P R O F I L E
CAPRI Z LIU
LOCATION
Melbourne, VIC, Australia EMAIL
Capridoesdesign@gmail.com TELEPHONE
+61 425 576 386
COMMERCIAL , 2015
THE 3.5D TORUS LIBRARY
LOCATION
243 SMITH STREET, COLLINGWOOD, VIC 3065
SITE AREA
4219.58 m2
BUILDING PROGRAM
PUBLIC LIBRARY MEDIA CENTER COMMUNITY HUB CHILDCARE CENTER RETENTION OF EXISTING SUPERMARKET & CARPARKING SPACES
STRUCTURE
THE SPINNING COLUMNS TORUS WITHIN TORUS THE 4 STORIES LIBRARY MAINLY CONSISTS OF FOUR LARGE TORUSES ON WITHIN ANOTHER TO REPRESENT A 4D SPHERE BY A 3D STRUCTURE. THE LINEAR GEOMETRIES GO THROUGH THE WHOLE BUILDING, THE COLUMNS DANCE FOR VISITORS. THE LIBRARY ITSELF IS AN EXHIBITION, IT PERFORMS ITSELF TO EVERYBODY. TWO TYPES OF MATERIALS HAVE BEEN APPLIED TO THE FLOOR POLISHED CONCRETE AND TOUGHENED GLASS, WHICH IS ABLE TO PRODIVE A COMPREHENSIVE VIEW OF THE TWISTING COLUMNS IN THE CENTER TO VISITORS.
TOP FLOOR HAS BEEN DESIGNED TO BE ORGANISED AS CHILDCARE CENTER. THE LEVEL HAS BOTH INDOOR AND OUTDOOR AREA FOR CHILDREN’S PLAYGROUND. EVERYONE COULD HAVE THE NICEST VIEW FROM NO MATTER WHICH CORNER YOU ARE STANDING AT. IT IS AIMED TO MOTIVATE EARLY AGE CHILDREN TO QUESTION ABOUT WHAT THESE DANCING COLUMNS ARE AND WHAT THEY THINK THEY MIGHT REPRESENT. IT IS TO ENCOURGE CHILDREN’S IMAGINATION AND CREATIVITY
5
2
2
3 1
3 5
4
10
7
6
1
LOBBY
2
LIFT
3
STAIRS
4
RECEPTION
5
LIBRARY
6
MEDIA CENTER
7
WC
8
KITCHEN
9
STORAGE
10 COMMUNITY ROOM 5
CHILDCARE CENTER: FLOOR PLAN - LEVEL 1
11 CHILDREN’S PLAY-
FLOOR PLAN - LEVEL 2
GROUND 12 ADMIN. OFFICE STAFF ROOM /
5
13 PLANNING ROOM
14 2
12
9
5
CHILDREN’S ROOM 15 <3YRS
8
17
1
3
13
15
HEA CHILDREN HEALTH
11
16 CARE
7 10 16
17 BABY CHANGE ROOM 18 LAUNDRY 19 CLEANER
5
FLOOR PLAN - LEVEL 3
14 ≥3YRS
19 18
15 6
2
13
3
7
CHILDREN’S ROOM
14
FLOOR PLAN - LEVEL 4
0
5
10
20 M
0
5
10
20 M
S.
W.
E.
N.
0
10
20
40 M
REDЯUM
FINAL PROJECT : THE SHINING THE PROJECT WAS INSPIRED BY THE CLASSIC HORROR FILM ‘THE SHINING’ WHICH IS EXTREMELY EMOTION PROVOKING. THE SCENE WITH BLOOD GUSHING DOWN THE HALLWAY PLANTED A SEED OF FEAR INTO MY BRAIN. THE FEAR OF THE CONFUSION BETWEEN THE PHYSICAL WORLD AND THE MENTAL ILLUSION. WHAT IS REAL AND WHAT IS NOT? HOW DO WE IDENTIFY THEM? THE DESIGN INTENT WAS TO PROVOKE THOUGHTS IN RESPOND TO THESE QUESTIONS. THE PROJECT EXPLORE THE RELATION BETWEEN MOTION AND EMOTION WITH A PROCESS OF EXPERIMENTING SIMULATIONS OF LIQUID WITH DIFFERENT PARAMETERS IN ORDER TO CREATE A THRILLING ATMOSPHERE TO REPRESENT THE FEAR OF DROWNING IN BLOOD.
SUBJECT SITE
C ON C E P T
CONFUSION
PHYSICAL WORLD / MENTAL ILLUSION THIS BUILDING IS CONSTANTLY STIMULATING A CONFUSION ON YOUR PERCEPTION. AN AREA IS SPECIFICALLY DESIGNED FOR THIS PURPOSE WHICH IS A ‘DARK ROOM’ - A GIANT WATER COLUMN IS ‘GUSHING DOWN’ TO THE WATER FOUNTAIN UNDERNEATH WHICH BLENDS THE PHYSICAL REALITY AND THE MENTAL ACTIVITY.
APART FROM THE EXPLORATION OF EMOTIONS, MOTIONS WAS THE MOST IMPORTANT ELEMENT TO ACHIEVE THE DESIRED OUTCOME. IN TYPICAL ARCHITECTURAL DESIGN, THE UNFORESEEABILITY AND INSTABILITY IS NOT RESPECTED. WE OFTEN DESCRIBE SPACE WITH THREE-DIMENSIONS, WHILE THE FOURTH DIMENSION – TIME, IS ABSENT. IN THIS PROJECT, THIS ABSENT DIMENSION HAS BEEN TAKEN INTO CONSIDERATION AND CONTINUED TO INVESTIGATE ON THE CONCEPT OF ‘TOWARDS MORE DIMENSIONS’.
I T E R AT ION EXPERIMENTATION OF SERVERAL PARAMETERS SUCH AS TENSION FORCE, DENSITY, THE POURING POINT, THE TIME, THE PRESSURE, THE TURBULENCE AND COLLISION WITH SITE BOUNDARIES TO FIND THE FINE LINE BETWEEN THE THRILLING ATMOSPHERE AND A USABLE FORM.
APARTMENT
COMMUNUAL
LOBBY
FLOOR PLAN G
FLOOR PLAN LVL 01
0
5
10
20 M
GROUND FLOOR PLAN
0
5
10
SECOND FLOOR PLAN
20 M
CROSS SECTION 01
CROSS SECTION 02
0
10
20 M
CROSS SECTIONS
LONGITUDINAL SECTION
0
10
LONGITUDINAL SECTION
20 M
P
ARAMETRIC
MODELLING OYLER
SCREENPLAY
PLAN
E L E VAT I O N
PROJECTION . / AXONOMETRIC
PROJECTION . 0
NUMBER SLIDERS
SINGLE ATTRACTOR POINT
E VA L U AT I N G F I E L D S
->
+
MULTIPLE ATTRACTOR POINTS
SPIN FORCE
+
AT T R A C T O R P O I N T S
->
AMPLITUDE ADJUSTMENTS
P
ARAMETRIC
MODELLING
3D PANEL
+
ATTRACTOR CURVES
NUMBER SLIDERS
2D PATTERN ARRAY + ATTRACTOR CURVE -> MOVE CTRL POINT Z
3D PANEL
3D PANEL
BOX
+
2 x 2 REC ARRAY
+
1 x 3 REC ARRAY
+
ATTRACTOR CURVES
+
ATTRACTOR CURVES
4 CURVES MINIMAL SURFACE
BOX MORPH
3D PATTERN | LOFT
ARCHITECTONIC
M U LT I S Y S
SWARM INTEL
MULTI-AGENT ALG HOW AN AGENT RE OR ACTIONS OF AGENTS BY CHAN OR ACTIONS. MULT ARE PREMISED ON ACTION OF AGEN FEEDBACK NECESS BEHAVIOUR.
AGENT COMPONENT
SELF-ORGANIZATION
EMERGENCE
BEHAVIOUR SEPERATION
BIOMIMETIC ALGOR
SIMULATE THE NAT
GENCE PHENOMEN ALIGNMENT
AGENT : REFER TO ONE OF
DIVIDUAL WITHIN A
SYSTEM CHARACTE LOCAL BEHAVIRAL
GLOBAL PHENOME COHESION
SEPARATION :
MOVE IN THE SAME BOURS.
SURFACE
ALIGNMENT : FLOCKING
REMAIN CLOSE TO COHESION :
AVOID COLLISIONS
SCHOOLING
AT T R A C T O R
HERDING
MORPHO GENESIS
-AGENT T E M
LLEGENCE
GORITHMS DESCRIBE ESPONDS TO THE STATE ITS NEIGHBOURING NGING ITS OWN STATE TI-AGENT ALGORITHMS N THE MUTUAL INTERNTS TO CREATE THE SARY FOR EMERGENT
RITHM :
TURAL SWARM INTELLI-
NON. NON-INTELLIGENT IN-
A LARGE GROUP.
ER : INTERACTIONS CAUSE
ENON.
E DIRECTION AS NEIGH-
NEIGHBOURS.
S WITH NEIGHBOURS.
SYNTHETIC FORMS
QUESTIONING THE NORM
THE STUDIO ADVOCATES A REVOLUTION IN THE ARCHITECTURAL INDUSTRY BY EXPLORING THE DESIGN OF INTRICATE FORMS, ROBOTIC FABRICATION AND 3D PRINTING TECHNOLOGY. THRU EXPERIMENTING OBJECTS WITH STRANGE QUALITIES, COMPLEX STRUCTURES AND THE ARTICULATION OF SPACE, WE DISCOVER THE AESTHETICS OF MORPHOLOGY AND THE ATMOSPHERIC EFFECTS OF FORMS IN A MACRO SCALE. WITH EMERGING BUILDING-SCALE 3D PRINTING, IMPOSSIBILITIES OF HIGHLY INTRICATE GEOMETRIES BECOME POSSIBLE. DESIGNS WITH UNRESTRICTED IMAGINATION ARE ALLOWED TO BE TRANSFORMED FROM THE DIGITAL WORLD INTO THE PHYSICAL WORLD. A SYNTHETIC DESIGN PROCESS WAS DEVELOPED WHICH COMBINES EMERGENT ALGORITHMIC APPROCHES, THE LOGIC OF 3D PRINTING AND PAINTERLY OPERATIONS TO CREATE A STRANGE HYBRID TO QUESTION THE NORM AND PUSH ARCHITECTURE TO IT’S LIMIT IN TERMS OF FORMS AND MATERIALS.
HYPERBOLIC FORM INTERWINING DUCTILITY
FEATHERY EXTRUSIONS LAYERING & PULLING
OBJECT BRANCHING ARTIFICIAL RANDOM GROWTH LIVING ORGANISM
07
CONTINUITY IN FORM DIVERSITY IN CHARACTERISTICS DENSE TEXTURE
DENSE CLUSTERS DEFORMABILITY HIERARCHY
POROUS OUTSPREAD DIAGONAL DIRECTIONALITY WITH VERTICAL GROWTHS
SPIKINESS AND SMOOTHNESS DIVERSITY IN CHANGE OF SKIN TEXTURE
HELIX SILHOUETTE INTERLOCKING VOLUMES RELAXATION > TENSION
TWISTING SURFACE BRANCHING & COLLECTING ORGANIC MOVEMENT
DIRECTIONAL TEXTURING POINTED COMPONENT SPLINTERS
FLUIDITY AND DISCRETENESS CONNECTION AND DISCONNECTION
SPIRAL MOVEMENTS STILL AND DYNAMIC SUBTLE AND DRASTIC CHARACTER CHANGE
UNDULATING VIBRATING STRETCHED TRAVERSING
COMPONENTISED TILED SURFACE SOLID SINGLE CHUNK WITH ANGULAR JOINTS REVOLVING SURFACE WITH ARCHED TURNING POINTS SCALAR GROWTH TWEENING MULTIPLE COMPONENTS
SHARP EDGES WITH SOFT ROUNDED BENDS PULLING AND WRAPPING WITH WAVY MOVEMENTS
DISCREPANCY AND RELEVANCY TRNASFORMATION AND TRANSITION OPENING AND ENCLOSURE
INFINITE DIMENSIONS MONOTONOUS COMPONENTS, LACK OF VARIATION
SUSPENDED TWISTING FORM LIGHT WEIGHT STRUCTURE WITH CHOPPY SKIN CONTINUOUS GEOMETRY
PARTS
O R N A M E N TA L ?
FORM FORM FORM
WHO - L E SKIN
STRUCTURAL ?
T E X T U R E
SCA
DETAILS
A TWISTING FORM WRAPPED IN A SCALY, SQUAMACEOUS SKIN TEXTURE
EXPERIMENTATION OF OBJECT SILHOUETTE AND FORM WITH ARCHITECTURAL PROTENTIAL BLENDING STRUCTURAL AND ORNAMENTAL ELEMENTS CREATE CONTRAST BETWEEN A SMOOTH CONTINUOUS SURFACE AND SEVERAL COMPONENTS WITH DISTINCT CHARACTERISTICS
COLOURIZATION AND MATERIALITY HAVE BEEN TAKEN INTO CONSIDERATION AS CHARACTERS DENSE, FOLDED SURFACE WITH SHINY REFLECTIVE METALALIC SKIN STRENGTH FROM FOLDED GEOMETRY ITSELF ENHANCES THE FIRMNESS OF FORM
SCA
TRANSFO
OBJECT
TEXTURE
SCA
TRANSFO
OBJECT
TEXTURE
OBJECT
CHUNK
OBJECT
CHUNK
CHUNK
ALE
ORMATION
TEXTURE
CHUNK
ALE
ORMATION
TEXTURE
THESE STRANGE OBJECTS ARE LIKE NATURAL BEINGS. REGARDLESS OF THE SHAPES OF ALL THE NATURAL BEINGS IN THE UNIVERSE, THEY ALL HAVE THEIR OWN LOGIC OF GENESIS. LOGIC IS THE LAW OF NATURE AND THE LAW OF ARCHITECTURE. THE PROCESS TEND TO AVOID COMPLETE REPLICATION IN DESIGNING BUT INSTEAD, EMBRACE THE INSTINCT OF HUMAN AS NATURAL BEINGS: UNIQUENESS AND GROWTH. DESIGN WITH GROWTH IS NOT SIMPLY TO SUBVERT THE HORIZONTAL SQUARE BOX TO MAKE STRANGE SPACE, BUT TO SATISFY THE NATURAL ATTRIBUTES OF HUMAN BEINGS.
TEXTURE
IN THE FUTURE OF MATURE TECHNOLOGY, HUMANS RISE FROM SIMPLE MATERIAL PURSUIT TO HIGH SPIRITUAL PURSUIT. WHEN WE ARE TIRED OF THE MODELLED LIFESTYLE, THE MONOTONOUS BEHAVIOURS OF PEOPLE, THE HOMOGENIZED URBAN PATTERN, AND THE PLAGIARIZED SPATIAL FORM, WE NEED TO RETURN TO THE BASICS AND EXPLORE THE TRUTH OF NATURE, INTERPRET THE MEANING OF INDIVIDUAL LIFE AND EXPERIENCE WITH THE LAWS OF NATURE AND GRASP THE DIRECTIONS TO MAKE THE RESULTS OF DESIGN EVER-CHANGING.
TEXTURE
C H A R AT E R I S T I C S
SPA CE
ARTICULATION
EXTERIOR
OBJECT
INTERIOR
AT M O S P H E R E
THESE EVER-CHANGING OBJECTS ARE SITELESS BUT THEY DO NOT ONLY HAVE UNIQUE, STRANGE QUALITIES AND SCULPTURAL EFFECTS. THERE WERE ALSO INVESTIGATIONS ON THE CO-RELATION BETWEEN THE WHOLE AND THE PART, TEXTURE AND DETAILS, THE AMBIGUITY BETWEEN STRUCTURAL ELEMENTS AND ORNAMENTAL ELEMENTS, THE CHARACTERISTICS AND ATMOSPHERIC EFFECTS, THE CONTINUITY OF INTERIOR AND EXTERIOR, THE ARTICULATION OF USABLE SPACE, AND ADJUSTMENTS OF SCALE. EMERGENT ALGORITHMS WERE APPLIED WITH PAINTERLY OPERATIONS, SWING BACK AND FORTH TO FIND A BALANCE BETWEEN TENSION AND RELAXATION, RIGIDITY AND FLEXIBILITY, ORDER AND CHAOS.
EMERGENCE
WUNDERKAMMER CABINET OF CURIOSITIES
THE TERM ‘WUNDERKAMMER’ REFERS TO A ROOM WHERE STORES COLLECTIONS OF OBJECTS. WHILE THE PURPOSE OF THE DESIGN IS TO CONTAIN A SERIES OF STRANGE OBJECTS, THE DESIGN ITSELF IS A STRANGE OBJECT. THE DESIGN PROCESS WAS TO EXPLORE THE RELATIONSHIP BETWEEN MICROSCALE AND MACROSCALE IN TERMS OF ARTICULATION AS WELL AS 3D PRINTING LOGICS. THE DESIGN WAS EXPERIMENTING COMBINATIONS OF SWARM INTELLEGENCE AND CONTINUOUS SURFACES WITH AN INTENTION OF BLURRING THE DISTINCTION BETWEEN LINE, COMPONENT AND SURFACE. RESULTED IN A CRYSTALLINE FORM WITH VARIOUS ORNAMENTAL CHARACTERISTICS AND AN ARTICULATED SPACE. THERE IS NO BOUNDARIES BETWEEN WALL, CEILING, FLOOR AND LEVEL. THE WHOLE ‘OBJECT’ IS ONE. THERE IS STABILITY AND FLUIDITY, ORDER WITHIN CHAOS, CONTROL UNDER UNFORESEEABILITY.
P L AY H O U S E , 2 0 1 8
CROSS
REALITIES
AUTOMATION & ARCHITECTURE
THE PROJECT WAS CENTERED ON FUTURE ORIENTATED STRATEGIES OF DESIGNING. IT INVOLVED A FOCUS ON THE EXPLORATION OF THE RELATIONS BETWEEN ART, ARCHITECTURE AND AUTOMATION THROUGH THE PROCESS OF GENERATING GEOMETRIES BASED ON ORGANIC MOVEMENT PATTERNS AND RECURSIVE ELEMENTS, SWING BACK AND FORTH BETWEEN ABSTRACT, FREE, DYNAMIC FORMS AND HYBIRD STRUCTURES. DEALING WITH THE METAMORPHOSIS OF NATURAL FORMS IN RELATION TO ART AND ARCHITECTURE, AS WELL AS THE EXAMINATION OF MATHEMATICAL BODIES PRODUCED BY NATURE ITSELF, IS A PHENOMENON, WHICH HAS BEEN PRESENT THROUGHOUT THE HISTORY OF FORM. DESIGN PROCESS INVESTIGATED ON AMORPHOUS ARCHITECTURE BY DESIGNING COMPONENTS, FIELDS AND BLOCKS FOLLOWED MATHEMATICAL FORMULAS BUT WITH DIVERSE CHARACTERISTICS FOR UNEXPECTED RESULTS FROM THE DEVELOPMENT OF MORPHOGENESIS. AUTOMATED FABRICATION HAS ALSO BEEN RIGOROUSLY TESTED FOR SOLVING TURAL
CONSTRAINT
SATISFACTION
STRUC-
PROBLEMS.
COMPONENTS
E02
E01
E06
E = Extrusion B = Bridge H = Hybrid
Deform Nonlinear - Twist
E03
Deform Nonlinear - Twist
Vertex Extrude
E04
Deform Nonlinear - Bend - Flare
E05
E07
Deform Nonlinear - Flare - Wave
E08
E09
Deform Nonlinear - Wave
E10
B01
Deform Nonlinear - Squash
B02
B03
Deform Nonlinear - Bend
B05
B07
Polygon cone
B08
B09
Deform Nonlinear - Twist
B10
H01
H02
H03
H05
Deform Nonlinear - Twist
B04
Deform Nonlinear - Wave
B06
H04
Deform Nonlinear - Twist
MODULES
ME01
ME02
ME04
ME03
ME05
ME08
ME10
ME09
ME07
ME06
M = Mirror
MB02
MB04
MB03
MB05
MB07
MB08
MB09
MB10
MB01
MB06
CUBES
C01
C02
C03
C04
C05
C06
C07
R E C U R S I V E S U R FA C E
300 M
P L AY H O U S E P R E S E N T S A H I G H R E S O L U T I O N A N A L O G U E D O M A I N , A L I N E A R R E C E P T I V E E X P E R I E N C E T H A T H U M A N I N N A T E LY C R AV E A S PA R T O F T H E I R B A S I C E X I S T E N C E .
E L E VAT I O N SECTION
BUILDING ENVELOPE
PROGRAMME
programme insertion
CORE SECTION X
CORE SECTION Y
core
LOOKING AT THE WORLD, MOST OF THE SHAPES IN NATURE ARE NOT REGULAR OR PRIMARY GEOMETRIES, BUT ARE FORMS THAT FOLLOW THE LAWS OF NATURE AND CONTAIN POTENTIAL OPTIMIZATION AND RATIONALITY. IN THIS SENSE, THE MOST REASONABLE DESIGN SHOULD BE THE PURSUIT OF THE MOST NATURAL FORM. THIS PROJECT CELEBRATES THE COMPLEXITY AND INFINITE POSSIBILITIES IN NATURE WITH AN AIM TO MIMIC THE NATURAL PHENOMENA IN FORM GENERATING AND FINDING POTENTIAL OPTIMIZATION FOR FUNCTIONALITY.
BUILDING CORE PART DETAIL
ELEVATION
DETAIL SECTION 01
SECTION 01
ELEVATION
ELEVA
SECTION 02
SECTI
VATION
ELEVATION
ION 03
SECTION 04
PLAN 01 INTERIOR VIEW 01
PLA
INTERIOR
AN 02
R VIEW 02
PLAN 03 INTERIOR VIEW 03
Extrude Layer
SLICE 40
Robotic arm Trajectory
TRAVEL 40
Extrude Layer
SLICE 80
Robotic arm Trajectory
TRAVEL 80
Extrude Layer
SLICE 120
Robotic arm Trajectory
TRAVEL 120
Extrude Layer
SLICE 160
Robotic arm Trajectory
TRAVEL 160
Extrude Layer
SLICE 200
Robotic arm Trajectory
TRAVEL 200
CONSTRUCTION METHODS
3D PRINTING
WHEN DEALING WITH INNOVATIVE TECHNOLOGIES LIKE ROBOTIC FABRICATION / 3D PRINTING, THE CONVENTIONAL THINKING OF USING REGULAR GEOMETRY SUCH AS CYLINDERS, SQUARES, SPHERES BECOME INSUFFICIENT TO UTILIZE THE FULL POTENTIAL OF THE TECHNOLOGY. THESE TECHNOLOGIES ARE PUSHING US TO CONSIDER A HIGHER RESOLUTION AND WITH MORE DIMENSIONS. 3D PRINTING WILL RADICALLY CHANGE THE RELATIONSHIP BETWEEN COST AND FORM.
AUTOMATED FABRICATION HAS BEEN RIGOROUSLY TESTED IN ORDER TO SOLVE STRUCTURAL CONSTRAINT SATISFACTION PROBLEMS. THE PROJECT AVOIDS THE INDEXING OF SPACE BY PREDETERMINED FORM, BUT RATHER EXPLORE THE POSSIBILITY OF FABRICATION AS MORPHOLOGICAL PROCESS. THE PLANNING IS NOT DEFINED BY SKETCH, PLAN AND SECTION, BUT IN AN EMERGENT FASHION BY THE DEFINITION OF SCRIPT AND PROCESS.
D I G I TA L FA B R I C AT I O N
NON LIN / LIN uses intricacy within construction, through comprising the form of thousands of individual parts that can be pieced together. The structure is digitally fabricated to ensure precision, with computational methods essential to deliver the geometry. The result is lightweight (aluminium) form that delivers an “otherworldly experience”. This method can be applied to my design by using digital fabrication to piece together the form.