Wang zhuyun 755396 part b

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APBL30048 ARCHITECTURE DESIGN STUDIO AIR 2017 - STUDIO 10 Manuel Muehlbauer ZHUYUN WANG 755396 FIG.01

PART. B Criteria Design

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Criteria Design

B.1. Research Field

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B.2. Case Study 1.0

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B.3. Case Study 2.0

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B.4. Technique: Development

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B.5. Technique: Prototypes

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B.6. Technique: Proposals

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B.7. Learning Objects and Outcomes 74 B.8. Appendix - Algorithmic Sketches

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Biomimicry

Biomimicry is an approach that human aim to seek sustainable and organic solutions to human challenges in a variety of areas (such as energy, agriculture, architecture, medicine, transportation and communication) by emulating nature’s time-tested patterns and strategies1.

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In terms of applying biomimicry in architecture area, biomimetic architecture means that by exploring some structure or component system in the nature, to apply these logical and efficient logic to facilitate a more efficient and reasonable architectural structure and form. Nowadays, biomimetic architecture is regarded as providing a sustainable design method and has the capacity to improve environmental condition and the relationship between architecture and the surroundings.

My understanding for biomimetic architecture is that, nature is the everlasting, and probably the best resources and precedents for architect to extract principles and ideas. Since whatever exists in nature has been evolved for over millions of years, the current natural system is extremely intelligent and competitive on the earth. A large number of innovations in human development are biomimetic design product, such as airplane and submarine.

These successes of biomimetic outcomes

and destroy of balance between nature and human habitation facilitate designers to have a deep study in nature and attempt to create organical and logical architectural system from inspiration of natural structure.

There are a variety of examples of what human learn from the nature and apply to architecture. Arch structure is one example. Some giant animals need to support themselves to against gravity and takes the form of arch, an efficient and ideal structure to transform pressures. Also, shell structure is an important one. The Sydney Opera House is the most famous precedent. The shell structure in animals like turtle, mussel is very thin but with high efficiency in terms of transforming forces.

In addition, Pneumatic structure type is an instance. For example, the Water Cube is a biomimetic architecture to emulate cell’s structure of tension and self-supporting.

In conclusion, nature is powerful as nature itself has evolved for millions of years that nature has already solved many challenged that human may encounter. Therefore, nature is a resourceful precedent that architects should always study and learn from, in order to generate efficient, logical and self-evolving structure or system.

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Sketchbook

Mesh Structure

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Points on surface

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MATRIX EXPLORATION The definition of Voltdom, is explored and generates four species. Each species has slightly different characteristics.

The process is to create a series of cones, then trim cones to make voronoi. The next step is to find intersection with a plane and trim cones to create oculus. The outcome is that all surfaces are developable.

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MATRIX EXPLORATION The definition of Voltdom, is explored and generates four species. Each species has slightly different characteristics.

The process is to create a series of cones, then trim cones to make voronoi. The next step is to find intersection with a plane and trim cones to create oculus. The outcome is that all surfaces are developable.

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B. 2

Criteria

The best four forms are selected because they have more possibilities to generate into more mature and complex form of architecture.

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in terms of arrangement of between different kinds of forms could lead to very interactive space that could be used for both staying, playing as well as for sunlight and shading.

Firstly, they tend to be more fragmentary, which means that it is more likely that some interesting and dynamic spaces are designed.

For example, for more solid area, it could be used as space for staying, for meeting, communicating, and contemplating. On the other hand, for areas that is more splitting, it could be used as space for more active activities like walking, playing, exercising, running, and circulation. The organic structure and arrangement between solid and splitting areas may lead to very exciting and interactive space. This kind of arrangement of spaces. is more interesting than planning that is too orderliness or in grid structure.

Also, it forms a more informal and relaxing space as characteristics for pavilion.

In addition, these outcomes have a relatively more pleasant ratio in terms of solid area to void space. The void space can let light into the pavilion, while solid space could provide shading for sunlight during hot summer. Also, the solid structure could be a shelter against wind, and noise.

In conclusion Careful designed

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B. 2

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United Visual Artists - Canopy

This project is inspired by the experience of walking through the dappled light of a forest, the canopy installation is made of pieces of cell structure that evokes and reflect the natural environment.

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The characteristic of the canopy is that it contains thousands of identical modules, whose forms are abstracted from geometry of leaves, then mimicking in a non-repeating growth pattern. In addition, the canopy reacts to day and night in different ways.

During the day, apertures in the modules filter natural light to the street below.

During the night, artificial light is working through the selected cells, their pretence determined by regions of energy sweeping across the structure. This action is also a remainder of cells in a leaf, and leaves in the forest canopy, or a city seen from the air.

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FIG.05

The intent of this project is to create a structure that people could connect to, immerse themselves within, and even escape momentarily from the busy environment of the city.

In conclusion, the canopy consisting of over 8000 identical polygonal modules which composite a 90-meter long organic, biometric mesh suspended above the sidewalk. The structure is recall of the cells of leaves, and the shape of the maple leaf itself.

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Discussion of the Outcome

The outcome has both similarities and differences from the canopy project.

Firstly, they are suspended structure with identical modules. The modules in canopy project is abstracted from leaves and result in 5-side polygons. Though the size and orientation of these modules are different, they very similar forms. On the contrast, the reverse-engineer outcome generates modules that has more types of forms, from 3-side polygon to 5-side polygon.

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In addition, different forms of modules lead to very different sense of space. The space of canopy project has relatively uniform and consistent spaces. On the contrary, the generated outcome contains more variable space due to variable forms of modules.

In terms of where the development will go, there are some aspects. The first is to develop the modules in a more precise and rational way, for example, by emulating the performance of maple leaves, rather than just abstract to universal geometry.

The second is to generate solid, void and semi-transparent forms, where it would generate more interesting performance.

Lastly, rather than having straight-form connection between two layers, it is possible to generate different forms of connection between layers, such as inclined and zigzag structure. Furthermore, the depth of the structure could be further developed. For example, the structure could have gradually variable depths through the entire structure.

Thirdly, the surface of canopy project has two types. One is solid and the other is semi-transparent. In contrast, the generated outcome has surface of purely void. These difference will lead to very different effect of structure. Because of both semi-transparent and solid forms, the canopy projects could have different reaction during daytime and night time.

REVERSE-ENGINEER - VORONOI

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Technique - Development

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Technique - Development

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B. 4

Criteria

The criteria is that the form has multiple types of space, in terms of scale, so that different spaces could be used in different functions depend on scale. The smaller scale space could be used for more private activity such meditation, staying or contemplating, while larger scale space may be used for commuting, meeting, walking or playing.

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The arrangement of the space should be that private space should be arranged in inside area while more public space should be arranged near the entrance.

The double layers of structure is also an option. With double-layer, there would be more space for playing with shading, structure supporting and space arrangement.

In addition, the organic and logic hollows of the structure would provide vivid shading, which can be seen as a metaphor of leaf canopy. The shadow also will response to the sun light direction simultaneously. This correspond also connects the structure with nature.

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In terms of the potential of design, more interesting and more carefully designed spaces should be considered. That is, to determine the entrance, more public space and more private space. Also, there is need to think the sequence of each space and the arrangement of space.

In addition, it is necessary to consider solid or void form and their arrangement.

The solid form should be used as more private and small-scale space, whereas more void structure could be apply for more public and large-scale space.

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Technique - Prototypes B. 5

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Criteria

The criteria is that the skin has a richness in terms of shape of patterns, the creativity with sun light, shading as well as sound.

and the wind direction. Therefore, it may assist on the design themes of air movement, sound, and shading in the following design section.

Two prototypes are selected because they provide a relatively interesting patterns which look organic and generated from the nature. These shapes are also a resemble of leaf canopy in the jungle, therefore, somehow makes a connection between the pavilion skin with the environment surrounding.

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Another feature is their combination of cells of void and solid. This characteristic could be further designed so that the skin of pavilion will have a conversation with sun light during the daytime as well as the wind direction which different levels of wind sound could be captured through the skin into the pavilion.

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The overall effect of the prototype is that they provide a variety of modes of shading effects. As the sun path moves during the day, the shading will correspond to the sun light simultaneously, which can be seen as a connection with the nature, with the air. By adjusting the arrangements of cells, the prototype could interact with air flow direction

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B.6 Proposal

Bridal Veil Mushroom

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Dragonfly wing

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Abstract mathematical voronoi pattern

Bubble structure

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Biomimicry - the pattern of Voronoi

Giraffe skin pattern

Biomimicry is an approach that human aim to seek sustainable and organic solutions to human challenges in a variety of areas by emulating nature’s time-tested patterns and strategies1. In this section, I specialize at the pattern of voronoi. The voronoi pattern is a rational diagram as it produces very organic pattern. It is method of dividing space. Within the voronoi diagram, you can easily find the closest pair of points corresponds to the adjacent cells. The voronio pattern is common in natural world, for example, in bridal veil mushrooms, bubble, diagram,dragonfly wings and giraffe skin pattern. Therefore, I would like to explore more of property of voronio pattern and how it can be applied to a=pavilion design.

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FIG.13

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Design Reference The design reference is the Times Eureka Pavilion at Chelsea Flower Show. It interacts with the design concept of the garden by looking closely at the voronoi cellular structure of plants and their processes of growth to inform the design’s development. “The final structure was designed using computer algorithms that mimic natural growth and is intended to allow visitors to experience the patterns of biological structure at an unfamiliar scale”3. It inspired me that the structure and skin of the pavilion could both be natural voronoi pattern.

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B. 5

from sustainable spruce forests with a glass panelled roof.”

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Introduce The Site The site is located at 1/177 beavers road northcote, which is the BigBang Studio.

The site for pavilion is at the outside area of the studio, with a 45-degree slope.

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Design Concept Air movement & Fluidity & Shadow

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The elevation of the pavilion is inspired by the path of air movement, which connects to the concept of air of this subject.

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The plan of the pavilion is inspired by water drops, which reflects the context of Merri Creek.

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Design Concept Air movement & Fluidity & Shadow Shadow on the morning

Shadow on the morning

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Sun path in Australia

Shadow at the noon

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Shadow at the noon

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Shadow on the afternoon

Shadow on the afternoon

Interesting patterns created by shadows are changing all the time during the day, corresponding to the sun light direction. Therefore, visitors can have exciting experience at different places of pavilion during the day.

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Form Finding process

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Project Analysis: The pavilion is divided into two parts, one is at the Merri Creek side, one is on the higher land, at the entrance of the studio.

The circulation is through two paths at the two sides of pavilion, annotated by arrows.

The area D is for audience to watch performance at the area of A and this upper part of pavilion could contain people of around 30. Part A is stage for performance during the night. A area is connected to B and C areas, where C could be a changing room for actors and B could be a secret thoroughfare for actors enter into the stage from the changing room. In addition, different types of opening are created in different parts, and lead to a variety of shadow atmosphere under the sun light, which is an important concept of the design. On the other hand, the pavilion could be a place for the clients of the BigBang studio when there is no performance. For example, part C is a quite private space as it is almost excluded from the surrounding, so people can have a private communication in it. Part B area, is a good place to enjoy the view of the Merri Creek and part A is full of interesting shadows so people can play with the shadow and probably have an informal meeting within it.

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Perspective view

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Perspective view

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Perspective view

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Perspective view of pavilion area D

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Perspective view

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Perspective view

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Area c

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Area A & B

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Area A

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Area D

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View from area D towards area A

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Potential performance of glow materials at night time

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Learning Objects and Outcomes

Through the study of part B Criteria Design, I have learned some important outcomes.

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Firstly, I developed the ability to make a case for proposal. I realized and practised the meaning of criteria to make a proposal.

The most important thing is to make the design concept clear and strong. Then, it was good to do brain storm and have a look at precedent design as well as inspiration images. It was crucial to learn what other people were thinking about these concepts and how I could make an improvement based on other people’s work.

Following that, I learned that site analysis about topography, circulation, local weather (sun path , wind rose) are crucial aspects that would frame my proposal.

how different definitions can cooperate together to generate unexpected outcomes.

Also, by manipulating parameters, there are countless outcomes for designers to choose.

In addition, I have used Vray for Rhino to represent the pavilion performance.

However, I think more skills should be developed in order to show the performance of pavilion better in different conditions such as during the daytime, night time and even rainy days.

Regarding skills of Grasshopper, I think I need to improve my skills in part C design.

For example, it is crucial to understand not only the function of individual definition, but also the relationship between different definitions, as to create more complex and more powerful Grasshopper definition.

In terms of the criticism, I think it would be better if the analysis could be more scientific and precise. For example, to simulate the real condition of wind direction and wind decibel levels. Thus, it leads to a more precise and rational design.

Secondly, I have learned that how exciting and useful to use computational techniques to engage in design. It is interesting to see

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WEAVERBIRD STRUCTURE

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WEAVERBIRD STRUCTURE

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B. 8

KANGAROO STRUCTURE

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PANEL DESIGN

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References

Biomimicry Institute, ‘Learning from termites how to create sustainable buildings’, Biomimicry Institute (revised 2017) <https://biomimicry.org/biomimicry-examples/> [22 April 2017] 1

Archidaily, ‘Maple Leaf Square Canopy / United Visual Artists’, Archidaily (revised October 2010) <http://www.archdaily.com/81576/ maple-leaf-square-canopy-united-visual-artists> [22 April 2017] 2

Amy Frearson, ‘Eureka Pavilion by NEX and Marcus Barnett’, deZeen <https:// www.dezeen.com/2011/05/26/eureka-pavilion-by-nex/> [22 April 2017] 3

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Images

Figure 1 Ann Sunwoo, ed., ‘parametric shadow and light pattern’, Pinterest <https:// au.pinterest.com/pin/365495325980053398/> [22 April 2017]

Figure 10 Lim Kok Yoong , ed., ‘Bio Art’, Pinterest <https://au.pinterest. com/pin/214132157264361062/> [22 April 2017]

Figure 2 Calliope Andronicou, ed., ‘Parametric design’, Pinterest <https:// au.pinterest.com/pin/176414510378167878/> [22 April 2017]

Figure 11 Beckett Mason, ed., ‘Giraffe Skin’, Pinterest <https://au.pinterest.com/search/pins/?q=giraffe%20 skin&rs=typed&term_meta[]=giraffe%7Ctyped&term_meta[]=skin%7Ctyped> [22 April 2017]

Figure 3 Archidaily, ‘Maple Leaf Square Canopy / United Visual Artists’, Archidaily (revised October 2010) <http://www.archdaily.com/81576/ maple-leaf-square-canopy-united-visual-artists> [22 April 2017]

Figure 12 Jia Zhang, ed., ‘Voronoi Pattern’, Pinterest <https://au.pinterest. com/pin/411938697151376719/> [22 April 2017]

Figure 4 Archidaily.

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Figure 5 Archidaily.

Figure 6 Archidaily.

Figure 7 Dr Vr, ed., ‘Natural Voronoi Pattern’, Pinterest <https://au.pinterest. com/pin/385761524317529421/> [22 April 2017] Figure 8 Demetra Bernard, ed., ‘Voronoi’, Pinterest <https://au.pinterest. com/pin/562035228482064052/> [22 April 2017] Figure 9 Jauna Burke, ed., ‘Natural Voronoi Pattern’, Pinterest <https://au.pinterest. com/search/pins/?q=natural%20voronoi%20pattern/> [22 April 2017]

Figure 13 Amy Frearson, ‘Eureka Pavilion by NEX and Marcus Barnett’, deZeen <https:// www.dezeen.com/2011/05/26/eureka-pavilion-by-nex/> [22 April 2017] Figure 14 deZeen.

Figure 15 deZeen.

Figure 16 Google Maps, ed., ‘1/177 beavers road northcote, Ann Sunwoo, ed., ‘parametric shadow and light pattern’, Google Maps <http:// guides.lib.monash.edu/c.php?g=219786&p=1454684> [22 April 2017] Figure 17 Museums Victoria, ed., ‘The Path of the Sun’, Museums Victoria <https://museumvictoria. com.au/discoverycentre/infosheets/planets/the-path-of-the-sun/> [22 April 2017] Figure 18 Euna Kho, ed., ‘parametric design’, Pinterest <https://au.pinterest. com/pin/309341068140613573/> [22 April 2017]

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