Han_Wenxi_743383_Part B by Wency Han

STUDIO AIR 2017, SEMESTER 1, FINNIAN WARNOCK WENXI HAN

01.

BIOGRAPHY

02.

03.

04.

PART A: CONCEPTUALIZATION Design Future Design Computation Composition and Generation Conclusion Outcome Algorithm Reference

PART B: CRITERIA DESIGN

PART C: PROJECT PROPOSAL

Contents 3

QUESTION. WHO AM I 4

My name is Wenxi Han, normally people call me â&#x20AC;&#x153;Wencyâ&#x20AC;?. I am the third year Environment student from the University of Melbourne. I have been get involved in architecture field for two years without any background. In these two years, Architecture as my study major provides me huge challenge and knowledge which makes me gain a lot. From the theoretical basic knowledge I have learnt in my first year to the actual practice in the second year, I find that architecture is the pinnacle of human art, not only because it perform as the combination of human knowledge, but also it is a kind of self-finding process. Architecture, as a subject term for human, how to make a comfortable environment for human to live? It is also need to question about. Last summer holiday I was back to my hometown Shanghai and worked in an architecture company for a month to gain some working experience. It should be said that the first real practical experience from academy to actual work and also transition from second year to third year. I was asked to design a sales office on Huoshan Mountain with the crews. Although the design outcome is not mature and has a lot of shortage need to improve. In that short period, the most thing I have learnt is how to design critically or can be say that the flow of design process and

the realization of my curlling up for most of my design, like for colour and for shape. Architecture, as subjects term design for human, need to show the intelligence for a man. Reflecting my understanding to my design is also an interesting part of architecture. So how to design something particular comfort for people to live? How to design something can balance the nature and human? How to design passion? How to jump out of the frame? These cognition and questions are extremely important and lead me to take firm steps to my further career life. Yes there are still a lot of thing I need to learn and to be honest, the things I know is only a tip of the iceberg. And I was really glad to take Air Studio in the first semester of Third year in the Melbourne University for my further study of architecture. With the previous learning experience, there are several things that I want to achieve from this Studio. 1. The way of designing with the parameter program to solve human problem. 2. Building my confidence on designing, try to use variety ways to solve the prolem passionatly and rationally. This book as the great platform for me to show my learning outcome for the Air Studio and even for the two years architecture learning.

PART A CONSEPTUALIZATION

A.1 Design Futuring A.2 Design Computation A.3 Composition/ Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix-Algorithmic Sketches

A.1

DESIGN FUTURING

Figure 1.1 Tent House Interior Architects: Sparks Architects Pty Ltd Location: 2/78 Memorial Dr, Eummundi QLD 4562, Australia Area: 344.0 sqm Project Year: 2016

Figure 1.2 Tent House Site Analysis

From 20th century onward, the style and the design process of architectures were made a huge change compare from the earlier century, modern architects in this century always want to figure out the truth and functionality for the architecture to create a more rational buildings to fit in time. With the increasing concern with the environment issues like global warming, people find the earth certainly do not have infinity resources and â&#x20AC;&#x153;human centralizationâ&#x20AC;? is just like a ridiculous joke. Sustainability, a totally environmental friendly word, is taken more seriously and popular to many fields even for architecture today. It can be said as the unavoidable trend for future design which is mentioned not only from the academic study but also the actual work as well.

CASE STUDY 1

Figure 1.3 Tent House This Tent House was designed by Sparks Architects. The building was built with the clear environmental consideration to create its own micro-climate surrounded by house. It perfectly achieves the basic two architectural elements in a sustainable way: shelter and security. In my opinion, a good building should be built with clear environmental consideration to create its, and a good designer should take social issues as their whole life responsibility to redirect a way for future. Just as Fry stated in the book “design as a ‘redirective practice’ able to take the diversity of hu-

manity away from deepening the disaster of unsustainability toward the futuring character of sustainability1.” The most fantastic part of this piece of work is the tent roof outside the operable box structure. the box roof has an automated sliding operation which can be opened in hot summer to get cooler and be closed in winter to keep warm inside. In the summer, cooperated with the tall trees surrounded, the tent roof also takes the brunt of the heat load and also maximum the ventilation in a sustainable

way. Besides, the varied pitches of the tent roof maximize winter sun penetration and protects the east, wet and southern exposures. In this case, it can increase the comfort rate of the house without using too much energy. The way of solving the shelter problem seems to be quite revolutionary, although the project is small, beyond this we can find intelligence, creation and responsibility to the nature world we live. This deceptively small yet undeniably dynamic building allows for the owners to live simoly and comfortable whilst maximzing their engagement with a very special site2.

-------------------------------------------------------1. Tony Frey (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp 15 2. ArchDaily, ‘Tent House/ Sparks Architects’, ArchDaily (revised February 2017) <http://www.archdaily. com/805984/tent-house-sparks-architects> [16 March 2017]

A.1

Figure 1.4 Luxembourg Pavilion

DESIGN FUTURING

Architect: Francois Valentiny Location: Shanghai 2010 World Expo Project Year: 2010

In the year 2010, Shanghai held an unforgettable World Expo which was big celebration for the technology and future. The general theme of this exhibition was “Better City Better Life.” Representing the wish of humankind for a better living in future urban environment. In order to match the theme, we can find lots of pavilions were built for sustainability expectation. Luxembourg’s pavilion as a representation of the country has its own subtitle “Small is beautiful too” to illustrates the country’s population and geographical reality (500,000 inhabitants on a 2586 sq km surface)3. The design structure’s idea was from the Chinese term of its country name “forest and castle”, thus the pavilion was just like a tower with the green barriers around. In this case create the natural shading for the architecture and reduce the human footprint There are many entrances for this building to ensure the circulation and strenghen the visiting experience.

-------------------------------------------------------3. Sebastian Jordana, ‘Luxembourg Pavillion for Shanghai Expo 2010‘, ArchDaily (revised July 2009), <http://www. archdaily.com/30824/luxembourg-pavillions-for-shanghai-expo-2010> [16 March 2017]

CASE STUDY 1 As the â&#x20AC;&#x153;green heat of Europeâ&#x20AC;?, Luxembourg has been consistently attaching great importance to environmental protection. This building is designed to show a probability for sustainable city future and for short term exhibition, all the resources can be recycled and reduce the embodied energy. Steel was chosen for the main structural material for this pavilion since maturity of Chinese steel industry. The most amazing part for this piece of design is no air conditioners is equiped during the summer exhibition time. The special wood material which was delivered from Europe can absorb the humidity from the air, and released them at night to cool down the temperature and to reserve energy sustainment. Such piece of design to life-enhancing design, where one can influence the user and the way they feel. Thus such precedence provide insight into how architecture can create better ways of liveing. The manner in which this project embraces the surrounding environment and equally enables a

new found appreciation of space is testament to architectureâ&#x20AC;&#x2122;s role in instigating environmental change and designing for future.

Figure 1.5 Luxembourg Pavilion Site

DESIGN COMPUTATION

What is ‘design’? It is what we need to question about at the first stage. ‘Design‘ as an ability that distinguish humans from other animals to show human intelligence. Problem analysis is an important term for the process of design, which help to set the goal for design and make the outcome meaningful and have the basis for. Thus, how to design critically and rational is an on-going question. According to Kalay, he outlines the basic design process for problem solution (figure 2.1) with four steps. It consists of problem analysis, synthesis and evaluation. These three steps are all coorprate with communication. Computer nowadays becomes a great tool for communication to exchange idea with others under a clear representation. These steps can also apply to Air Studio design process. Set the goal for the design, and then to achieve with the help of parametric tool like Grasshopper to build and optimise the design and present out of the idea clearly and rationally. Computers, by their nature, are superb analytical engines. Within these fifty

years, computers have made its way into nearly the entire range of fields which become an indispensable part of human life, even to the architecture. They are fast and effective with less mistake, but also it can solve some complex problem in a second just by programing, which accelerate the development of human society. Many architects and engineers try to use them as a technique to find a solution for architecture and this phenomenon defines a digital continuum from design to production, from form generation to fabrication design4. Computation which broaden the border of architecture and expend design thinking for architecture. Design with computer is obvious the trend for the future design. In Oxman book, he introduced three computational process, which is form and generation, performative design and parametrics.

-------------------------------------------------------4. Rivka Oxman and Robert Oxman. Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1

Besides, it is also necessary for us to distinguish with “computalization“ and “computation“. According to Peter, ‘Computalization‘ means, simply digitise existing procedures with entities or processes that are preconceived in the mind of design5. It use computer to simply output the design idea which is formed beforehead. Computation, on the other hand is using the digital technology to form the design idea, in this way to deal with complex situtation.

figure 2.1 Design Process

“DESIGN IS THE EPITOME OF INTELLIGENT BEHAVIOR; IT IS THE SINGLE MOST IMPORTANT ABILITY THAT DISTINGUISHES HUMANS FROM OTHER ANIMALS.”6 --

JACOB BRONOWSKI

-------------------------------------------------------5. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), p. 10 6. Yehuda E Kalay.. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 5

A.2 DESIGN COMPUTATION ELYTRA FILAMENT PAVILION

Figure 2.5 Diagram for design “With Elytra Filament Pavilion we aim to celebrate a truly contemporary and integrative approach to design, engineering and production”7 ----- Achim Menges

The “Elytra Filament Pavilion” was released by a team from the University of Stuttgart, which was shown in the exhibition “Hello, Robot. Design between Human and Machine”, hold by the Vitra Design Museum presents a major exhibition that examines the current boom in robotics. The project is an outcome of intersection of architecture, engineering and biological science. It is a design team which included architects and engineers from structural to climate. Cooperated with the University of Stuttgart’s Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), they developed a program involves a noval way of winding composite materials and utilized computational method to analyze the fibrous structures of the forewing shells of flying beetles known as elytra and then abstracted and transferred into the technological fabrication process to create second nature for the architecture. The pavilion is made up of 40 hexagonal comonent cells. In this case, reducing the weight for the pavilion

construction material is a big strategy for the design team. Each cell and column is individual, its final form of densely-wound fibres is a direct result of the changing stress conditions determined through structural simulatin and testing carried out in advance by the ITKE. This enables an exceptionally lightweight structure that weighs less than 9kg per m2, which equals 2.5 tonnes for the entire pavilion. Digital Fabrication also plays an important role for design. The program explored the impacting of emerging computational and robotic technologies which was created by a computer -programmed Koko robot in order to fasten the fabrication time for the team and increase the quality assurance. Each cell was fabricated for three hours which total cost 120 hours. This kind of cultural technoloical shift has also renewed a strengthened creative collaborative design relationship between the architect and the structural engineer as unites in the practice of research by design8.

-------------------------------------------------------7. ArchDaily, ‘Elytra Filament Pavilion/ ICD-1TKE University of Stuttgart’, ArchDaily (revised March 2017), < http://www.archdaily.com/806242/elytra-filament-pavilion-icd-itke-university-of-stuttgart > [17 March 2017] 8. Rivka Oxman and Robert Oxman. Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 9

Figure 2.2 MODEL FABRICATION

Figure 2.3 Component Development

Figure 2.4 ELYTRA FILAMENT PAVILION

A.2 DESIGN COMPUTATION JADE MUSEUM IN SHANGHAI

Figure 2.6 JADE MUSEUM INTERIOR

Figure 2.7 Diagram for design

As Oxman stated in the book, “During the last decade, innovative techologies have become a driving force in the formulation of theories as well as producing a new wave of tectonic and material creativity.” and this tendency can also be shown in Jade Museum. Jade Museum located in Shanghai was inspired by the Chinese jade and contemporary interpretation of calligraphy. It’s aim to create a space which express Eastern Zen. Digital design without debate plays an important role in this piece of work. The entire display space was divided by spheres cutting, then remodeled and normalized as a whole space in the computer. With the help of computer, the untraditional solution of abstract sphere space which redefine a sphere as one of the basic natural geometries in the architecture language and find the possibilies of a small-scale space abstractly. It broke

the traditional rectangular box space and show the complexity and flowing in a more organic and functional way. Compressed fabrication time and this unusual complex geometry system became the main strategies for this task. Thus Digital Fabrication was introduced in to the task, also use for the quality assurance. Just by programing the data into the construction robot. In conclusion, design computation is an apodeictic propsition in this information era. An architect as a follower and leader for the direction of trend design computation will be essential for my design.

Figure 2.8 FLOW OF IDEA -------------------------------------------------------9. Rivka Oxman and Robert Oxman. Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 7

Figure 3.1 Dynamic, interactive form is a key advantage of computational systems.

COMPOSITION AND GENERATION “COMPUTATION IS REDEFINING THE PRACTICE OF ARCHITECTURE. ARCHITECTS ARE DEVELOPING DIGITAL TOOLS THAT CREATE OPPORTUNITIES IN DESIGN PROCESS, FABRICATION AND CONSTRUCTION.10” --

PETERS

Computer generation is the processing of information and interactions between elements. Nowadays, it redefines and occupies a leading position of architectural literature and practice. By using modern digital technology, it mainly affects three aspects of architecture in design process, fabrication and construction. The most benefit can get from this shift is augment the intellect of the designer and increases capability to solve complex problems. Firstly to the design process, it offers a new way of designing approach. It is a way which design is no longer just by hand and pencil, but with a more mathematic and logic way of thinking progress with codes, tools and ideas. which called algorithmic thought. For example, Grasshopper, people get knowledge from digital tools and codes, workflows and algorithms for the program and then use or adapt to their own design and find a new way of design solution. Many architectures

like Zaha are poped out, which using complex geometry system to catch people’s eyes and broaden the boundary of architecture at the same time. “Parametricism” become a popular term for architecture design. For the fabrication and construction, computation design which bring two main benefits, given the complexities of form and the compressed timescales of construction. As Peters stated in his book, Computational tools can be used to increase efficiency and allow for better communication, as well as for conceptual sketching of algorithmic concepts. But this is based on the idea could be represented out through the computer. We should question about limitation of computation as many architects may distort their original thought to pander the workable of programing, instead of the reason of unworkable of its functionality or rationality. This incredibly violate the spirit of design and creation.

-------------------------------------------------------10. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), p. 10

A.3 COMPOSITION AND GENERATION UK PAVILION IN MILAN EXPO

Architects: ICD-ITKE University of Stuttgart Location: Charles-EamesStrabe 2, 79576 Weil am Rhein, Germany Area: 200 m2 Project Year: 2016 Client: the V&A London

The project is developed around the concept of the beehive, the design is basically inspirated by apiarian lifecyle and role that bees play in the system. The designers teamed-up with bee expert Dr. Martin Bencsik to explore the natural form of beehive. Because the natural rule of a certain species is complex and not fully predictable, the translation from biological language to a computational code requires an optimi. The hive consists of 32 horizontal stacked layers of hexagonal geometry. This pattern has a rational underlying order and employs rotational symmetry. The geometry was resolved into alternating layers of radical and circumferential elements. The pattern of radial and circumferential lines is analogous to the flow pattern of stress and so defines horizontal lines of structure. The layering of the sculpture allows these radial and circumferential lines of structure to be joined to form truss like assemblies to provide repetition on the macro scale. And this form-finding process could only be achieved by writing software.

The parametric design which allow them to change and test the design quickly to shape the complex geometry. The main strategies for this project is its construction. The Hive is constructed from a total of 169,300 machined aluminum components. In this case, traditional way of fabrication for this model is impossible to achieve in the short term. The design information when final-

ly fixed was used to generate 1,500 individual solid CAD models containing over 30,000 individual parts fully detailed for fabrication. The contractor, Stage one was then able to take these models and process them through their existing 3D workflow and management system to supply to their CNC machines for fabrication. Computation design for this project not only allow the builders to build the large projects for the Miland Expo, but also define the possibility of architecture potential.

-------------------------------------------------------11. ArchiTonic, â&#x20AC;&#x2DC;UK Pavilion Milano, Italy 2015â&#x20AC;&#x2DC;, ArchiTonic (revised unknown), <https://www.architonic. com/en/project/wolfgang-buttress-uk-pavilion/5102388> [19 March 2017]

Figure 3.2 UK Pavillion Interior

A.3 COMPOSITION AND GENERATION DONGDAEMUN DESIGN PLAZA

Figure 3.3 DONGDAMUM DESIGN PLAZA INTERIOR

Architects: Zaha Hadid Architects Location: 281 Euljiro-dong, Jung-gu, Seoul, South Korea Area: 89574.0 sqm Project Year: 2014

Dongdaemun Design Plaza (DDP) which designed by Zaha Hadid Architects is the first public project in Korea to utilize the 3-Dimensional Building Information Modelling (BIM) and other digital tools in construction. Throughout the design process, every building requirement was considered as a set of inter-related spatial relationships which all define the social interactions and behavioural structure in the project12. Zaha’s architecture is known as parametric design for its flowing curve. In this project, parametric building information modelling software and design computation are without debate play an important role. With the help of the technology, the design team continually test and adapt the design to the client’s brief as well as integrate engineering and construction requirements. Besides, they also helped to maintain the original design aspiration throughout the project’s construction. In construction, the benefits of using the parametric modelling techniques are apparent. The digital design model could be refined at any time throughout the design and construction to accommodate additional onsite conditions, local regulations, engineering requirements and cost controls. The team were able to have greater control

of the design and details, with much greater precision than a conventional construction process; giving the client and constractors a much better understanding and control of the project. The DDP facade cladding system is an exemplary result of such a process. Construction the exterior envelope of DDP was a challenge as the cladding system consists of over 45,000 panels in various sizes and degree of curvature. This was made possible by the use of parametric modelling with an advanced metal-forming and fabrication process to develop a mass customization system. Parametric modelling enabled the cladding system to be designed and engineered with much greater cost and quality control. Throughout the construction process, the cladding model was adjusted to incorporate various engineering, fabrication, and cost controls while maintaining the integrity of the original design. The parametric modelling process not only improve the efficiency of workflow, but also helped to make the most informed design decisions within a very compressed project period; ensure DDP’s success throughout lifespan.

-------------------------------------------------------12. ArchDaily‘Dongdaemun Design Plaza / Zaha Hadid Architects’, ArchDaily (revised May 2015), <http:// www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects/> [18 March 2017]

A.4 CONCLUSION & A.5 Learning Outcome Architecture as a representation of the age. Through the part A study, I kindly realized that architecture literature and practice are mainly shift towards the topic of ‘Sustainability’ and ‘Computation’. So how to respond to the age and how to generation with computer to achieve sustainability for the architecture are the main issues for me to consider about. In this digital era, people celebrate for technology and use technology to create many incredible things. Complexity for the architecture is brought by parametric design, and it also let us find new approaches and probability for designing as well at the same time. Mathematics are more integral to architecture than ever before, and as the methods of designing structures grow more complex, so do the calculation. Many frontier research for the architecture try to analyse the natural principle by the idea of computation and try to create ‘second nature’ and respond the term

‘sustainability’. For this semester, I intend to design through information provided by natural systems. Biomimicry and epigenetic designs which can engage with biology. In this case to find an efficient way to create a second system and reduce human footprint, by using the algorithmic approach as we begin to understand how systems work and how even new patterns can occur within eco-system. However, design with algorithm thinking is kind of new term for me to explore. It is a way which can provide me new way for designing model and also help me to explore the complex natural system. Equipping with this kind of new knowledge for the ceiling design for this semester will be a challenge and also exciting experience, but I believe the outcome will be really amazing and look entirely different compare to the design I did before.

A.6 ALGORITHMIC EXPLORATIONS With these three weeks learning, I have developed some basic knowledge with the Grasshopper code. but how to design with algorithmic thinking, is still the main issue for me to explore. And I think developing algorithmic thinking is main purpose for taking Air Studio. This piece of the sketch is the most appreciating one at this stage for me to show this semesterâ&#x20AC;&#x2122;s topic. And I will keep developing it.

A. 7 Image Reference Figure 1.1 Tent House Interior <http://www.archdaily.com/805984/tent-house-sparks-architects> Figure 1.2 Tent House Site Analysis <http://www.archdaily.com/805984/tent-house-sparks-architects> Figure 1.3 Tent House <http://www.archdaily.com/805984/tent-house-sparks-architects> Figure 1.4 Luxembourg Pavilion <http://big5.cri.cn/gate/big5/gb.cri.cn/27824/2010/01/05/1545s2722470. htm> Figure 1.5 Luxembourg Pavilion Site <http://big5.cri.cn/gate/big5/gb.cri.cn/27824/2010/01/05/154 5s2722470.htm> Figure 2.1 Design Process, Kalay, Yehuda E. Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) Figure 2.2 MODEL FABRICATION < http://www.archdaily.com/806242/elytra-filament-pavilion-icd-itkeuniversity-of-stuttgart > Figure 2.3 Component Development < http://www.archdaily.com/806242/elytra-filament-pavilion-icd-itkeuniversity-of-stuttgart > Figure 2.4 ELYTRA FILAMENT PAVILION < http://www.archdaily.com/806242/elytra-filament-pavilion-icditke-university-of-stuttgart > Figure 2.5 Diagram for design < http://www.archdaily.com/806242/elytra-filament-pavilion-icd-itke-university-of-stuttgart > Figure 2.6 JADE MUSEUM INTERIOR < http://www.archdaily.com/806602/jade-museum-archi-union-architects > Figure 2.7 Diagram for design < http://www.archdaily.com/806602/jade-museum-archi-union-architects > Figure 2.8 FLOW OF IDEA < http://www.archdaily.com/806602/jade-museum-archi-union-architects > Figure 3.1 Dynamic, interactive form is a key advantage of computational systems. < http://designcomputation2012.anomalus.com/sessions/04-rules/ > Figure 3.2 UK Pavillion Interior < http://www.archdaily.com/776336/uk-and-wolfgang-buttress-win-bestpavilion-at-milan-expo-2015 > Figure 3.3 DONGDAMUM DESIGN PLAZA INTERIOR < http://www.archdaily.com/489604/dongdaemundesign-plaza-zaha-hadid-architects/ >

A. 8 Bibliography 1. Frey ,Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg 2008) 2. ArchDaily, ‘Tent House/ Sparks Architects’, ArchDaily (revised February 2017) <http://www.archdaily. com/805984/tent-house-sparks-architects> [16 March 2017] 3. Jordana, Sebastian, ‘Luxembourg Pavillion for Shanghai Expo 2010‘, ArchDaily (revised July 2009), <http://www.archdaily.com/30824/luxembourg-pavillions-for-shanghai-expo-2010> [16 March 2017] 4. Oxman, Rivka and Robert Oxman. Theories of the Digital in Architecture (London; New York: Routledge, 2014) 5. Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013) 6. Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) 7. ArchDaily, ‘Elytra Filament Pavilion/ ICD-1TKE University of Stuttgart’, ArchDaily (revised March 2017), < http://www.archdaily.com/806242/elytra-filament-pavilion-icd-itke-university-of-stuttgart > [17 March 2017] 8. Oxman, Rivka and Robert Oxman. Theories of the Digital in Architecture (London; New York: Routledge, 2014), 9. Oxman, Rivka and Robert Oxman. Theories of the Digital in Architecture (London; New York: Routledge, 2014), 10. Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013) 11. ArchiTonic, ‘UK Pavilion Milano, Italy 2015‘, ArchiTonic (revised unknown), <https://www.architonic. com/en/project/wolfgang-buttress-uk-pavilion/5102388> [19 March 2017]

12. ArchDaily‘Dongdaemun Design Plaza / Zaha Hadid Architects’, ArchDaily (revised May 2015), <http://www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects/> [18 March 2017]

AIR

WENXI HAN|743383 JOURNAL PART B

CONTENT B.1 Research Field B.2 Case Study 1.0 B.3 Case Study 2.0 B.4 Technique: Development B.5 Technique: Prototypes B.6 Technique: Proposal B.7 Learning Objectives and Outcomes B.8 Appendix B.9 Picture Reference B.10 Bibliography

B.1 RESEARCH FIELD |

STRIP AND FOLDING

The chosen research field for our particular studio is strip and folding. Strip and Folding is a mean of generating both aesthetic forms and structures. Through computational design, designers find ways to break away from the conventional dilemma of materials and structures. Strip and folding is one of the approaches to cross the boundries. Forms can be decomposed into basic strip components while folding can add to the profiles. The forms can be manipulated through parameters and performance can be simulated. It simplified fabrication and construction process and maximize the potential of materials. From the fabrication perspective however, there are some areas of concern. First folding is often associated with many repeating elements, which means that the indexing and organisation of these elements is critical to maintain the efficient workflow. another is how to expand the folding material into a plan and send to the cutting machine. The expanding folding segment will be larger than the size display on the model, design with proper size to manufacture easier will be one of the success potential.

SEROUSSI PAVILION \ BIOTHING

The Seroussi Pavilion by Biothing is structure described as grown from self-modifying patterns of vextors based on electromagentic field. The initial computations were done in plan then lifted via macroarching sections through frequencies of the sine function. To allow for local adaption to site conditions, additional features were added to the generating scripr. As is evident, the plan for the Seroussi Pavilion is out of the blue, different from our notion of an architectural plan. The team describe it as closer to musical notation perhaps from its dynamic nature, parametric relationship between parts and the deep ecology of algorithmic relationships. Within each cell of the structure, lighting and programming of views is achieved according to the Biothing team by “sine-wave functions driving parametric differentiation of angle, orientation and the size of the aperture, relationship of metal and glass components within each cell. 13

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13. Arch2o.com ‘Seroussi Pavilion | Biothing’, Arch2o, <http://www.arch2o.com/seroussi-pavilion-biothing/> [28 April 2017]

Figure 1.1 Seroussi Pavilion

B.2 CASE STUDY

Luminescent Limacon

LUMINESCENT LIMACON is inspired partly from the Dutch Ruff, or flamboyant linen collars considered fashionable in 17th century Europe, as a vehicle for the manipulation of light. Defined by the polar equation-based Limacon curve, the roulette curve rolls at various speeds to generate precisely choreographed profiles that are combined vertically to construct a number of formations. Variables can be calibrated to accomodate and produce a host of different lighting conditions and affects depending on environmental factors.14

Figure 2.1 Logic Behind Luminescent Limacon

-------------------------------------------------------13. Lidija Grozdanic, â&#x20AC;&#x2DC;Luminescent Limacon integrates equation-based geometry with 17th century fashionâ&#x20AC;&#x2122; , eVolo (revised December 2011), <http://www.evolo.us/architecture/ luminescent-limacon-integrates-equation-based-geometry-with-17th-century-fashion/> [28 April 2017]

DESIGN PROCESS 1. Create one seggement on the plane 2. Create a group of seggements on the plane 3. Extrude a group of segements on the plane 4. Apply a group of segements on the ball Figure 2.2 Luminescent Limacon

Figure 2.3 The grasshopper scripe design process

DESIGN MATRIX

01 Repeating

02 Deep

This is the one which I the most like, it has a balanced scale for the repeating seggement for vertical and horizontal, which create a very rational and elegant feeling to me.

This kind of form which can be seen in a lot of craft pattern, which seems to be very relable and easy to make

03 Popgeometry

The way of lines rolling together which looks very elegant and interest to me, but I think it is a bit hard to make it into a real model.

This model is shallow can be made by steel wire, easy to manufactory by hand.

B.3 CASE STUDY 2.0 DOUBLE AGENT WHITE

Figure 3.1 Double Agent White

Double Agent White is a continuous surface composed of an intersection of 9 unique spheres, achieving a maximum degree of morphological freedom with a minimum amount of components. This forms as part of a series of prototypical architectures (Centre Pompidous, FRAC Centre, Art Basel Miami to name a few) and uses Object Oriented computing to generate developable parts for fabrication of double curved surfaces. Continuous double curvature is defined around the Double Agent White surface for material rigidity and optimal use of nesting storage for larger decomposable units. In this way, the piece achieves structural continuity, visual interplay, and logistical efficiency.15

-------------------------------------------------------15. Jessica Escobedo â&#x20AC;&#x2DC;Double Agent White in Series of Prototypical Architectures/ Theverymanyâ&#x20AC;&#x2122;, eVolo (revised July 2012), <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> [28 April 2017]

Generate spheres, arrange the spheres in the desired way, union the sphere in one.

Create a Plane and bake the sphere and plane, then trim them

Figure 3.5 Geo 04

Figure 3.4 Geo 03

Figure 3.3 Geo 02

Figure 3.2 Geo 01

Scale each polyline Loft the scaled ones with the original ones Use List item to create opening

Import the geometry Populate points on the geometry use Voronoi to create the pattern

Figure 3.6 Geo 05

Using Weaverbirf plugin to play with the mesh, as the matrix shows in the next two pages.

Figure 3.7 Scripe Grasshopper

B.4 TECHNIQUE DEVELOPMENT

01 Scale Facter

02 Graph Mapper Multipalication

03 Popgeometry

The extreme scale of loft surface can create this kind of surface, the intersection which create some interesting smooth closed surface, which is not exaggerate as the one next.

This is the one which I th anced scale of holes and c create a very rational and

he most like, it has a balconnection surface, which d elegant feeling to me.

The opening which created on the surface which interested me a lot. It is also easy to fabricate, either using 3D printing or H clip connection.

B.5 TECHNIQUE PROTOTYPE

THERE ARE SEVERAL THINGS I WANT TO ACHIEVE FOR MY PROTOTYPE:

1. Get familiar with laser cutter 2. Test for the material and to find out what kind of material and connection will be suitable for the design. 3. Get way to know how to manutact it.

FOR THE MATERIAL:

The material for the proposal should attempt to be light and transparency, since I want it to be hanged on the ceiling successfully and to be part of lighting system. So there are two kinds of materials I chose for the body part of my design. One is poly and the other one is tracing paper. Both of these two can transfer the light in the modest lighting ray cast, not very dazzling and also not very dark. So did some experiment for this two materials. For the poly, this kind of material is very strong and flexible, which can be blended as the shape which I designed, and also can support itself, but this kind of material is expensive, one A1 may cost me $10, however tracing paper just $2, since my designed structure is really big, so I choose tracing paper for my test material. But it is a bit pitty, the bottom part of the structure cannot really support the upper part, so the structure is failed. Maybe for the next stage, I would more prefer to use poly as my main design material. So in this case, I will try to find some much cheaper way to get the material, (maybe I will go to Ebay to book the material)

This is an unsuccessful prototype, and I am really glad to get these mistakes at this stage, and trying to solve them out and develop the model in the next few stages, THE FOLLOWING IS WHAT I NEED TO PAY ATTENTION FOR THE NEXT STAGE:

1. Although tracing paper connect with double side tape is cheap to manufacture, this kind of system is not very strong to support itself, maybe need to add mesh frame or change to a self-supporting strong material to get the material. 2. The sphere segments for every row is different, so manufactory with computer will be very necessary and important, as the segments must be very accurate to manufacture a sphere! 3. The folding segments actually is really material consuming for manufacturing, as it is twise larger than the folding status after expand it, and will be very difficult and expensive to get 1:1 model. So need to be scale down the size.

Figure 5.1 Madman with A Bounch Roll OF ‘TOILET PAPER’

MATERIAL

Polypropylene vs Tracing Paper

Figure 5.3 Tracing Paper

Figure 5.4 polypropylene

Figure 5.2 Ideal model for manufactory

Figure 5.5 Fiber-optical

- Flexible - Transmitting - Light - Less Strong - Cheap - Easy for hand cut - Easy to get

- Flexible - Transmitting - Light - Stronger - Expensive - Not easy for hand cut - Easy to get - Flexible - Transmitting - Lighting - Light - Stronger - Easy for hand cut - Not very easy to get

CONNECTION

Prymny;on Self cover button vs Double-side Tap

- Not very strong for connection - Temperory - Color simularity - Not ver nice and Elegant for finishing - very easy to get - Very cheap

- Strong for connection - Perminant - Color simularity - Nice and Elegant for finishing - Not very easy to get - A bit expensive

Figure 5.6 Self Cover Buttons

Figure 5.7 Double Side Tape

DIGITAL DESGIN AND FABRICATION

hand making vs digital making

Figure 5.8 ‘TOILET PAPER’

Figure 5.9 LIST FOR CUT

Figure 5.10 Laser Cutter

Figure 5.11 Grasshopper Scripe for laser cut

B.6 TECHNIQUE PROPOSAL SITE ANALYSE

Ballroom

Site Height:7m Site Length:30m Approx Site Width: 15m Approx

The Taget Users: The people who dress formal for relax, dance and social.

Figure 6.1 Site Plan

DESIGN BRIEF

Luxury Elegant Functional

For this piece of work attempts to design for a ballroom. The first two words which come into my head is luxury and elegant. In this case, I try do design something elegant and luxury for the appearance, but a good piece of design should not only for decoration, but also to be function. So what I think, this piece of work can also develop for more interesting thing, like also act as a lamp and road direction.

Figure 6.2 Design Model

HOW DO I ACHIEVE?

Luxury Elegant Functional LUXURY: I get the pattern from the previous precedant, Luminescent Limacon, the pattern can be traced back to the 17th century Europe, as a fashion during that period for the upper class. I redesign it and put them on the balls to make it modern and reasonable. ELEGANT: The design is inspired from rain and cloud. (the group of balls indicates cloud and string for rain) By import the nature element to create an relaxing environment and elegant atmosphere for the users to have social activities. FUNCTIONAL: Using balls group to zone the room and also every balls attempts to become a lamp for lighting.

B.7 LEARNING OUTCOME

First I want to say that I AM VERY PROUD THAT I DID IT! I DID ALL OF THIS BY

MYSELF!!! (ESPECIALLY FOR THE CODE GENERATING!!!)

Research before design was a very nice experience for me to generate the idea for my design model. As we all know, design is an objectify of pervious experience and then takes as an inspiration. Part A is about learning grasshopper, part B is more about apply the learning to the real model. So how to using the codes for grasshopper and the logic behind the modeling was a really big challenge for this stage. The previous two precedants which provided me a lot of chance to get use to building the model with code. I spent huge time to review the pervious videos and the other resources to find out the solution for the precedants, especially for the first one I have done. These practice did strengthen my understanding to the grasshopper code, which lay the foundation for my later design. But I still think I am a rookie to this area and have amount of thing need to learn. Prototype manufactory for this stage actually made me gain a lot for the next stage. As for the first one . It was my first time to use laser cutter, there is a lot of problems I met for the manufactory. The prototype is unsuccessful, but I am really glad to get these mistakes at this stage, and trying to solve them out and develop the model in the next few stages, THE FOLLOWING IS WHAT I NEED TO PAY ATTENTION FOR THE NEXT STAGE: 1. Although tracing paper connect with double side tape is cheap to manufacture, this kind of system is not very strong to support itself, maybe need to add mesh frame or change to a self-supporting strong material to get the material. 2. The sphere segments for every row is different, so manufactory with computer will be very necessary and important, as the segments must be very accurate to manufacture a sphere! 3. The folding segments actually is really material consuming for manufacturing, as it is twise larger than the folding status after expand it, and will be very difficult and expensive to get 1:1 model. So need to be scale down the size.

Through part B of this journal, I believe that my ability to generate iterations and design possibilities out of grasshopper. Grasshopper is no longer about simply creating whacky forms but the importance of understanding data and controlling it has become gradually more apparent.

B.8 APPENDIX

B. 9 Image Reference Figure 1.1 <http://www.biothing.org/?attachment_id=52> Figure 2.1 & 2.2 <http://www.evolo.us/architecture/luminescent-limacon-integrates-equation-basedgeometry-with-17th-century-fashion/> Figure 3.1 <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> Figure 5.3 <http://www.ebay.co.uk/bhp/tracing-paper> Figure 5.4 <https://www.kitronik.co.uk/blog/new-product-update-polypropylene-sheet-greencastacrylic/> Figure 5.5 <http://network.pconline.com.cn/519/5197457.html>

B. 10 Bibliography 13. Arch2o.com ‘Seroussi Pavilion | Biothing’, Arch2o, <http://www.arch2o.com/seroussi-pavilion-biothing/> [28 April 2017] 14. Grozdanic, Lidija, ‘Luminescent Limacon integrates equation-based geometry with 17th century fashion’ , eVolo (revised December 2011), <http://www.evolo.us/architecture/luminescent-limacon-integrates-equation-basedgeometry-with-17th-century-fashion/> [28 April 2017] 15. Escobedo, Jessica, ‘Double Agent White in Series of Prototypical Architectures/ Theverymany’, eVolo (revised July 2012), <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> [28 April 2017]