. Firstly, it is required to show more information than the abstract overall form model, such as the detail form of the blobs and frames. This model will show how the building looks like when it gets built. So it is also necessary to have a higher quality of finish. As mentioned before, we intended to print it with translucent material, while due to the high cost we can only choose the normal PLA material. This is also a common situation in real life, the 3D printing may not be applicable because of the material cost. Since this technique has not been widely applied yet, it may increase the cost than normal construction methods. Saving money and labour is the main reason to choose this technique, and when it produces higher fee, we need to find out more strong reasons to support the necessity of using 3D Printing. To get the overall form model printable, we have done lots of adjustments. Since the frame is too thin and slim at scale of 1:200, we firstly exaggerated the radius of the pipes and then joined them together. Noticeably, there are many holes in the models and this will increase the difficulty to print it, especially with PLA material. To avoid printing errors and too many extra supports, we also cover all the hollow sections.

FILLING HOLES

165


C.2 TECTONIC ELEMENTS & PROTOTYPES FURTHER MODIFICATION We didn’t have the model successfully printed for the first time. According to the feedback from Nextlab, the hollow volume is too big, and the process would take very long time. To fix this problem, we cut the section to parts. This indicated our worry about printing whole structure at once, and indeed there will be less risks to print it separately.

166


167


ORIGINAL MODEL

168

MAKERBOT TESTING

PR


RINT-OUT

C.2 TECTONIC ELEMENTS & PROTOTYPES 3D PRINTING Honestly, the whole 3D printing preparation was miserable. It was never an easy job, and we need to consider all the possible factors. All the time and efforts we spent on the model renew my cognition of this technique. It seems like there are less restriction, while the limitations actually come from other aspects, such as the high requirement for the high model quality. However, this new technology is still at very first stage of development. I do believe the high potential and expect some amazing discovery with 3D printing.

169


170


C.3. FINAL DETAIL MODEL

171


C.3. FINAL DETAIL MODEL ABS PRINTING The overall form model was firstly printed out with ABS. The contouring printing marks are obvious and the printing quality is a bit low. Sanding the abs will be toxic, so we used acetone to smooth it, while the result is not ideal with the marks still visible.

172


173


C.3. FINAL DETAIL MODEL POWDER PRINTING The power printing model is much more exquisite than the abs model. Meanwhile, it is more expensive and denser. Another advantage of the power printing is that it requires no support, which is more suitable for our model and construction.

174


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C.3. FINAL DETAIL MODEL CEMENT WITH ABS FORMWORK

For the formwork, the result was not ideal. The cement goes too fragile and we broke it when removi model clearly shows that printing formwork can bring extra troubles. Usually, formwork means extra la site. And when we can get the printer printing the building directly, why do we bother building it with for method does not suite the project really well.

FORMWORK PREPARATION

REMOVAL OF FORMWORK (FAIL)

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ing the formworks. This testing abour and cost on construction rmwork. Thus, this construction

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C.3. FINAL DETAIL MODEL PLA SECTIONAL MODEL

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PRINTED MODERL WITH SUPPORTS

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SANDING

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C.3. FINAL DETAIL MODEL PLA SECTIONAL MODEL

REMOVAL OF SUPPOERTS

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C.3. FINAL DETAIL MODEL PLA SECTIONAL MODEL FINISH The sectional model is the most dedicated and detailed one. As the processes shown before, the model has been sanded and joined together to have a fine shape. Before painting the model, a layer of plastic primer has been sprayed to the model. Afterwards, the whole model was covered with gloss orange spray paint. This multi-layer finish is expected in the 1:1 construction and more factors will be considered, such as glazed panel installation, water proofing, fire-resistant coating and etc.

GLOSS ORANGE SPRAY PAINT

PLASTIC PRIMER

SANDED SURFACE

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C.3. FINAL DETAIL MODEL PLA SECTIONAL MODEL FINISH

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C.3. FINAL DETAIL MODEL PLA SECTIONAL MODEL FINISH

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C.3. FINAL DETAIL MODEL PLA SECTIONAL MODEL FINISH

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C.4. LEARNING OBJECTIVIS AND OUTCOMES TIMELINE

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C.4. LEARNING OBJECTIVIS AND OUTCOMES Authorship During the final design, the most interesting found is about authorship. Previously I did doubt about the authorship of computational design: does the outcome belong to the computer or the designer? Who is the real author? I found the answer when we were trying to make the design to be an architecture. It was us decided this is going to be a studio and that is how we stamped the design. The authorship came along with the amplifications and decisions we made for this project and subconsciously we have put our characteristics in to the design. The final product is an architectural reflection of ourselves. It is not surprising to find there are many similar forms of parametric designs and I believe that is mainly due to the limitation of script. While we still can recognise them as different designs, because a successful design should clearly show the designers’ authorship.

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Thinker & Doer For the whole semester, I was trying to achieve the goal of our studio: being a thinker and also a doer. Compared to thinking, I have done better at getting things done. I am not a good thinker, but I am trying to break my limit. For most time, especially when my brain was blank, I just tried to do some works. Interestingly some great ideas always come to my mind when I am working. It is with the works I have done, I have a chance to evaluate myself and rethink my creation. For me, doing is the best way to evoke my thinking ability.

Consistency The best par that the des whole semes the theme clear and se different top understandin specific asp me to explo our topic, an with referrin The track of viewed with diagram. Thu rationalised process.


y rt I found about our studio is sign is consistent through the ster. From the very beginning, and concept have become et-up. Compared to touching pics and having at a superficial ng, I prefer to focus on one pect. The consistency allows ore more and deeper about nd further refine the design ng back to previous stages. f evolvement can be clearly h the unified graphic style and us, the design itself has been through this continuous

Finish of Design ? In the last few weeks, we were so determined to finalise our design. But I can’t help thinking about the existence of a finished design. Indeed, we have benefited a lot from the refining the model. We got a detailed and relatively mature form then we can clearly see how people are going to use the space. On the other hand, we also miss the chance to further develop it. I think our design is still far from its end (or these is no end), it just stops at current stage. The end of this subject is never equal to the finish of the design, I would rather call it a temporary ‘rest’, and I am expecting to start the journey again.

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C.4. LEARNING OBJECTIVIS AND OUTCOMES Overall speaking, my feeling for this subject has a dramatic shift during this semester. From questioning and being spectacle, I have become more positive and interested in the parametric design. I feel very lucky to be given a chance to explore this cutting-edge technique and the world of Chakra, and I have gained a deeper understanding between design and designers. During the whole process, that is the first time that I have such a close relationship with what I have done. By putting part of inner self into the design, I am engaged with my design more than ever. The outcome is like a mirror, reflecting my personality and wishes of being a real architect. I am very proud of ourselves for creating an real architecture. The journey is full of pains but also joys, and it is also about refining myself. I would like to end up this journal with a quote from Van Gogh’s letter to his brother:

Someone has a great fire in his soul and nobody ever comes to warm themselves at it, and passers-by see nothing but a little smoke at the top of the chimney and then go on their way. So now what are we to do, keep this fire alive inside, have salt in ourselves, wait patiently, but with how much impatience, await the hour, I say, when whoever wants to, will come and sit down there, will stay there, for all I know? May whoever believes in God await the hour, which will come sooner or later.

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3Dnatives, 3D Printing: The Future of Construction, 2018<https://www.3dnatives.com/en/3d-printing-constru

Arch Daily, ‘Absolute Towers / MAD Architects’, 2012 <https://www.archdaily.com/306566/absolute-towers-m

Basulto, David, ‘Venice Biennale 2012: Arum’, 2012<https://www.archdaily.com/269061/venice-biennale-2012

Building Radar, How 3D Printing could Revolutionise the Construction Industry, 2015<https://buildingradar.com De Kestelier, Xavier, ‘Symmetry aS Geometry Kuwait international airport’, Architectural Design, 83, 2 (2013)

Direct Industry, Industrial 3D Printing Steps Through the Looking Glass, 2017<http://emag.directindustry.com/

Dunne, Anthony & Raby, Fiona, ‘Speculative Everything: Design Fiction, and Social Dreaming’, (MIT Press, 2013

Foster + Partners, Kuwait international airport, 2011<https://www.archdaily.com/175164/kuwait-internationa

ICD-ITKE University of Stuttgart, ICD-ITKE Research Pavilion 2015-16, 2016<https://www.archdaily.com/78687

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Marieb, Elaine Nicpon,Hoehn, Katja, Bone Formation and Development, OpenStax, 2008 <https://opentextbc Oxman, Rivka and Robert Oxman, eds . Theories of the Digital in Architecture, (London; New York: Routledge, Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2(2013)

Polymaker, PolyPlus™ PLA Translucent Colour, 2018<http://www.polymaker.com/shop/polyplus-pla-translucen

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Synthesis Design + Architecture, CNC-Milled Screenwall for IBM, 2017<https://www.archdaily.com/870095/big

Zaha Hadid Architects, Venice Biennale 2012: Arum, 2012<https://www.archdaily.com/269061/venice-biennal

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