YUCHEN YE JOURNAL
Contents
2
Part A
4-22
Part B
26-63
Part C
64-101
Introduction
Yuchen Kevin Ye As a 3rd year undergraduate architecture student, I see myself as an independent learner, I do like to try design software which is new to me, so does Rhino and grasshopper plug-in. However Architecture studio- Air is still quite challenging as we need to develop a range to computational design skill and try to adapt them in our individual design. My drawing skill is much better than my software design skill, thus I still need to spend a lot of time practicitng and I am looking forward to the fabrication part of this subject as it relates to digital fabrication and it is a very important skill in the industry, I am also very exciting to see what interesting designs others will produce.
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A.Design Future Parametric Design
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6 PART-A CONCEPTUALISATION
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PRECEDENT STUDY PROJECT 1 Bloom / DO|SU Studio Architecture - Doris Sung This "living" project was done by DO|SU Studio in 2012. Doris Sung, The head architect of this project developed a metal skin which brought this project to life. It is amazing that she was able to use her biological background in her architecture study.
and project the performance so that the angle of change of these components and the amount of air-flow are exactly the same as they wanted, they used digital fabrication and they use them to test for post-occupancy performance.1
This thermal bimetal is part of her material study which changes its form due to the increase and decrease of tempreture without any energy consumption. This project also relied on the use of digital tools. They use then to form-find, analyze the structures
The reason I chose this project as my precedent is because it is the first successful self-react project and it has huge potential to be widely used in different areas and backgrounds. It can be made very custom like this project which provide perfect area of shades and air-flow, or
it can be mass produced and be used in facades of skyscrapers. More importantly, it has the unique ability to work without any control, neither energy comsumption.
1 Andrew Galloway. "When Biology Inspires Architecture: An Interview with Doris Kim Sung " 14 May 2014.
01. Project Bloom - Doris Sung
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This self-shade, self ventilate, and self-operate zero comsumption material truly shows that "smat" materials can really create huge impact on architecture and building facades, and it is more important to find that digital materiality and material fabrication can make positive impact on our society and even a bigger scale. Therefor architects from designer's perspective can improve human living standard2.
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"I think “smart” materials and nano-scale materials will be make the biggest changes in building materials. It’ll change our perception of buildings dramatically. No longer will we expect walls to be sealed, floors to be hard and buildings to be static. Buildings will be more like organisms, which we can have relationships with!" -Doris Kim Sung
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04 2 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16
02. View of Project Bloom from street. 03. Close look at these thermal bimetal in action.
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05 04. Digital Fabrication Process. 05. Diagram of the movement of pannels.
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PRECEDENT STUDY PROJECT 2 Nine Bridges Golf Club - Shigeru Ban Shigeru Ban is well-known as the 2014 Laureate of the Pritzker Architecture Prize. His amazing designs using recyable timber and paper tube and his understanding of being an architect, which is to build for the society have always encourage me. I was lucky to see one of his project in present in Sichuan which is a small temprory elementary school which was made of recyclable paper tube. These buildings are not only shockproof for earthquake up to magnitude-8, they are also recyclable, reusable, cheap and readily available on site. Shigeru Ban once said taht "I do not know the meaning of 'Green Architect'. I have no interest in 'Green',
'Eco' and'Environmentally Friendly.' I just hate wasting things."1 His this idea was formed from his Japanese background, thus his project was all about timber and paper.
"Wood is the most ecological thing. Steel, concrete - we are just consuming from a limited amount. Timber is the only renewable material. A concrete building stays only a hundred years, and it's very difficult to replace or repair, where timber is very easy to repair. Also nicer. Such a nice material."2 I chose Nince Bridges Gold Club as my Second precedent study because the way Ban managed to construct this beautiful timber roof
and column structure system in a dramatical way which feels like the timber gridshell melted down and form these columns. It is also amazing that these columns does not impact the patterning of the roof but perfectly match the pattern, this is due to digital design and fabrication. The structure of this system is also a milestone as every component is prefabricated offsite. It is always nice to see materials been used in ways which different from its traditional ways. Shigeru Ban's email to Toyo Ito. Dana Goodyear, Paper Palaces.
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02.Timber column and roof structure of the Nine Bridges Golf Club House from inside. 03. 04. The Nine Bridges Golf Club House under constrution, prefabricated roof component been installed. 05. Night view of the Nine Bridges Golf Club House from outside.
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05 Computation has always been part of Ben's design process as his designs often contain complex grid structure and require computational analyse for the structure to be buildable. It is not like the Metropol Parasol designed by J端rgen Mayer Architects which require a lot of bracing support or huge base, it is just simple joints and let the structure to support itself. For his other paper tube projects, usually have a budget which requires minimize the use of materials and to be constructed within a limited time. Most of these projects are
challenging and he managed to design temporary houses which are not just functional but also beautiful. He is also the founder of recyclable paper tueb architecture. He was asked to build many temporary paper tube houses around the world. He question what is temporary and what is perminent, a bad designed concrete architecture could also be temporary for money, a well designed paper tube architecture could also be perminent if it is taken good care of and repaired.
A2.Design Computation
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Recedent Project 3 Munich Olympic Stadium - Frei Paul Otto It was very sad as that Frei Otto passed away just after he recieve the 40th Pritzker Prize. Munich Olympic Stadium, "The Happy Game" is definitely his masterpiece. It is one of my favourtie design as it was built in 1940s, and it is still appealing to me today. When I saw Frei Otto’s work, the first thing I think of is organic. It was just after World War II and Germany was experiencing lack of material and an urgent need for temporary housing. Frei Otto decided to take the approach of designing houses with just basic function: providing shelter. He was mastering engeering thus his design contain a lot of engineering concept using steal web structure
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to create vast space which is also very strong. Otto's design concpet was inspired by soup membrane in simple shape waire frame, he then specialised in light weight tensile and membrane structure using different materials. The Stadium was valued as one of most beautiful stadium in the world because of the lightweighstructure brought liveness into the game and it provide shelter while provide great amount of light to the stadium. The structure of this stadium has two main component. First, the metal frame, whose small spaces were coated with PVC, created numerous minimal surfaces and as such was also minimal weight,
allowing the construction of an architectural cover lightness. Second, the surface tension of these forms is completely balanced, providing very stable construction.These wire meshes are held by straps that start from the heads of the outer masts, straps and cables anchored to the ground edge. The geometric precision cut patterns and prefabrication required in the project forced the development of new computational method, of particular relevance in the "Architecture HighTech" and a revival of cast steel in structural engineering using molds polystyrene.
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03 It is not only the designs that Frei Otto created are beautiful, it was his concept of seeing structure as part of the design that is important. It was said that “Throughout his life, Frei Otto has produced Imaginative, Fresh, Unprecedented spaces and constructions. He has also created Knowledge. Herein resides his deep influence: not in forms to be copied, but through the paths that have been opened by his research and discoveries.�1
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Oliver Wainwright, Frei Otto: the titan of tent architecture
01. Munich Olympic Stadium from the outside on Openning day. 02. 03. Munich Olympic Stadium under the tent.
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04. Munich Olympic Stadium
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05. Munich Olympic Statium under constructiuon. 06. Drawing of Munich Olympic Statium.
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What really Munich Olympic Statium strike me is the image above taken when the project is constructing. This image shows that the tensile structure is so strong that it can support a certain amount of weight which I think has a lot of potential and possibility even for architecture today. This light weight structure has the potential create a new form of architecture based on its strength, transparency and air ventilation. It could possibly become a new form of architecture.
However Otto still has successfully earned his title of "Father of Tent Architecture". His ability to transform ideas in mind, to drawing, and then to practical architecture is amazing. And the effort he has put in his own experiment and computational design means so much in the history of architecture. His influence in future architecture is irreplacable.
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Precedent Project 4 Heydar Aliyev Center - Zaha Hadid Frank Gehry once said "Flat piece of something worth one dollar; single curve, two dollar; if it is double curve, it worth ten dollar."1 If that is the budges of curves, this Heydar Aliyev Center designed by Zaha Hadid is priceless. It was completed in 2013, and it is the most extreme of Zaha's designs, it is organic, it is sensul, it is also very strong. It is a new culture center in Baku which was proposed as the vision of future Baku. Romaticism is involved in the design, Zaha was able to stretch her wings, it was the ultimate Zaha experience. The building is so organic that it feels like the earth been folded like mountains, the curveds of this building are growing themselves.
Zaha as a geniuses was able to imagine the form of this building and construct it in a digital environment. The curves of this building are almost impossible to build without the help of digital design and computational fabrication. It has successfully becomes a landmark of Baku as it was planned, and it has become a milestone in architecture history. Fluidity has always been part of Islamic architecture and Zaha was able to develop a firmlycontemporary interpretation, reflecting a more nuanced understanding.Responding to the topographic sheer drop that formerly split the site in two, the project introduces a precisely
terraced landscape that establishes alternative connections and routes between public plaza, building, and underground parking. This solution avoids additional excavation and landfill, and successfully converts an initial disadvantage of the site into a key design feature.
1 Gehry, Frank. Frank Gehry Talks Architecture and Process
01. Heydar Aliyev Center designed by Zaha Hadid
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05 02. Night view of Exterior of Heydar Aliyev Center 03. Theater of Heydar Aliyev Center 04 & 06. Interior of Heydar Aliyev Center 05. Exterior of Heydar Aliyev Center
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One of the most critical yet challenging elements of the project was the architectural development of the building’s skin. Our ambition to achieve a surface so continuous that it appears homogenous, required a broad range of different functions, construction logics and technical systems had to be brought together and integrated into the building’s envelope. Advanced computing allowed for the continuous control and communication of these complexities among the numerous project participants. To emphasize the continuous relationship between the building’s exterior and interior, the lighting of the Heydar Aliyev Center has been very carefully considered. The lighting design strategy differentiates the day and night reading of the building. During the day, the building’s volume reflects light, constantly altering the Center’s appearance according to the time of day and viewing perspective. The use of semi-reflective glass gives tantalizing glimpses within, arousing curiosity without revealing the fluid trajectory of spaces inside. At night, this character is gradually transformed by means of lighting that washes from the interior onto
the exterior surfaces, unfolding the formal composition to reveal its content and maintaining the fluidity between interior and exterior. The Heydar Aliyev Center’s design evolved from our investigations and research of the site’s topography and the Center’s role within its broader cultural landscape. By employing these articulate relationships, the design is embedded within this context; unfolding the future cultural possibilities for the nation. The meaning of this building for me, as an undergraduated student is simply that computational design can create elegance which can not be achieve without it. Because for some people, it is the most important thing, architecture as part of our society does not just reflect our society, more importanly it shape our society. If computational design has the ability to solve problems while creating beauty in our cities, it is definitely worth exploring.
Geometry Structure Materiality 06 PART-A CONCEPTUALISATION
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A.3. Composition/ Generation
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Precedent Project 5 Absolute Towers - MAD/Ma Yansong Modernism has a famous motto: A house is a machine for living in. But what if cities are emerging away from machine age, how should buildings today convey? The MAD architects thrive to challenge the sustenance of commonplace boxy skyscrapers. Their ambition was to provide each resident a unique experience of the city, a heterarchitical distribution. Absolute Towers as their final proposal is underpinned with a surprisingly simply and inexpensive structural solution. The two residential towers are supported by a grid of concrete load bearing
walls. The bearing walls extend and contract in response to the sectional fluctuation created by the rotation of the floors while the balconies consist of cantilevered concrete slabs. The dynamically fluid shaping of the towers, naturally aerodynamic, adeptly handles wind loading and ensures comfort throughout all the balconies. Besides providing every resident with a nice exterior place to enjoy views of Mississauga, the balconies naturally shade the interior from the summer sun while soaking in the winter sun, reducing air conditioning costs. All of these are generated in digital
tools which was picked from thousands of possible solutions. This final solution is not just randomply picked, it is chosen due to several conditions. The reason I love this project is because it appears as a simple design but infact there is so much process behind it: the process of writing algorithm, the process of generating solutions, the process of selecting one perticular result and refine the it under certain conditions. It is the ideal example of computational designed project.
01. Absolute Towers by MAD
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Absolute Towers as computational generated result, computer does not only do the drafting and rendering job as they were decades ago, however the most important thing they do is analysing the system and generating possible outcomes. These outcomes could be unexpected, which leads to possibilities that may redirect the final result entirely, at this point, architects were led by computation and the meaning of architecture design is lost, which becomes testing process.1 Obviously this is not pleasent for the existence architects, thus the importance of Computational design is essential, architects need to control and have the ability to generate computer but not be driven by it.
Like what the MAD architects did, they write their own algorithm and generate results which under their control, and then selecet specific result and refine the algorithm to regenerate exact result they want. And this is the beauty of Absolute Towers as how I understand it.
1 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25.
02 & 03. Looking down from Absolute Towers. 04. Plan of Absolute Tower. 05. Image of Absolute Tower.
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Precedent Project 6 National Aquatics Centre - Arup The National Auatics Centre is one of the most appealing project done during the 2008 Olympics in Beijing, and it is a perfect example to show the development in computational archtiecture design during the last decade.
As well as providing a multifunctional aquatics centre, the brief required extensive use of digital technology, energy-reduction and water-saving methods, as well as the incorporation of new construction materials. Arup designed this huge blue box proposal, from which it takes its nickname: the Water Cube. It is blue in order to reflect sunlight. It shines in the sunlight like a pearl in water. From the inside, you may discover that the pneumatic cushions of all sizes are just like sea bubbles. But winning the competition was
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just the first step, as they proposed, they need to work with a relatively new material called the ethylene tetrafluoroethylene (ETFE) which is really challenging. There are two parts to the Water Cube's structural framework – internal and external. The external structure forms the actual roof, ceiling and walls and comprises a flat web of rectangular boxed sections. These sections are then clad with the inflatable material transparent "teflon" ETFE. The use of ETFE will help the building last for about 100 years. The transmission of light and strength of the ETFE membrane deteriorates far less than other materials. The membrane is resistant to fire and severe heat, and possesses ductility and crushing resistance. It is selfcleaning in nature as the friction
coefficient of the material prevents the dust from forming a layer on the material and rain can easily clear away the dust. However this material still has a lot of myths, regarding the material growing mould and being ineffective in muting external noise, which had to be dispelled. Eventually they still managed to finish the building before deadline with the help of professions from all areas, testing, experimenting during the design process.
01. National Aquatics Centre by PTW Architects
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02. Final digital solution to Water C.ube 03. Water Cube under construction. 04. Water Cube Illustration proposal.
According to the book Space Craft: Developments in Architectural Computing (RIBA Publishing, 2008), "Irish physicists Denis Weare and Robert Phelan were able to calculate that the most efficient way to divide a space into cells of equal volume while minimizing the surface area between them was to use a stacked arrangement composed of 75% 14-sided shapes and 25% 12-sided shapes." So far so good, but since the resulting structure would have 22,000 steel members connected at 12,000 nodes, generating an actual model based on the idea exceeded the reach of conventional design.
with relative ease. In addition to the structural advantages, Arup estimated that it saved $10 million on design costs alone compared with traditional design methods. The optimal design for the Water Cube was determined by analyzing multiple configurations of the thousands of steel members and connecting nodes. Different from the Absolute Towers, water cube is a more material focused computational design, which I find it very interesting, and I think it is how we should associate with computers.
Instead, according to the book, to manipulate this complex geometric system dynamically, Arup wrote parametric software that automated the drawing and analysis process. Based on specified design constraints and less than 190 loading scenarios, the algorithm iteratively checked the distribution of forces through the entire structure based on specific member sizes, allowing the team to test different design configurations and receive feedback within 25 minutes. The result was a spectacular building with a sophisticated structure that is optimized in terms of material weightto-strength ratio, and it was achieved PART-A CONCEPTUALISATION
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FEEDBACK
LEARNING OUTCOMES
Part A has provided a background knowledge of what computation is in architecture design. In the A1 part we questioned about what is design and what is the ideal relationship between computer and architects. I believe the way we think about design is also changing, we no longer be limited in complexity, we are no longer limited in possibilities of materials as we generate new materials and explore more about the materials we used to know. What is more important is that our whole architecture design vision and focus has changed. As we have stonger connection to the society due to development of technology and social media, we should no longer be just architects, but also associated with the society, with digital design we no longer repeat the process of solving problems and present the solution to the society, but think from the society's aspect, and design algorithm that match specific needs thus that we are truly designing for the society.
As a student who has no experience of Grasshopper plug-in, I found that this subject is full of fun as we play with grasshopper. However it is really hard to get the outcome you want. The design process has become a experimental process. Like what we have discussed in Part A2, digital design is a new way of design, however it takes time to transform from hand draw designs to conceptual design. We know where we are heading to , but I do not really know what I am going to get. Maybe it is just me having too less experience, above all I still love this subject because it introduced me this useful tool which can not be replaced. Because I’m new to Grasshopper plug-in. I found that the first week task is most fun because it is the introduction. I found that design can be programming and algorithm.
After Part A I think my intentions for design process will incorporate with material and structure becuase I think they are most likely to be assembled with the purpose of computational design and problem solving.
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REFERENCE Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 MATHEWS, FREYA (2005). REINHABITING REALITY: TOWARDS A RECOVERY OF CULTURE (UNSW PRESS), CH.7 - MERRI CREEK OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10 KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25 ISSA, RAJAA ‘ESSENTIAL MATHEMATICS FOR COMPUTATIONAL DESIGN’, SECOND EDITION, ROBERT MCNEEL AND ASSOCIATES, PP 1 - 42 KOLAREVIC, BRANKO, ARCHITECTURE IN THE DIGITAL AGE: DESIGN AND MANUFACTURING (NEW YORK; LONDON: SPON PRESS, 2003) SUGGESTED START WITH PP. 3-62 PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15 DEFINITION OF ‘ALGORITHM’ IN WILSON, ROBERT A. AND FRANK C. KEIL, EDS (1999). THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES (LONDON: MIT PRESS), PP. 11, 12 CHERMAYEFF, IVAN. ‘IVAN CHERMAYEFF COLLAGES’, HARRY N ABRAMS(1991), P10. FRY, TONY. ‘DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE’,OXFORD: BERG(2008), PP. 1–16.
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B. CRITICAL DESIGN Tensile strucutre Selforganized strucutre
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Parametric approaches aim at representing change. Rather than the designer creating the design solution (by direct manipulation) as in conventional design tool, the idea is that the designer first establishes the relationships by which parts connect, builds up a design using these relationships and modifies the relationships by observing and selecting from the results produced. The system takes care of the job of keeping the design consistent with the relationships and thus increases designer ability to explore ideas by reducing the tedium of rework. Self-organization may be defubed as a spontaneous process of organization. The spontaneous creation of an "organized whole" out of a "disordered" collection of interacting parts, as witnessed in self-organizing systems in physics is a basic part of dynamical emergence. It us directly related to the performance of material and the relationship between each components.
Enchancing the performance of the material or utilizing the material properties to inform the design; the idea of material performance is mostly explained with the former definition, however a secound approach is emerging with the aid of parametric design tools. The properties of the material are being researched not necesarily to improve them, but to take advantage of them in the form finding process itself. Achim Menges Describes this method as: "Computation provides a powerful agency for both informing the design process through specific material behaviour and characteristics, and in turn informing the organisation of matter and material across multiple scale based on feedback from the environment." He calls this approach 'morphogenetic design'. that is material forming its shape in time What this kind of approach brings to the design is that the structure/form is shaped by its envrionment thus bringing together a better-informed biomimetic design. Achim Menges
and Steffen Reichert crticizes the method in climate-responsive architecture that it depends totally on the usage of technocal euipment to perform according to te designer's goal when the systems in the environment achieve this only through the strucutrre of the material. Another main aspects of vernacular architecuture is the attention given to and exploration of materials. An important part of that was the usage of different woods for different purposes: different parts of a house, different furniture and tools. If it was not for the myriad chemicals and processing methods today timber structures and object would be changing all the time. This would be seen as a design flaw, but maybe by manipulating them with parametric design tools such natural properties of materials can be utilized for the design rather than being an impediment to it.
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Problem Statement Collingwood Children's Farm Unorganized fields in the children's farm has resulted difficulties in management and operation of the farm (sunlight, rainwater, shading), creating unpleasing view over the passage overlood, it is not visually attractive thus reduce visitors to the area and also reduce customers to the farm market, degraded quality of living for the Merri Creek Trail and the CERES community.
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Criteria To initiate the process of form finding, I need to establish some design criteria
that relates to the site and the problem that I intend to resolve. These design criteria will nerrow my scope of exploration during the computation work. During the process of exploration, variation of the parameters that controls the form will have direct and indirect consequence to the design criteria which I have set up. Having the design criteria will help to reduce the design potentials from the pool of permutations generated from computation work. This reduced set of design potentials can be the basis of discussion/ consultations with stakeholders for analysis. The whole process can be repeated for refinement until an optimised form is reached. In view of the problem I wanted to resolve in Merri Creek, Sunshade device combine with water collaction device, I have developed the following set of design criteria to discover the design potentialities of Case Study 1.0 - Voussair Cloud by Iwamoto Scott. This will help me to develop my design using digital morphogenesis technique later in the design phase. c1. Selforganized Sun shade - different level of shading c2. Pattern which reorganize the field c3. Constructability c4. Aesthetics c5. Function
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Criteria table C1. SELF-ORGANIZATION
C2. PATTERN
C3. CONSTRUCTABILITY
As I am personally interested in Self-organization in material performance, I aim this criteria as one of my core criteria. In order to achieve this, it could be very chanllenging as it is still a new topic in arhcitecture design but there is also an emerge in this direction, so I think it could make my project more attractive and presentable.
Because my proposal is about a serious of sunshade device which has a unique form and but different in individuals. The original farm is so disorganized which only by demolish the exisiting orangement, we can reorganize the farm. Thus establishing a unique pattern on the farm becomes really impoartan. The pattern should be relevant to the sunshade device that I designed. The pattern I created should start from the function of my proposal. "Form follows function."
Constructability can be defined as the ease and efficiency with which structures can be built. The more constructible a structure is, the more economical it will be. To achieve the sustainable objective of the project, I am also looking for material effciency and constructibilty.
C4. AESTHETICS
C5. FUNCTION
The Aesthetics of the built form will conform to the local aspiration of the community. This can be acquired through regular consultation with the local community at the design phase. It is very important to design something that attract the stakeholders and also be effectively functional. The idea of function should never be miss taken throughout the design phase.
Becaus my proposal is design a shading device for the children's farm, thus effective sunlight shading is one of the main criteria. Another important factor to consider is its ability to resist wind force and the ability to evacuate over flowed rain water. The structure and the function of the design should be strongly bonded to each other. Also creating space both under and outside the sunshade in the required land is also very impoartant.
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C1. SELF-ORGANIZATION (25%)
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C2. PATTERN (15%)
C3. ONSTRUCTABILITY (15%)
C4. AESTHETICS (20%)
C5. FUNCTION (25%)
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B 2.0 Case Study 1.0 IwamotoScott
Voussoir Cloud
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The goal was to explore a structure under pure compression and ultra-light material system. The design was inspired by the works of Frei Otto and Antonio Gaudi, who used hanging models for formfinding. Similar methods were also used in this project. The Grasshopper script of the design only takes in a couple of points to from the starting points for a cell diagram and applies spring forces on lofts created with these cell curves to form the shape of a 'relazed' spring. However the project relies on the boundary walls to support and push the panels to form the pattern. What I am interested in is how each panels selforganize them selves and generate the final outcome.
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Specieces
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Iterations
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1 Force volumn Force direction
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2 Hight between base pattern and the top boundary
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Specieces
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Iterations
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3 The scale of base pattern
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4 Change the number of scaled base pattern
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Specieces
Iterations 1
2
5 Change the boundary (which refers to the wall in the original design)
Feedback
I found this process of trailing is very important as I am still new to Kangaroo and this exercise allow me to get more familiar with it. By changing the parameter, I am able to change the final form of the design. This practice helps me understand how the scrip works and which parameter effects what outcome, thus I have a better control of the final outcome.
However, the process is not just simple as playing it, I still used my criteria as a guide to help me develop the definition. Now I have a very good understanding of the definition, and it is time to use these parameters as tools to generate forms that I really want. This is where I use the computer as a tool, so from now I should be able to forsee the pattern I will get and change the parameters with a certain level of understanding.
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Specieces 7 Panels
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Iterations
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SUCESSFUL INTERATION
c1. Sun Shading c2. Water Collection c3. Constructability c4. Self-organization c5. Aesthetics c6. Clarity
Total
.................. ................. ................. ................. ................. .................
6/6 2/2 3/5 3/7 4/5 2/5
20/30
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B 3.0 Case Study 2.0 La Tour De I'Architecte
Textile Hybrid M1
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Reverse Engineering 1
Use Kangaroo to generate two rod which can be bended through applying force at each ends.
Apply force on each end thus Kangaroo physically simluate the animation of how the rod is being beneded. The Rod will rest after a few seconds and create two "bended rods"
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Use these two rods to generate the third rod which refers to a point on two original rods( refer to the connection point).
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Use these 3 rods to generate the other rods which interlock which each other to a self-organized system which push each other themselves and stop at a stable form.
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Add meshes on curves to represent the tensile elements.
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Refine the strucutre with the tensile elements to create the final outcome.
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Specieces
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Iterations
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1 Bending Force
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2 The length of the rods
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Specieces
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Further exploration As shown in the image, the Hybrid project require two reinforce steel bar to grip the rods from deforming, thus it is still not a fully self-organized structure. In order to achieve that, I have decieded to add extra tensile membrance between rods to generate force which pull the rods together. By doing so, the system does not require a lot of external forces or support to stay in a stable state. This will fullfil the self-organization criteria which I listed out previously.
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Technique prototype
Becaus I used parametric design concept thus the prototype process will be very simple as I just need to cut out the exact same size of the membrance and also the exact length of the rods so that the final form of my model will be the exact same as the digital model. If the change the parameter of the model, then the final form will change as well, thus the size of material will be different as.
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Connection detail
Prototyping Process
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Technique proposal The proposal for my project will be focusing on garden shading device which follows the sun movement pattern to create shading area varies from the different types of vegetations. As aesthetics is one fo the considered factor of the design, it will also help the Children's Farm attract more visitors and more financial benifets. It also becomes part of the Merri Creek point of interest.
Stakeholders and Clients:
The stakeholders will be the children's Farm owner and also the caffee next to it. It helps them to attract more visitors as it becomes more organized, more morden, more attractive. The stake holders could also be the Merri Creek Communities, they take the benifit of a better, more beautiful site to visit.
On site view
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Diagram showing the sun movement effects on the shaded area
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Learning Objects and outcome This section of study provide more interesting moments on the digital design process and paramatric design concept development. The most fascinating thing of this subject is that there is no boundary of what we are allowed to do. As long as we follow the conceptual idea of parametric design, we find the field of study that we are interested in, we are free do explore and "play" design. I really enjoyed this section as I have plenty of time to try new things and explore new outcomes that were not expected. This really build up my skill of digital design and parametric design perspective which can directly effect the way I think and design in my future career. Once I have decided to do what I am interested in, I found that there are different approaches to get the same results. However, these results may leads to different outcomes as I develop along it. I did found myself in situations where I was unable to solve a problem that seems so simple, but due to the limitation of the software, it becomes so hard to achieve. Luckily we do
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have the opportunities to get help from teachers and different supports. Another very important idea I have learned through this section is that designers should not be bounded by the limitation of the softwares, but to have the ability to write our own specific program to solve the problem, that is how designers and architects are emerging to become. Through the digital prototyping process, I found that I need to put more parameters in my design so that they the core of the design in all about the relationship between different factors and elements. Another feedback is that a simple essential idea can create beautiful, complex outcome, the most important thing is be able to find the starting point. This is really what I should focus more as my design is lack of identity, it does not have its own personality in it. In the next section, I will try to explore more about tensile structure and self-organized system and I am looking forward for some more interesting explorations.
Algorithems practices
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FEEDBACK Through out Part B, it has always been a developing process where feedback is consistantly provided, through not only the failer, but also opportunities. The repeative process has given me the ability to fix problems and most importantly find possible development. It is very important in the design phase as I am able to constantly use the critera I created my self, and check and go back and improve my design. The midterm presentation is very helpful as I am ablt to see how my colleagues is doing and what can i observe from their design, their way of thinking and find a suitable way of design for myself. The most valuable feedback I get is that I was given directions of how should I proceed to my fianl goal which is a serious aethetic sunshade which is structually selforganized. I should keep researching for similar projects and find precedents that are relevent to my objective and area of interest. It is important to learn from others and there is still a lot to improve in my design. I found my self misdirect my self as I was thinking about water collection system in sun shade device which does not really nessecarry and I have spent so much time on these unnecessary concerns. I could have manage my time a lot more better,
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I spend so much time at the begining ofthe design phase where I could start trailing and playing around the provided scrips to design my own techniques. However the direction of a design is crucial, but spending on so much time just thinking about the direction does not really help. It would be more helpful if I just start to try things and even failures could be more helpful than just sit there and think. I found my design lack of identity and that is also the feedback I got from the audience, I could spend more time on researching more information about the farm and Merri Creek in Part C and link these informations together to design something that reflect on the context of the surounding evironment. It was good that my technique is actually working and I was able to adjust the script freely as I have a very good understanding of it. The next step would be develop it further into a more complex consideration. As long as I keep it identical, it could really shine after several steps of exploration. I am really looking forward to Part C as I found myself in the mode of comfortably develop my design in a more dynamic way.
REFERENCE Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Mathews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Culture (UNSW Press), ch.7 - Merri Creek Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Chermayeff, Ivan. ‘Ivan Chermayeff Collages’, Harry N Abrams(1991), P10. Fry, Tony. ‘Design Futuring: Sustainability, Ethics and New Practice’,Oxford: Berg(2008), pp. 1–16. homerenovations.about.com www.melbournewater.com.au
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part c.detailed design
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Discover Collingwood Childrens's Farm As mentioned in the feedback, it is critical for me to rethink about the ideal relationship between my design and the children's farm to make it more unique. So I revisited the farm and I was curious about the reason of its name-'Children's Farm'. Before I go did some research about it and I found that there is not much about where it got its name from. Thus I had to ask directly to the staff of the farm. And I was lucky to find someone who could answare my question. It started simply with the love to Merri Creek and the love to the younger generation. The idea came from the local people of the Merri Creek - the Wurundjperi who believe that their God blessed them with the life of Merri Creek. And their destiny is simple to protect what was given to them. However, their God does not take force as their tool but a heart of love. They believe that something small like seeds that were planted so long ago could really create something big happen. This idea
then leads to the education of younger generation, where they believe that if we inplant the idea of protecting and love the nature in the younger generation's mind, when they grow up, the idea will become so strong that it become part of their identity. And this is what the Wurundjperi people has been doing to their younger generations in the past. When the Australia government propose Merri Creek as one of the most important natural heritage, the Wurundjperi people totally support them as their idea was promoted and the children's farm was developed since then. The farm now fully open to any kids from the younger generations and educate them to grow food and take care of the animals which the Wurundjperi people think is ideally the most important lesson they must learn when they are young. The idea is so simple yet so strong that really make me to rethink children's farm as a place of history rather than just a place of interest. Thus I have the responsibility to apply their spirit in my
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THE DISCOVERY OF PENROSE PATTERN Penrose pattern was designed by Sir Roger Penrose who is an English Mathematical physicist, mathematician and philosopher of science. A penrose tiling is a non-periodic tiling generated by an aperiodic set of prototiles. It has many remarkable properties, most notably it is nonperiodic, which means that is lacks any translational symettry; it is self-similar, so the same pattern occur at lager and lager scales. Thus , the tiling can be obtained through "inflation" (or "deflation") and any finite patch from the tiling occurs infinitely many times; it is a quasicrystal: implemented as a physical structure a Penrose tiling will produce Bragg diffration and its diffractogram reveals both the fivefold symmetry and the underlying long range order.
the base, and so the ratio of areas is x2:1.) Any Penrose tiling has local pentagonal symmetry, in the sense that there are points in the tiling surrounded by a symmetric configuration of tiles: such configurations have fivefold rotational symmetry about the center point, as well as five mirror lines of reflection symmetry passing through the point, a dihedral symmetry group. This symmetry will generally preserve only a patch of tiles around the center point, but the patch can be very large: Conway and Penrose proved that whenever the colored curves on the P2 or P3 tilings close in a loop, the region within the loop has pentagonal symmetry, and furthermore, in any tiling, there are at most two such curves of each color that do not close up.
Several properties and common features of the Penrose tilings involve the golden ratio x = (1+√5)/2 (approximately 1.618). This is the ratio of chord lengths to side lengths in a regular pentagon, and satisfies x = 1 + 1/x.
There can be at most one center point of global fivefold symmetry: if there were more than one, then rotating each about the other would yield two closer centers of fivefold symmetry, which leads to a mathematical contradiction.[34] There are only two Penrose tilings (of each type) with global pentagonal symmetry: for the P2 tiling by kites and darts, the center point is either a "sun" or "star" vertex.
Pentagon with an inscribed thick rhomb (light), acute Robinson triangles (lightly shaded) and a small obtuse Robinson triangle (darker). Dotted lines give additional edges for inscribed kites and darts. Consequently, the ratio of the lengths of long sides to short sides in the (isosceles) Robinson triangles is φ :1. It follows that the ratio of long side lengths to short in both kite and dart tiles is also x:1, as are the length ratios of sides to the short diagonal in the thin rhomb t, and of long diagonal to sides in the thick rhomb T. In both the P2 and P3 tilings, the ratio of the area of the larger Robinson triangle to the smaller one is x:1, hence so are the ratios of the areas of the kite to the dart, and of the thick rhomb to the thin rhomb. (Both larger and smaller obtuse Robinson triangles can be found in the pentagon on the left: the larger triangles at the top x the halves of the thick rhomb x have linear dimensions scaled up by x compared to the small shaded triangle at
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The reason I decided to use penrose as my pattern of design is because it has the property of self generation, which is something that relate to the spirit of chidlren's farm. Something small coould really create something big and beautiful. Itself has aesthetic quality and it is a very organized pattern. The wasy I can addapt it in my design is use it as the base pattern of my design and start build up my design from it. In doing so my design as a series could tell a story itself. When designing and developing each individual unit of my design, I could use some of the features of the Penrose tilings such as the golden ratio, I could use the ratio as the definition of the location of the intersecting point on each rods.
01. Penrose Tiling
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DEVELOPING PENROSE PATTERN
Penrose tilings involve the golden ratio x = (1+√5)/2 (approximately 1.618). This is the ratio of chord lengths to side lengths in a regular pentagon, and satisfies x = 1 + 1/x. If I decide to use this matrix as a strating point, it coud be rather difficult and hard to identify the directiong of the pattern from the starting point. Thus I used the Robinson Triangle Decompositions as the starting point which define each boundary useing angle 72 degree and 36 degree.
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One Penrose tile
Starting point 1
Mid point
Rotate Angle
Draw line intersect
Starting point 2 Rotate Repeat
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APPLYING THE PATTERN ONTO SITE
The objective here is to consider penrose tiling and the arrangement of my design to create a curculation in the farm, which allow people to travel freely under the shades and also cross the field. Another factor that is crucial is to consider the area of shading that this pattern creates relating to the sunshade level of my design. And this is the final outcome of the pattern that I decieded to arrange. Which create a rail of sunsahde units path circling around the farm, and in them there are 3 larger shades each created by 4 units. In the middle of them, there are a small area were the field is semi shaded and also fully exposed to the sun ( it could be flowers in the middle which could create a beautiful view). On the northern side where I have left two fully exposed field for vegetations that needs a long of sunlight. At the east and west side I have both arranged fields that are semi shaded by my design.
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EXPLORING NEW ROD ARRANGEMENT 1. Require Long distance span of rod which might be limited by the size of the material avaliable. This arrangement also cause the edge of the design quite low. The lack of intersection may cuase weakness in its structure
2. This is a quite complex arrangement which require more rods to create and support the shading side. There are quite alot intersections which is quite good. However the curvature of the rod might not able to achieve that much of complexity.
3. This is so far the best arrangement I managed to create. They create selforganized structure which the rods interlock themselves so well. Although the curvature is still concerned , the pattern it create is somehow beautiful.
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Minor changes to the rod arrangement and aplly Golden Ratiao to redefine the intersecting point of the rod, thus change the form of the design.
Introduced a new curve which is a circule that bounds all the rods together and create a fine bold surrface at the top
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MATERIAL AND RESEARCHES
Glass-fibre Reinforced Polymer rods
Standard Sunshade membrane
The glass-fibre reinforced polymer(GFRP) rods are the ideal material for this tensile strucutre. The highly elastic rods gain their stiffness from active bending into curved leaf shaped modules which are networked into a global structural system. The stress stifferning effects are activated by further deformation of the system through the integration of a pre-stressed membrane surface, and thereby creating a fully textile system. However, the limitation of this matrial is its length which is a maximum of 2.8 meters long. The longest span of rod in my design is over 8 meters, thus I have to reconsidering the intersection of the system so that each segment of rod is not a unit rod but separated.
The membrane of my design is just going to be normal sunshade membrane for the vegetations in the farm which is exactly the same as the existing membrane they are using. This material is also elastic in all directions which is suitabel for my design. However the size of this matrial is also limited which is a maximum of 3x3 meter long. This means that if I do not consider it as a matter, then in my design there will be a lot of connections of the membrane overlapping each layer, creating ugly look and strange shadow cast. Thus I have to redesign my design to suit this material so that I don't have any membrane overlaping or joining at any point.
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REFINE DEISIGN Due to limitation of the material I am using, I have to redesign my rods connection and also come to a point where all the factors create a
final ideal outcome.
The solution is to add two parameter which is the longest distance of a rod is no longer than 2.8 meters long, and the longest distance betwen two intersected rods is no longer than 3 meters. This situation is build on the condition of all the intersection of rods is at its golden ratio point of the rod. After this is done, I have to choose from the final form that generated from this scrip and the best one will be the ideal outcome. which is the one on the right.
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ADDING INTERSECTION AND BASE For the intersection I used grasshopper component EXO skeleton to automatically generate the intersections, and then I used booleam different command to take out the rod which overlap the intersections, and get the hollowed intersections. These components will be 3D printed when constructed in 1:1 using Steel as the material. And all the joints will be bolted so that the curvature of the rod will performance its greatest bend. All the four base will be poured and cast in concrete under gound which will be hidden. The 700x700x500mm concrete footing will provide the base for the 8 starting rods to be connected.
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CONNECTION ILLUSTRATION
As illustrated the rods will be bolted to the joints. The mambrance will have clips which bond them to the rods. However in my prototype, it is too small to design these features and not able to do them in the actual construction.
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PROTOTYPING
3D Printing all the joints and base Laying out, ready to join rods onto them.
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DIGITAL MODEL RENDERING
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LEARNING OBJECTIVES The development of digital technology create possibilities of new design approaches and new ways to define concepts. To understand what is possible to achieve and to be able to transform traditional design ideas into digital form are vital to our generation as this new epoch is coming. Through the process of experiments I was able to develop my skills in various 3 dimensional media and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication. As weeks passes, I become more confident with trying new ways to generate geometries I see directly and become more comfortable with digital design. From the feedback I received, I was able to adapt to changes and new ways of thinking and considering site condition, stakeholders and building environment conditions which is vital for my future career. What is more important is that I was able to develop capabilities for conceptual, technical and design analyses of contemporary architecture projects and try to understand them with this new digital technique tool. I think the ability to teach myself and self directed learning process is also very important as I am able to develop my own style and way to design.
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REFERENCE Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Mathews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Culture (UNSW Press), ch.7 - Merri Creek Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Chermayeff, Ivan. ‘Ivan Chermayeff Collages’, Harry N Abrams(1991), P10. Fry, Tony. ‘Design Futuring: Sustainability, Ethics and New Practice’,Oxford: Berg(2008), pp. 1–16. homerenovations.about.com www.melbournewater.com.au
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