Zhao yilan 798593 finaljournal by yilan zhao

STUDIO AIR

2018, SEMESTER 1, TUTOR: Julius Egan YILAN ZHAO 789593

INTRODUCTION Hey, I am Yilan, a third year student from UniMelb major in Architecture. I am interested in dancing and traveling around world. For me architecture is a combination of arts, history, philosophy, engineering and aethetics. Therefore architecture is so atrractive to me. I was introduced into digital design began with Rhino 3D and AutoCAD. I suppose digital design is the tendency of architecture design in the future, even now. These technologies make architests life easier and more efficient. This subject introduces the parametric design by Rhino3D plugin Grasshopper.

CONTENT PART A: CONCEPTUALISATION 6â&#x20AC;&#x192;

A.1 DESIGN FUTURING

14 A.2 DESIGN COMPUTATION 22 A.3 Composition/Generation

A.4 Conclusion

A.5 LEARNING OUTCOMES

A.6 Appendix - Algorithmic Sketches 12

A.6.1 TRACE

A.6.2 UNCENTAINTY

PART B: CRITERIA DESIGN

PAR T C: D E TAI LE D D E S I GN

B.1 Research Field

C .1. D e s i g n C o n ce p t

B.2 Case study 1.0

12 0

C.2. Final Detail Model

B.3 Case Study 2.0

14 4

C . 3 . Te c t o n i c E l e m e n t s & P ro t o t y p e s

B.4 Technique: development

16 4

C . 4 . L e a r n i n g O b j e c t i ve s a n d O u t co m e s

B.5 Prototype

176

R e f e re n ce s

B.6 Proposal

B.8 skechbook 32

B.8 Sketchbook T4

B.8 Sketchbook T5

B.8 Sketchbook T6

B.7 L e a r n i n g O b j e c t i ve s a n d O u t co m e s

PART A: CONCEPTUALISATION

A.1. DESIGN FUTURING

FIG.1: VITRA FIRE STATION, PLAN, ZAHA HADID, 1993

VITRA FIRE STATION ZAHA HADID, Weil-am-Rhein, Germany, 1993

This is the first Hadid's design projects to be built. The obliquely concrete planes translate conceptual drawings into a functional architectural space. The building defines and structures the street on which it faces. Meanwhile shields the traditional neighbors next campus. The building composed by linear walls and roof elements, fitted into the interstitial spaces between them. exposed, cast in-situ concrete planes strictly maintain the visual purity. Conspicuous visual simplification: frameless grazing, light treatment permeate concept logically and straightforward. Concept: movement - the oblique angles make walls are visually impenetrable , but suddenly afford a view to inside garage. The lines on the ground reflect the movement of occupants. Fitting to architectural mood for a fire station: FROZEN MOVEMENT. - constant alert, tension that to be burst into action at any given moment. Hadidâ&#x20AC;&#x2122;s building represents this sense but sense there is no realy service. Now it is a event place for exhibition. Paper architect to the real as functional as it radical

FIG.2: VITRA FIRE STATION PHOTOGRAPH BY YILAN

FIG.5: VITRA FIRE STATION PERSPECTIVE

FIG.3: VITRA FIRE STATION PHOTOGRAPH BY YILAN

FIG.4: VITRA FIRE STATION PHOTOGRAPH BY YILAN 9

FIG.6: MOCAPE INTERNAL PHOTOGRAPH BY YILAN

MUSEAM OF CONTEMPORARY ART & PLANNING EXHIBITION COOP HIMMELB(L)AU, Shenzheng, China, 2016

Design Concept The MOCAPE acts as a landmark part in master plan of new urben center. The steel frame covered by illuminated glass and louver panel, together represent a mass sculptural architecture. Meanwhile, this multifunctional facade merged the two individual functional requirements jointing entrance and transitional areas between the buildings.

FIG.7: MOCAPE INTERNAL

Skin, Light and Energy Concept Exterior skin consists of an outer layer of natural stone louvers and insulated glass. These elements are installed on the dynamic surface, which is structurally independent from the functional museums. The technical equipment is designed to reduce the need of energy sources, which is included pollution free system and geothermal energy (with ground water cooling system). The roof of museum filters daylight for exhibition rooms in order to reduce the artificial lighting consumption. FIG.8: MOCAPE INTERNAL

The Urban Concept Eastern part of the master plan of city center. The main level of the MOCAPE lies 10 meters above the ground level, aimed to create a stage-like platform, which plays as a unifying element with the adjacent buildings.

FIG.9: MOCAPE INTERNAL

A.6.1 Appendix - Algorithmic Sketches

TR ACE BRIEF: Watch and listen to 'Arrival on Platform Humlet - Percy Grainger', use it as an inspiration / referance of the design

BA The pieceâ&#x20AC;&#x2122;s melody is angular, sharp because of the staccato

Site is around and on Rushall Station (South Morang Line).

in hurry and emergency. Different instruments join in to

applied into. The piece creates an urgent atmosphere

constitute the rhythm stronger and create the hierarchy. Fo

me, it guides me to imagine of the insects are blocked in a space and flying arround to try to get rid of the constaintT

t The form of the design is the imagination of tracing the path l of flying insects. The project intends to represent the trace in

order to discrebe the sense of urgent.

FIG.10: MTRACE PERSPECTIVE YILAN ZHAO 798593 WEEK1

DESIGN PROCESS

ASE o SURFACE

FIG.11: MTRACE DESIGN PROCESS

VERSION 1

VERSION 2

VERSION 3

a The t. design is started from the curvaceous surface which is traced from site boundry. The first two versions are webh

nike or grid structure. But I feel they are both too regular and gentle. I prefer much messier than these. The version 3 is

In stead of very smooth perfect curvies, the final version’s lines are changed to less curvey and applied sharp corner for each elements, in order to represent the music’s rhythm, the staccato.

better becouse it includes more layers and multiple scales.

FIG.12: PLAN

YILAN ZHAO 798593 AIR WEEK1 13

A.2 DESIGN COMPUTATION

In last few decades, the appearance of digital

logically and quickly and present complete result by

technologies has assisted in architecture projects. In

minimal commands. However, the computer is unable

the beginning, digital or computer programs were

to constitute the new direction. In the

applied into production such as construction and

three-week design of AIR, the strongest perception is

materials usage mostly. However, more and more

how to be assisted positively from computation in order

digital technologies have permeated into a design

to represent my concept. Even though grasshopper

process.

The logic formulation of design process

only follows the program command, the outcomes are

develops the way of design and improves design into

surprising me. The benefits of using digital technology

a more comprehensive domain.

are the effective reaction and accurate calculation.

The

digital

morphological

algorithm state

recognizes much

easier.

intricacy

Lynn(2004)

suggested that “drift from monolithic objects to infinitesimally scaled components.”

process of

Once changing the input the outcome changes quickly which is accessible for designers to

simulate

performance of the design quickly and effectively compare various versions.

Computation has become indispensable in largest projects, in order to provide the complexities of form and shorten times in process from design to construction finished (Peter-2013 week 3 reading). For instance, the grid shell of Yas Viceroy Abu Dhabi Hotel in Abu Dhabi includes 217-meter expanse of sweeping, curvilinear forms constructed of steel and 5800 pivoting diamond shaped glass panels. The giant amount of curvilinear steel web shell and glasses designed and produced only possibly by computation precision. Moreover, the coating façade with material layers are responsible to the hot climate that it assists in the stack effect of exiting heated air up and over the façades of the building.

(https://www.asymptote.net/yas-slide-

show) This serving environmental purpose related to that computing performance and simulation advice to formulate the structure, material and environmental performance to provide the opportunity to architect that they can analyze and solve issues and make decisions during the design process (Peter 2013 …). Kalay (2004) mentioned that computer as an analytical engine that can formulate without any mistake FIG.13: YAS VICEROY ABU DHABI HOTEL FACADE SECTION

FIG.14: ASYMPTOTE ARCHITECTURE, YAS VICEROY ABU DHABI HOTEL, ABU DHABI, UAE, 2009

YAS VICEROY ABU DHABI HOTEL

FIG.15: YAS VICEROY ABU DHABI HOTEL, GRID-SHELL, DIGITAL MODEL

FIG.16: ICD/ITKE Research Pavilion

ICD/ITKE Research Pavilion

Computational design facilitates architects to arrange

together at one point, enables the transmission of normal

more multifaced and complex design information. For

and shear forces but no bending moments between joints.

instance, computation can both inform the design process

It can be applied to wide range of custom geometry. The

through specific material behaviour a and characteristics,

costructional and organizational principles, and biological

and informing the organisation and multiple scales. So

structures are applied in the computational design process.

material properties, and behaviors can be applied as design

In order to analyze and modify the complex geometries

generators. (Menges 2012)

(the cells). Each cell was produced with robotic fabrication

In the early design period, materiality is passive element

system, which was also supported by digital formulation.

Ă&#x161;ppointed to the geometrically defined element. However,

The project provides a chance to research the modular bionic

nowadays material information as a driver introduced to

construction applied to freeform surface. The computation

design computation. For example, ICD/ITKE Research Pavilion

administers the main project in analysis, principle, design and

final fabrication.

structure of extremely thin, elastically bend wood lamellas. The project researches the biological principles of the sea urchinâ&#x20AC;&#x2122;s plate skeleton morphology to transfer to architecture by novel computer-based design and simulate method. The building implementation is along with computer-controlled manufacturing. Morphology transfer: The morphology of sand dollarâ&#x20AC;&#x2122;s plate structure was integrated into design by a principle that three plate edges always meet

FIG.17: ICD/ITKE Research Pavilion, GENERATIVE DESIGN PROCESS

FIG.18: UNCERTAINTY 18

A.6.2 Appendix - Algorithmic Sketches

UNCE RTAI NT Y BRIEF: Analyse the art work from Richard Mosse’s Enclave and script the quality or artistic idea to generate building design.

FIG.19: PHOTOGRAPH BY Richard

Mosse’s Enclave

Richard

of this art work, the wars impacts evoked insecurity of

hallucinatory, dreamlike and uncanny. Photographer

Mosseâ&#x20AC;&#x2122;s

Enclave

presents

the

sense

life. The unsertainty is posed within the art work. The guy

replaces the green colours of the bush to shimmery pink

is camouflaged with branches while exposed with the

viollet to achieve the illutionary and peculiar feeling.

gun and wearing the bright yellow shirt. I am confused

It also create a sense of sublame which initiate the

whether he is going to rescue or distory the man that he

empathy and questioning. Considering the background

hold. Is it resumption or destructiveness?

DESIGN PROCESS abstract, simple

too ugly, no sense

too much

human body figure

of dreamlike at all

camouflage,

too messy

no exposure

We develop the structure in reference to abstract human body configuration. The whole structure includes in 2 main elements: web-like curvaceous, floating form that brings out the quality of unclear atmosphere; internal is spiral stairs case imitate the journy uncertainty experience through the surrounding structure.

camouflage +exposure dreamlike

IG.20: UNCERTAINTY DESIGN PROCESS

FIG.21: UNCERTAINTY DESIGN CONCEPT

A.3 COMPOSITION / GENERATION

Generative architecture refers to the method of design that computational designers generate and explodre architectural spaces and concepts through writing and modifying the algorithms which relate to elements placement, elements configuration, and relationship between elements. It requires the algorithmic thinking, in order to write the code in simulate the design idea.Algorithmic thinking is the way to understand the results of the generating code, understand how to modify the code to analyze new options to imitate the future development. Generative

design

coming

from

the

evolution

computation, in the architecture field the digital technologies are developed quickly and new generation develops the generative design dimension. The development of generative design reflects the gap between ‘design using PC’ and ‘thinking using PC’ is more and more reduced. Generative design is not about designing a building, it’s about designing the system that designs a building” (Hesselgren 2009). So generative design actually translates the architectural designing into written sequences, which is kind of a mix between ideas and computational consequences. Melbourne Rectangular Stadium is designed by the generative design philosophy, the bioframe. The first script helps to define the base geometric configuration, then the shell. This saves the usage of materials. Meanwhile, it allows to quickly regenerate different geometry. It is efficient and cost-effective.

Computation augments the intellect of the designer and increases capability to solve complex problem. Brady Peter and Xavier De Kestelier

FIG.22: Melbourne Rectangular Stadium

FIG.23: M

Messe Basel - New Hall Completed Herzog & de Meuron, BASEL, SWITZERLAND, 2013

In architecture, the conceptual design is influenced

architectural idea, and it is driven by performance.

by both construction and technology. As architect

So the architectural idea still remains.

Kai Strehlke, head of the Digital Technology Group at Herzog & de Meuron said the approach of the office is only focusing on the architecture. When they use computation methods, it’s not a technology that they try to use for something, but develop the tool to make the architectural idea and concept work.

The New Hall design concept is from a simple idea that two boxes, one over the other, slightly twisted to produce a hyperbolic surface. Thus, the facade faces towards street and sky. The facial is the Technology Group focus on this time. The architecture is covered by homogeneous material (aluminum), 2-D CNC-

Digital Technology Group developed the digital

milled components are assembled into a complex

design tools from the architecture idea, and works on

3-D structure. This façade strategy has both double

projects of all scales. As Herzog & de Meuron founder

curvature and variably sized openings.

and Senior Partner Jacques Herzog has said: ‘We see a huge potential for the computer in the very hybrid and eclectic design processes we have developed over the last 20 years which combine all techniques from primitive to technologically advanced with no personal preferences.’ In Herzog & de Meuron, the main aim for Digital Technology Group is to grasp idea the designers are trying to development, and write a specific tool for it, rather than applying free-form surface. The Group is only working on one system or part of building, such as the façade. And in this part, the computation and architectural idea are combined together.

In the article, it also mentions that how the Digital Technology Group co-operates with designer. Sometimes, they have to use much easier way or change the way representation to let designers understand the computation. Therefore, there is still a gap between design and the technology usage. When architects understand the algorithmic concept sufficiently that do not need to discuss the digital as something different, the computation can become a true method of design for architecture (Peterthe building of algorithmic thought * reading).

When using computation tools, performance is the only consideration. Performance drives the generation of geometry and material configurations. Here, the computational

Messe Basel - New Hall Completed

development

emerges

from

the

A.4. Conclusion Architecture now is moving to a new age of digital design. In my opinion, digital design shifting composition to generative architecture is a tendency for the new generation. Parametric modeling can simulate form and structure quickly and accurately, same as digital fabrication. And then the new technology improves the work efficiency, save materials and budget. Moreover, generative architecture is a form finding process that can simulate evolutionary approach to design. It can start with the basic concept and explore possible multiple modifications of solutions, in order to apply the best option. However, algorithmic thinking, the connection between computation and architecture idea may be the toughest still to have for architects right now. â&#x20AC;&#x2DC;When architects have a understanding of algorithmic concepts, when we no longer need to discuss the digital as something differentâ&#x20AC;&#x2122;, the computation can become a true method of architecture design. These new movement benefits architects by more options of design and easier to solve problems. It reduces the time usage on production and construction. But I am not sure about the role we are, are we curators, not creators? The algorithmic techniques provide a more abstract combination for creation. They can provides a large amount of variations of design, to let designers to pick the best one or keep analyzing till the one closer to a good design.

A.5. LEARNING OUTCOMES Parametric design is totally new to me, even I do saw quite a lot of parametric designs before. When I doing this, I realized it is a completely process of thinking. The two sketch-models I designed began from only conceptual idea without a specific form. The algorithmic thinking and digital technology can generate variations of forms only from one formula. Some of the results surprised me a lot. I suppose that parametric design assist me to explore the idea or concept logically. And computer generating form instead of myself imagination makes up the boundedness of my thinking set or my design nature towards open thinking. Instead of design requirements, it is more interesting that we analyze piece of music and art works as inspiration for the project. Like in the world, everything is related to everything, the art, music can also translate to amazing architecture.

PART B CRITERIA DESIGN B iom i m icr y

FIG.24: ICD ITKE Research Pavilion 2013-14

28 CRITERIA DESIGN

Biom i m icr y

Sustainable world, how do we live sustainably? How can the sources not drain? How we can keep the balance between environment and ourselves?

â&#x20AC;&#x153;You could look at nature as being like a catalog of products, and all of those have benefited from a 3.8 billion year research and development period. And given that level of investment, it makes sense to use it.â&#x20AC;? -Michael Pawlyn

CRITERIA DESIGN 29

PRECEDENCE Elytra Filament Pavilion ICD/ITKE, 2016 Inspiration: imitating the structure of wings of flying beetles. The fibrous structures of fore-wing shells of flying beetles Principles: Architecture, engineer, and biomimicry Structure: 200-square-meter structure consists of 40 hexagonal component cell and 7 supporting columns. Fabrication: by a computer-programmed Kuka robot: design own robotic proceduresďź&#x161; FABRICATION METHOD FOR FIBERREINFORCED POLYMER structures Material: transparent glass fiber, black carbon fiber.

When

adding

biomimicry

theoretical

Instead of learning the appearances of biology,

foundations, the design process is focused on the

the most important announcement in biomimicry

understanding of functions of the project, how its

I suppose is the method, the theory behind it.

functions and structure can be solved by studying a

The imitation does not mean copy the form, or

specific organism, and, in some supported research

structure, but applying the rationale to the design.

projects, how it can be built with parametric design.

Only in this way, the design can be flexible to suit to

In this case study, the design is aimed to provide

the function and context.

shelter to protect visitors. Stiff forewings of beetles

For fabrication, they design their own robotic

are modified to protect the sensitive wings (alae) under them when they are at rest. Similarly, the designed canopy forms resting spaces for people who are visiting the museum.

procedures. As I mentioned before in Journal part A, Herzog & de Meuron, they always design component or programme to achieve each design project, which helps them never copy

In the biology research part, the research team

the same style which was used before. Design,

studied multiple flying beetles to identify these

particularly for fabrication, can make sure the

variations and establish the rules for structural

technique supports the design requirement rather

morphologies to be reproduced artificially

than limit the design process. And this pavilion has

local production in order to change the shell and fibers density basing on visitor movement and the comfort index. This makes pavilion livable that it can improve or evaluate when we use it. It inspires me to consider the livable architecture

design.

believe this improves the efficiency

spacing

usage and more respect to both usersâ&#x20AC;&#x2122; behaviors, Local Production

1. HTTPS://LAND8.COM/UNDERSTANDING-THE-BASIC-PRINCIPLES-OF-ORGANIC-DESIGN/ https://land8.com/how-did-flying-beetles-inspire-the-va-museums-courtyard/ 30 CRITERIA DESIGN

and environment.

Silk Pavilion / MIT Media Lab

The highlight of this project is the integration of computational formfinding strategies and biologically inspired fabrication. Not only design form, structure, or theory from biology can be applied to design, but the fabrication process can be relied on biology. The pavilion was completed by live silkworms which were let loose upon the primary structure. Through it utilized the silkwormsâ&#x20AC;&#x2122; instinctive preference for darker areas, the mottles skin balanced the scale-up version of insectâ&#x20AC;&#x2122;s cocoons and a space for humans. The silk pavilion provides a new way of biomimicry that instead of technical fabrication, biology-instinctive actions accurately scale-up the spacing which solve the spacing issues for human being.

FIG.25: ICD ITKE Research Pavilion 2013-14

FIG.26:Silk Pavilion

CRITERIA DESIGN 31

Algorithmic Sketches

SOMEWHERE THERE’S PLACE FOR US

Sketchbook T3

Watching the film sequence: https://www.youtube.com/watch?v=bxoC5Oyf_ss West Side Story - Prologue

SOMEWHERE THERE’S PLACE FOR US SANDY KWOK YILAN ZHAO

Algorithmic Sketches 33

The sketch was drawn while we watching the sequence. The BLACK presents JETS gang and RED presents SHARK gang. The scene started at JETS gang and changed to SHARK gang member. The sketch intents to describe the changing and the interactions between these two groups. We think the horizontal linear shows the pattern of movement clearly. So these patterns like the different density (the length of lines, points) and separation or interaction were applied to the design form.

34 Algorithmic Sketches

From this sequence, the most impressed thing to us is the role of these young people and we start to think who becomes a gang and why these teenagers doing this. We suppose that during the growth teenagers need to find their orientation in this society and they require the sense of belonging. They are rebellious they are seeking a group to stay for. We were inspired by this condition. Therefore, our design intents to isolate a space for rebelliousness and adventures. The design occupies the most site, crossing from bus station to rivers side. It includes two layers to show the clashes between the different group. The design occupies the most site, crossing from bus station to rivers side. It includes two layers to show the clashes between the different group. The whole structure is support and stretched by few points which are touching on the ground. rest can float with SANDYThe KWOK the wind.

YILAN ZHAO

The plan of it presents the different densities based on the sketch. We aim to produce a floating and moveable line work. The section of these two layers are both crimped which are controlled by points in grasshopper. Grasshopper also analyzed the radius of exploration. I was very surprised at the outcome. After changing few input data, we chose the two which have obvious tensions and exaggerations. Algorithmic Sketches 35

Case Study 1.0

The Morning Line Seville, Spain; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany The Morning Line is a collaboration with the artist Matthew Ritchie and architects aranda/lasch and Arup’s AGU and was commissioned by Thyssen Bornemisza Art Contemporary. The project is conceived by Ritchie as a collaborative platform to explore the interdisciplinary interplay between art, architecture, cosmology and music.

This project was developed starting from the basic

an interactive environment inside which a possible future can

tetrahedron. And it used recursive mathematical derivation

be seen. On one side they are crystalline and triangulated,

of form that possesses a self-similar structure at various

then as they move across the structure, they becoming more

levels of scale and detail. It is impressive that the extremely

absurd. They are presenting how the structure builds up and

complex form can be generated from a super simple and

falls apart individually3.

regular geometry. According to the analysis in Part B.1, and

The Morning Line is consisting of high strength aluminum

B.3 it is very common that built from a ‘universal bit’ can be reconfigured into multiple architecture form, especially in biomimicry area Moreover, the project was added a layer of curves but were formulated mathematically and parametrically. These unique patterns make pavilion more artistic and alienated2. These curves together create a sense of stretching which conform to the concept ‘the future rain’. I suppose its darkness and loopy structure confidently

plates. These profile-cut aluminum plates provide the main structural loadpaths transferring gravity and lateral wind loads through 6 arching support to ground. In this Part, with the given grasshopper definition, I will exploring its potentials and test the outcome intent to learn more about how iomimicry applied to design no matter ideal or structure, and how I can curate the multi-outcomes.

represent the sense of uncertainty future. The project expresses its content through its structure that is simultaneously generating itself and falling apart, enclosure

2. https://www.designboom.com/art/the-morning-line-bymatthew-ritchie-with-aranda-lasch-and-arup/ 3. Anti-pavilion: https://art21.org/read/benjamin-aranda-engineering-the-morning-line/

CRITERIA DESIGN

Fig. 27

CRITERIA DESIGN

Polygon

polygon: 3

polygon: 4

polygon: 5

Scaled

scale 0.7

polygon: 4

Array along the loop

Polygon 3

scale 0.5

Polygon 4

Pattern on

Jitter1: 10

Jitter1: 50

Jitter2: 7

Jitter2: 10

Jitter2: 20

Jitter2: 100

Jitter2: 7

Polygon: 4

Loop

FSpinStrength: 0.5

CRITERIA DESIGN

FSpinStrength: 0.3

PCharge: 8

PCharge: 1

PCharge: 0.2

Polygon: 4

I NTE R ATI ON SELECTION CRITERIA Aesthetics: does it look pleasing? the visual impact on the visitors Structure: Is it free-standing structure? Is it light-weight? Biomimicry: does it relate to the biomimicry theory?

Aesthetics: *** Structure: **

The 1st module I focus on is the single unit and how the polygon figure changing influence the outcome. The trangle one has better outcome on the aesthetics

Biomimicry: ***

Aesthetics: *** Structure: ***

which is more elegent than other.

The scale of the unit changing can provide more complex form and patterned by itself.

Biomimicry: ***

CRITERIA DESIGN

Aesthetics: ** Structure: **

Array the unit which produces the more opportunities to complicate the pattern but in undiversified.

Biomimicry: **

Aesthetics: **** Structure: ****

Can be a very light-weight structure , can create more complex patterns than previous interation. Can be a self-support structure or

Biomimicry: ***

CRITERIA DESIGN

coorperate as bone with skin

Aesthetics: **** Structure: ***

Using the mathematical calculation intent to generate the frame work across the brep.

Biomimicry: **

CRITERIA DESIGN

Sketchbook T4

LEFT HERE DECAY

42 Algorithmic Sketches

2 YRs

4 YRs

6 YRs

>8 YRs

LEFT HERE DECAY SANDY KWOK YILAN ZHAO

Algorithmic Sketches 43

Gromm Michael-waiting for my life to become a cigarette advertisement fig.28 -2017-182x152 oil acrylic on canvas

Exaggeration is the first impression when we look at the painting. Micheal used the bright, with strong contraction colors to create an abstract, impressive and fuzzy feeling. The painting is a bit abstract to me. During the discussion with the teammate, I was trying to figure out what did he draw. But finally, rather than know what it is, we focus on its title. We suppose that cigarette advertisement presents fictitious that the appearance is always fancy, but inside is dilapidated. Back to the drawing, inside the perfect white surface is messy and aggressive. Like the cigarette and people who smock it, as time goes by, the cigarette gradually impacts on lungs till corrosion. This decaying process inspired me to consider why not let the architecture decay. Instead of permanent architecture, the architecture decay itself in a specific time period.

44 Algorithmic Sketches

In this project, we aim to achieve a sense of time faded that the object gradually terminates due to the passing of time. The caves or holes appearing on the architecture are generally weathering and decay until disappearing. The outpass is a glazing boxing that maintains the proof of the existing architecture before. This passing of time is specific to the users for marking these series of years, from the beginning till the void space. For example, the children who born in the construction finished year. How they build up a relationship with this architecture from their both of beginning until architecture disappearance. The time is passing through every human being but also the object. I’d like to think if the building delayed, would the memory still appear? When you looking at the void space, will it remain you the passing of time and the memories of the past.

The beautiful thing about architecture is that it can “tap into” an occupant’s past meaningful experiences through their senses and their emotion. The architecture also has the power set the stage for occupants to create new meaningful experiences — and memory plays a key role in helping to make all of this possible. Architecture makes ‘suggestible’ memories by creating the form to preserve the memory - like memorial. Instead, it also can bring new meaning

Algorithmic Sketches 45

Case Study 2.0

Shellstar pavilion

Catalyst hexshell

Date: 2012 Event: Detour 2012 Size: 8m x 8m x 3m Date: 2012 Materials: 4mm Translucent Coroplast, Nylon Cable Ties, Steel Foundations, PVC and Steel Reinforcement Arches Tools: Rhino, Grasshopper, Kangaroo, Python, Lunchbox, Rhinoscript Location: Wan Chai, Hong Kong -

Size: 25′ x 30′ x 12′ Material: 1/8″ Corrugated Cardboard

Light weight temporary pavilion maximizes its spatial

performance while minimizing structure and material. -

Location: Minneapolis, Minnesota

Spatial vortex whereby visitors would feel

Material advantage: easy

to aassembly and reshape it

drawn back out into the larger festival site.

Connection: folding plate

Process: design-fabrication-assembly

Respond to the sustainability

Digital form-finding:

form self-organizes into the catenary-like thrust surfaces that are aligned

and reusability problems www.evolo.us/architecture/catalyst-hexshell-matsys/

with the structural vectors and allow for minimal structural depths -

Surface Optimization:

The structure is composed of a large amount of individual cells. The cell must bend slightly to carry on the global curvature of form. However the cells cannot be too non-planar, will make it difficult to cut them from flat sheet. Using digital design to optimize the cells as planar as possible. How to deal with fabrication problem – to make fabrication process easier, simple, material efficiency -

Fabrication Planning;

The cell flanges and labels were automatically add the cell orientation was analyzed and then rotated to align the flutes of the Coroplast material with the principle bending direction. Prototypes precautions: materials, bending, label elements

The both two projects used same structural-form theory. Both of them utilize the oldest form-finding technique for shell: the reverse hanging. It is interesting to compare how these two projects to solve the similar issues during the design and construction process. The shell structure itself is inclusive that it accepts a variety of form to define the volume. Moreover, the different materials using inspire me on the material choose for prototype. Comparing the Case Study 1 and 2, all of them start from simple, primary elements. By using parametric technique, they are assemblied to self-structural pavilion. Considering the process of fabrication, there are amount of various dimensions to produce. I am considering is it possible to merge the amount of sizes. Applying more same size primary structure, the more easy to label and less skill for fabrication. 4. www.evolo.us/architecture/catalyst-hexshell-matsys/ 5.http://matsysdesign.com/2013/02/27/shellstar-pavilion/ 46

CRITERIA DESIGN

29. Shellstar pavilion

30. Catalyst hexshell

CRITERIA DESIGN

PROJECT PROCE S S

PROJECT PROPOSAL

INSPIRATION

PARAMETRIC DESIGN

- INTENT: GATHERING SPACE

- FORM-FINDING: THE SHELL FORM

- INSPIRATION: biomimigry; cell form

- SURFACE OPTIMIZATION

PART B.3: REVERSEENGINEER INCLUDING PARAMETRIC DESIGN PROCESS, DIGITAL FORMULAS

CRITERIA DESIGN

REALIZATION

FABRICATION

- SERIEs PROTOTYPES TO TEST THE MATERIALS, CONNECTION, STRUCTURAL METHODS - LASER CUT + CNC

SHELLSTAR PAVILION

- ASSEMBLE & CONSTRUCTION IN-SITU - ADDITIONAL EFFECTS: LIGHT INSTALLATION

PART B.5: PROTOTYPE INTO SCALE

CRITERIA DESIGN

RESET

perform boolean negatio to

POPULATE FEOMETRY

reverse

value

the

boole

achieve

revserse hanging figure

to create the ‘suspension points’ by remaping these point into different levels and position randomly

PLANAR SURFACE

SURFACE RECONSTRUCTION

MERGE

merge deconstructed mesh list and dispatch item list in order to operate the curves beteen each point

AVERAGE HEIGHT OF SHELL

‘SHELL’ FORM-FINDING 50

CRITERIA DESIGN

coculate each point po

and ready for set up me the points and grids

RE VE RSE - E NGI NE E R

on,

ean

the

SOLVER

LOFT

VORONOI

osition

(kangaroo)

volumetric voronoi diagram

esh on

Converge the datas before,

for the collection of points to

achieve the shell mesh, solve the curves operation and the reset the tolerance

accompolish the biomimicry inspiration for structure----’cell’

- scale the ‘cell’ form by voronoi and smooth them. Loft the each two ‘cell’ and ‘core’

outline form

+ ‘CELL’ SURFACE OPTIMIZATION CRITERIA DESIGN

CRITERIA DESIGN

FI NAL OUTCOME

The reverse-engineer project pavilion is reasonably successful achieved. In order to achieve this, i separated into main two main parts: ‘shell’ form & ‘cell’ surface. These two parts are as same as the real project design process. Basing on the plane, the suspension points is populated on it. Then the surface needs to be reconstructed to operate curves by the flexible points. Reversing the Boolean value is to achieve the reverse form. Later component Solver solves and applies the goals. These steps are used to find the form. Next is to create

specific surface for the form. Using Voronio and lofting the scaled core in average, the project finally finish the reverse practice. In next part, basing on this real project formula, I will extend and alter the function and analyze outcome to pick out the success and develop them to the exploration of technique development.

CRITERIA DESIGN

Technique: development

Pop

In this section, I will continue the Case Study 2.0 technique, and develop the definition to the extent the expression and function. I separated the interactions into few fields in order to analyze the variety of possibility in this case.

SELECTION CRITERIA

Aesthetics: does it look pleasing? the visual impact on the visitors Structure: Is it free-standing structure? Is it light-weight? Biomimicry: does it relate to the biomimicry theory?

CRITERIA DESIGN

STRUCTURE E D IT

pulate Geometry

seed: 1

seed: 5

seed: 50

seed: 400

seed: 600

nit Z (height)

unitz: 0.01

unitz: 0.1

unitz: 0.5

MeshReduce

CRITERIA DESIGN

Weave Bird----Mesh Edit wbStellate

Distance: 0.2

Distance: 2

Distance: 5

Distance: 10

Distance: 20

wbThicken

Distance: 1

Distance: 3

Distance: 5

Z UNIT

wbBevelVertices

Distance: 2

Distance: 20

InsetType: 0.7

InsetType: 0.9

InsetType: 0.9 Output Geometry: sphere

Distance: 2

Distance: 10

InsetType: 0.5

CRITERIA DESIGN

Reciprocal

scale: 3

scale: 10

scale: 20

wbMeshWindow

Distance: 3

The

Distance: 20

Distance: 10

the

The wbMeshWindow creates the

structure frame to a natural, vivid

Reciprocal

changes

regular square pattern, the scale

expression, it looks like the branchs

of each piece can create smooth

or mow.

surface.

Distance: 30

CRITERIA DESIGN

Aesthetics: ***

Aesthetics: *

Structure: ***

Structure:***

Biomimicry: ***

Biomimicry:

Very similar to the case study

Change the seed of curvilinear

Smooth surface

2: with elegent curvilinear

surface which changes the

to the biomimic

surface, light-weight, but need

position of the points which

to consider the connection of

control the curvey form

each piece. (this will be discuss in the next part)

The main problem of these two is the cell-surface is not smooth enough, each cell piece edge is rigid.

CRITERIA DESIGN

Aesthetics: ***

Aesthetics: ****

Structure: ****

Structure: ***

Biomimicry: *

Biomimicry: ***

but less related

cry theory

New structure design, frame

Modify the surface. Change

structure. Can be very light

cell surface to triangle penals

and flexible, may can be used

which create different sense of

to â&#x20AC;&#x2DC;skin and boneâ&#x20AC;&#x2122; system

aesthetics.

CRITERIA DESIGN

Sketchbook T5

THE 4TH HYPOTHESIS

CRITERIA DESIGN

SANDY KWOK YILAN ZHAO

COCRITERIA DESIGN

THE 4TH HYPOTHESIS

CRITERIA DESIGN

Building up relationships while experience the station

CRITERIA DESIGN

The text passages a sense of mystery, that it describes

Our design intents to an experience focus, to experience

a city separated and rose from the ground. The text

the process and building up the relationship with the

creates an imaginary for me. As the first inspiration, I

building in their own ways. The architecture replaces

sketched an imaginary context of the city he describes.

the existing train station with a massive ensemble. It has

In the describes, ‘ a pierced, angular shalow that falls on

millions of volumes to structure the envelope and the

the foliage. And the cloud supports the whole city with

multi-polygon mass defuse around the atmosphere. From

the skinny long ‘legs’. All of these present a large scale

the core to outer pass, the color transparent generally

distance between the ground and city. In the second

to drawn in different directions. Visitors can be entered

paragraph, the writer introduces three hypotheses:

into space for their own reason. We’d like to establish a

respect, hate and love. These 3 hypotheses, to us, is very

complex and imaginary structure that can generate the

subjective which without the demonstrate. We started to

unique sentiment they have. Space itself maximize the

think what if the hypotheses are wrong. And we started to

possibility of possession to encourage people themselves

analyze the interaction.

to create experience, emotion and relationship in this ‘generator’.

We started from the reason why they keep the distance from earth. We believe that the distance is the most important element in building up a relationship. Therefore, the physical communication and meeting can produce the emotional engagement, in turn, they build up a relationship. Basing on the philosophy of this, we employ new hypotheses to discuss the relationship and emotion production.

CRITERIA DESIGN

Technique: Protot ype

‘ The onus on architects lies in the application of computation to simulate building performance, to incorporate performance analysis and design knowledge about material, tectonics and parameters of production machinery in their design drawing.’ ------Peters & De Kestelier (2013)6

MATE

CON In the past few weeks, the studio was forcing on the

parametric

design.

These

outcomes

from

sketchbooks are all very complex and decorative.

the complex design into customized parts. The digital fabrication system assesses to determine the nonstandardized

configurations

standardized

However, I haven’t had an opportunity to consider the

parts .

construction or fabrication of these design. How will

The prototypes separated the form into pieces of

they be possible to be built up is the question I focus

‘cell’ according to the design concept. I will test

on in this part. As Peters & De Kestelier argued that it is

the materials, connections, structure system and

our duty to analysis the design deeper into materials,

interactions. And also by analyzing and comparing

tectonics by the computation simulation. In B5, I am

the differences tests in order to modify the design.

TECH

ASSE

RESU

TOLE

going to analyze the Shellstar Pavilion, deconstruct

AEST

6. Brady Peters and Xavier De Kestelier (2013). Introduction: Computation Works (AD), V83 (2) p 13, 2018 7. Holden, K. J., Nobel, P., & SHoP (Firm). (2012). SHoP architects: Out of practice. (London: Thames & Hudson), p. 280 66

CRITERIA DESIGN

ERIAL

NNECTION

B5.1 SE LF - SUPPORT

5.1a

5.1b

5.1c

Mountboard

Polypropylene

MDF

Make Tabs

Zip Teeth

Easy to glue and stable

Uneasy to correct the curve/

The “Teeth” can not perfectly fit

angles of the surface,

to each locking, low adhesion

HNIQUE

EMBLY

ULT

ERANCE

THETICS

enough to maintain the shape, high adhesion

unstable enough to keep the shape, low adhesion

High

Medium

Low

easy to cut and change

not easy to cut and

cannot cut, inflexible, the

high resilience cannot

interlocking parts need to

easy control form

be accurate enought.

****

create better atmosphere with

connection details

while assemblying it

***

Light-weight, polished surface

light-weigh, semi transperant

Heavy-weight, obvious

the light transforing through In this section, I focus on the self-support structure, the 3 different materials present different atmosphere of the design. The B5.1b has the most successful outcome of the semi-transperant and more efficient to coorperate with light, comparing to the case study Shellstair Pavilion. However, the material has high resilience which is uneasy to keep the curvilinear expression. Becouse of the low adhesion, I tied each piece together, which I support it’s time-consuming.

CRITERIA DESIGN

B5. 2 SKI N & BONE

5.2a

5.2b

MATERIAL

Polypropylene

MDF

CONNECTION

Waffle ‘bone’

Flexible and resilient that

Inflexible that waffle structure

TECHNIQUE ASSEMBLY RESULT

waffle structure is easy to distorted; Non-woven fabrics

is stable enought

covering structure as skin TOLERANCE

Low

the interlocking noggings have to be accurate. Noting;

The interlocking noggings have to

polyproplene is easy to melt during laser cut, need to include the melting distance in cutting template AESTHETICS

****

Light-weight, unobvious structure

be accurate by using Grasshopper component Waffle_Forsurface

***

Light-weight, obvious structure

The Waffle-Structur can excactly represent the smooth curvilinear surface, and stable enough to stand up. But the regular grid break the ‘cell’ pattern surface.

CRITERIA DESIGN

B5. 3 STRI NG & FR A ME

5.3a

5.3b

MATERIAL

MDF + Transperant String

MDF + Black String

CONNECTION

tie MDF frames by string

tie up the frame by string going

TECHNIQUE ASSEMBLY RESULT

through the holes. The string is arranged regularly through the average point to these two frames

TOLERANCE

AESTHETICS

through the holes. The string shares the hole and cross each

Medium

other to create pattern Medium

The hole’s diameter has to be clarify

specificly. It effects the strength

of the frame. The part near holes

is weak to break the frame.

Light-weight, floating-sense because of clear string

Light-weight, creative pattern of string replace ‘skin’ surface

***

This section is as a interation to create different sense basing on cell surface, By using different colors of string it inspires me that the instead of plana, string can create more opportunities to achieve a variety of expression like floating or patterns. CRITERIA DESIGN

B5 SE LECTI ON

From the series prototypes, I understood how this

The B 5.3 proves that string system is not suitable for

design form can be fabricated by customized parts.

this design because the uncontrolled connection, the

It was helped by digital technique that mitigate the

string is too weak and flexible as fixation. The better

complexity. For example, the B 5.1 is the analyzation of

prototypes I choose is the waffle structure; non-woven

the self-structure which applied the design elements

skin plus polypropylene waffle structure which create

into customized ‘cell’ pieces then assembly these.

the best expression of design. The self-structure by

Additionally, these method requires higher accurate

mountboard is successfully self-support and present

ratio. Especially the B 5.1c, the interlocking requires

the cell concept. Which inspired me to consider that

considering the angle of each pieces connections,

how can combine these advantages from these

and the merged edges or corners. The materials’

two to achieve both design aesthetic and structural

characteristics also impact the expression of the model

stability. The string interaction may provide the new

obviously. Whether the resilience impacts the form of

chance to improve it in aesthetic field.

design, the texture also influences the experience atmosphere. The connection in the fabrication decides the success of the construction possibility.

CRITERIA DESIGN

Append i x

I was inspired by the Bauhaus poster, which I recently read. The three main colors red, yellow and black, present the artificial lights, natural lights, and shadows. Because the first impression of NGV void interior was the comparison between light and shadow. This painting is highlighting the light as the main element to cooperate.

CRITERIA DESIGN

Technique: Proposal

VISION DIAGRAM

ANIMAL BEHAVIOR

THE WORLD WAKES UP WHEN THE SUN GOES DOWN

CRITERIA DESIGN

Sandy Kwok Yilan Zhao

CIRCULATION

CRITERIA DESIGN

B6.1 AN I M AL BE HAVI OR

The Feral Pig GREGARIOUS OMNIVORSE

ALONG WATERCOURSES AND FLOODPLAINS In hot weather, they are usually found within 2 km of water UNEASY TO FENCE ACTIVE from late afternoon to early morning CAUSE ENVIRONMENTAL & AGRICULTURAL DAMAGE LARGER VISION ANGLE 310 DEGREE, LARGER THAN HUMANBEING

The feral species we choose is the feral pig. We concluded its unique or interesting characteristics intent to set up out design concept. We

project specific time arrangement

are interested that in hot weather, the pigs get together nearby water. Moreover, their active area is mainly between the bush area and water bank. The pigs are hard to fence. It causes a lot damages on agricultural. They are able to drill the fence access freely. During the research, we compared the differences senses between the feral pig and human being. The vision of pig is 310 degrees but humans’ is only 120 degrees which means pig has much broader vision than humankind. The vision of the pig also enlarged compared to the reality.

CRITERIA DESIGN

site location design concept: fencing, occupation design function: pig’s vision experience

B6. 2 DE SIGN DE VE LOP

VISION DIAGRAM

SITE LOCATION

ANIMAL BEHAVIOR

CIRCULATION

FENCING

VISION EXPERIENCE

north-east

architecture

intent to present

THEmain WORLD WAKES UP experience

between bush CIRCULATION

occupies the

the concept of

area between

fencing pigs, we

in theTHE project WHEN SUN GOES DOWN

bush and water,

and river WORLDarea WAKES UP Merri Creek

WHEN THE SUN GOES DOWN

that project the

were inspirated

surrounding

the circular

from water

of the current

curve represent

ripples to design

time to invite

the gather-

the fencing

visitor to feel the

behavior of pigs

frame on facade

different vision

Sandy Kwok Yilan Zhao

The project includes two main

of wider vision. It designed as

elements, skin and bones. The

an experience hall, especially

skin itself is one piece folded to

working

the curvilinear form. The abstract

until the early morning, which

ripple fence cover the skin. The

provides the observation to the

internal circulation was designed

animals who active during night.

from

late

afternoon

as a one-way access in order to emphasize the experience

CRITERIA DESIGN

B6. 3 CRITI CAL ANALYSI S

The main problem about this project is how to combine efficiently and reasonably the fragmented information from the research into the design. I suppose in this design we have not considered carefully about the interaction between pigâ&#x20AC;&#x2122;s behaviors, concept, and design. Meanwhile, how the form is generated has to be reanalyzed. The basic form we generated is from the action route of feral pigs which we assume it by ourselves. In the future development, we will analyze the real action route and picture simpler to the fundamental linework. In addition, weâ&#x20AC;&#x2122;d like to apply the biomimicry into the design to achieve the more meaningful worth.

CRITERIA DESIGN

In the past couple of weeks, I came to understand the process of the parametric design and fabrication. Every study cases all start with the theory analysis, and how it can be applied to their concept or assist the construction problems. After the series study requirement, these analyses clear up my misunderstanding of the parametric design and fabrication. They are actually aiming to develop a better, faster and easier way to architecture design and construction. Especially, the parametric technique assists to deconstruct the complex form into standard customized pieces, which makes the production and construction process much more efficient, like the discussion in Part 5. And I am glad to experience the fabrication (prototype) process. It completes the experience from the ideal inspiration to reality. And I truly realize the benefits of the parametric technique to the fabrication. How waffle structure systems can be designed in few second by grasshopper. Before that, I normally do it by using

Lea r ni ng Objectives and Outcomes

boolean difference. It is time-consuming and has high prediction error. The weekly design process inspires me a new way of thinking and analyzing architectures. And the weekly inspirations drivers encourage me to be creative that every time when I consider the concept, it drives me to the fresh field rather than normal concepts. However, how to apply the concept to design generation is still confusing me. The question of how to avoid the subjectivity while designing is recently what I am thinking during the design process. To conclusion the first six weeksâ&#x20AC;&#x2122; design projects, I really enjoy every weekâ&#x20AC;&#x2122;s task that pushes me to exploit potentialities. And I also strongly realize that architecture design requires a broader interest and knowledge to refresh my thinking and imagination.

CRITERIA DESIGN

PA R T C . D E TA I L D E S I G N

DE SIGN CONCE PT

C1.1 RE FLECTI ON

FEEDBACK FROM INTERIM PRESENTATION

HOW TO ADDRESSED THESE COMMENTS/ SUGGESTION & CHANGE

More scientifically, more of a data

Research of the feral pig distributions

set than a super-imposition.

in Australia, Victoria state.

Forest area -> group area -> river (but for a site)

National -> State -> Site

Keep looking and keep getting

Re-analyze the quality of pigs. Including: - natural reaction; - movement - morphology - destruction - control method

deeper of the qualities of the pig.

The disorder that pigs have that makes

natural reaction of pigs like heat

things appear closer is interesting.

intolerant urging pigs closer to the water --->may relat to the site

The projection onto the building is

How our concept leading to design

not an architectural space, it’s almost

can be related to the function?

a confession that the space you’ve designed doesn’t do what it needs.

Really try and define what

How to rationalise our design from

the experience is that you

the analysis, concept and the

are trying to create

coorperation with site and people?

designed doesn’t do what it needs.

Briefâ&#x20AC;&#x2122;s supporting sources

Technique development and impletement

Australian Feral Pigs Distribution map

Trace the distribution map with

Victoria Feral Pigs Distribution map

point according to the density of it. All points will be used as control points for form-finding in the future.

Feral Pigs Action Agenda

May be useful for the iteration analysis and selection. May can be related to the concept of design and future development of functional

Heat intolerant

May be useful for development of

Gregariousness

concept and function proposes

Site reanalysis and condition observation

Relationship between the project and enviroment surrounding and the local residential

C1. 2 SCI E NTI FI C PARTI CI PATI ON C1. 2.1 abundance, occu rance and d i st r i bution

DISTRIBUTION IN AUSTRALIA tracing and pinning distribution region

Basing on the distribution map, we used pins to present the different densities in the national scale and connect them by string in order to play with the relationship between these points.

DISTRIBUTION IN VICTORIA STATE high numbers appearance medium numbers appearance low numbers appearance

Basing on the feral pigs appearance in Victoria State, we highlight position of three different ratios (high, medium and low chance of appearances) and also play the different ways of connection of these points.

FENC

TRAP

MORPHOMETRIC

VOLUME

Tracing the Victoria distribution map, corporate with the control methods of pigs and form-finding method (morphology) to sketch the variety of the possibility of forms in 2 dimension and experience the relationship between point â&#x20AC;&#x201C; lines- space.

C1. 2. 2 evol ution

3 DISTRUCTION Wallowing in mud or dusty depressions helps pigs to reduce ectoparasite. Wallowing may help to control the animalâ&#x20AC;&#x2122;s temperature and protect it against insects. Fences and water sources can be damaged and dams and waterholes fouled through wallowing and defecation. Through trampling plants, they reduce yields in grain, sugarcane, fruit and vegetable crops. Through trampling plants, they reduce yields in grain, sugarcane, fruit and vegetable crops.

Morphometry refers to the quantitative analysis of

to inversed this analysis formula starting from the

form, a concept that encompasses size and shape.

data (superimposition) to vector the form-finding

Morphometric analyses are commonly performed

computation.

on the developmental changes in form. We aim

Pigs have a panoramic vision of 310o and binocular vision of 35-50o which means they have broader visions compared with human being.

Sedentary: pigs use to active in their normal path (ordinary) -> simple circulation Nomadic: not limited by their usual behavior, in order to track the water and food resources. Sedentary

Nomadic

Linear analysis of Feral Pig density, Flood Possibility and Monthly Rainfall, in order to consider the possibility of the cooperation between the design and waterbody.

Fencing is sometimes used to protect valuable enterprises in small areas. Effective pig-proof fences have been designed but need to be thoroughly maintained to sustain their effectiveness

Trapping is an effective technique to use as a follow-up after an initial knockdown of population and as a maintenance technique to prevent numbers from quickly building back up. It is flexible as most traps can be easily moved to where pig activity is current.

Fencing and Trapping are the two main methods to

agriculture. These two methods enrich our design process,

control the feral pigs in Australia. The previously analysis

especially useful for the selection of the iterations and define

are all focusing on the quality of the pigs, weâ&#x20AC;&#x2122;d like

the results of form-finding.

to consider how to control it to reduce damage of the

Step1:

Step2:

Step3:

Step4:

Sites should be

feed the pigs to

set the bait

build the trap

placed where

decoy them to

feral pigs are

gather arround.

active or at waterpoint.

The flexibility and efficiency of trapping to control

us as the rubric to select the iteration which related

feral pig is replaced the fencing method to be as

more to this brief. The development of trapping

the inspiration of our design. The trapping steps is

analysis further inspired the idea of separable

abstracted to the geometric form analysis to assist

project as well.

C1. 3 SITE ANALYSI S

macro meso micro Australia Merri Creek Site Spot near Rushall station

macro

meso

risidentia

Greenbeld

Bush Bush area

area

Merri Creek Merri

Creek

Rushall station

Site location

Rushall station

Construction

Construction Greenbeld Bush area 92

Merri Greek

Merri Creek

micro

risidential artifical greenbelt risidential artifical greenbelt

Site boundary

Greenbeld Bush area Merri Creek Rushall station

wild field

Greenbeld Bush area

wild field

Site boundary

Vegetation

Merri Creek

Rushall station A varietyrisidential of transportation including train,wild field artifical greenbelt Construction Construction bus and bike; simplicity of circulation, only cycle trail beside the river

Site boundary

Obvious distinguishment of land use; the field nearby the river still keeps the natural and wild condition.

Vegetation risidential artifical greenbelt

wild field

Site boundary Vegetation 93

Greenery

Water Bodies

Land

Bridge

view/Biodiversity

Trail/neighbourhood

Tree-Structural Integrity

Passengers-Cycling/Walkby

Tree-Structural Integrity

Passengers-Cycling/Walkby

Water Point Water Point

Senses-View,Sound,Touch

4 elements

Bridge-Access

water

construction

field

topography

noice

The site is isolated from the urban environment and surrounded by nature. And we also observed human state at site such as cycling and reading nearby water body. Therefore, we aim to maintain the site condition without any damage to create a climate respond and human driven project.

We summarized 4 main elements around the site: cycle trail, bush area, the bridge and water. They are the main objects that communicate with site. The position of the data of 4 points is as vector to reform the outcome from the previous form-finding. Therefore, the design would be more strongly related to the site and environment. Meanwhile, the structure itself frames the view of these specific impact.

05/06/2018

SITE VISIT NOTE 12.13 Arrived Clifton Hill (Disruption to train services because incidents) Walked across the neighborhood. Attracted by a blue box hanging over the fences of a house. Yilan: Is that a book shelf? Yilan questioned while pointing towards the blue object. Sandy: ‘Neighbourhood book exchange’... this looks like a book interchanging corner. Yilan: I kind of like this spontaneous communal activity across the neighbourhood. 12.34 Reached Rushall Station. Flock of people cycling along the trail. Yilan: that’s unexpectedly popular cycling path, let’s move alongside the trail. S: Yup, let’s move to the riverside, the sun is burning, can’t stand from the heat. 12.40 Moved towards the river course. A lady sitting nearby the river, reading books. Yilan: Well, I think we should find a spot to sit and enjoy our lunch first. Sandy and Yilan found a flat little spot and start picnicking. Sandy: this area of the site is totally a retreat from the urban fabric, I felt that we are immersed by the nature here, like a micro green habitat. Yilan: Absolutely, I have an idea for our design! You know, as we concerned about the relationship of site, the movable and floating mechanism, why don’t we create a shelter that is flexible and extensible which enhance the individual and collective engagement? I’m trying to draw idea from the book exchange corner we saw just now. Sandy: Sounds fabulous! Do you mean interlinking and redefining the communal interaction in compliance with the sense of unbounded fluidity with our structure? Yilan: Exactly! Like you know ‘Bookcrossing’, popular in these days, a practice of leaving a book in public place to be picked up and read by others, who then do likewise. We can extract the qualities of interchanging mentally and physically in the space.

SUNNY

Sandy: I found the site is intimately related to each other. Can we maybe pick up a node according to the analysis of key features of the site in response to the nature of feral pigs for constructing a place of conglomeration in humanistic scale? Yilan: Yes, should we humanize our design by means of human-driven structure and materiality? Sandy: I reckon we could develop a scheme corresponds to the analogy of pigs in which they search for food and resources in gregarious manner while incorporate the human comfort measure as the key drivers. Yilan: True, let’s focus on creating a spiritual dialogue between the nature and people; interpersonal connections, by providing an incentive for them to explore and enjoy. 1328. Leave.

Site Re-visiting

13.00 Sandy and Yilan started wandering around the side of rivercourse and bridge.

C1.4 FUNCTI ON BOOKCROS SI NG

BOOKCROSSIN

swap SET FREE

DISCOVERY

tak

HUNT FOR

giv

RELEASING

The BookCrossing is defined as “the practice of leaving a book in a public place to be picked up and read by other, who then do likewise”. The twice site visiting provided a new idea of the functional possibility. We aimed to provide an opportunity of convocation and community which also match the pigs’ quality of gregariousness. Give-take-swap complete the integrated communication.

C1. 5 HUM AN I SATI ON ARCH I TE CTURE A S FURN I TURE

THE INTERACT

THE TRIO

THE TAKE IT IN

THE TRANCE

THE SMART LEAN

THE MULTI

THE SCRUNCH

THE COCOON

Gesture

Experience

New relation between individual associated with mental qualities and community based on moveable infrastructure that could be adapted to environment, in context transformation.

Tear apart/unified

Sharing/discovery

4 elements

C1.6 DE SIGN PROCE S S

PIGSâ&#x20AC;&#x2122; QUALITY ANALYSIS

100

SCIENTIFIC SUPERIMPOSITION

COMPUTATION

ITERATION SELECTION + EXTRAPOLATION

SPECULATE UPO DESIGN POTENTI

ON IAL

DECISION

DESIGN PROPOSAL

SITE ANALYSIS: 4 CONTROL POINTS

HUMANISATION

ARCHITECTURE AS FURNITURE

ENVIRONMENTAL RESPOND

COLOURATION

101

C1.7 OPTI M IZ ATI ON

DATA COMPOSITION

102

POINT ARTICULATION

VECTOR DISPLACEMENT

LINEAR JUXTAPO

-ASIS

OSITION

ISOSURFACING

DESIGN IN MOVEMENTS 1_SETTING a field of grpwth points and oppressors from the previous analysis. 2_growing a recursive branching to morphometricly analize the form structure. 3_isosurfacing the vectors are analyzed based on the distance of from an oppressor, thickening the growth creating pools of thickeded volumes and strings that support those large areas, resulting in intensites of smooth volumes and string geometry.

GROWING

EXAGGERATION

SMOOTHING

103

C1. 8 ITE R ATI ON S

104

105

106

SELECTION CRITERIA

Linear: the mean flux of the form, is it changing naturally and smoothly? Is there reasonable circulation? Relationship: the relationship between each point is the basis of form-finding. Âˇ Volume: is there any positive or negative value? What is the organization of these volumes? Are their form diverse?

107

108

C1.9 VE RSI ON 1

109

SITE PLAN

110

SECTION

111

112

113

114

115

VERSION 1 3D PRINT MODEL

116

3D print is very useful to represent the complex and organic form like the VERSION 1. The physical model proved the stability of this structure. Therefore, we decided to delete the branch-like sticks to clarify the form and structure, in order to achieve the integrated design. The 3D model assisted in analyzing form. It clearly presented the details of connection and realized the possibility of the design. It is useful for the future development, especially in form modification.

117

REFLECTION OF VERSION 1

How do you figure out the scale of your project

Modify design into the scale of human gesture. And decide the scale of the whole.

How do you determine the location of

Humanizing the architecture: adjust

your building? Is it just Grasshopper?

Grasshopper outcome to be more reasonable

Is there any way that you can modify the

Consideration of the way of use as the ‘furniture’

script to be more human-responsive and

idea: how it can be adaptive by inhabitant’s

more relevant to people sitting on their

variety of usage habits (individual vs collective)

and responsive to the design concept

and those things being the right size?

118

Consider the way of fabrication: Metropol

Prototype of different

Parasol? Vacuum sealing? Sectioning?

methods and materials:

RELATIONSHIP TO THE SITE

RELATIONSHIP OF THE PEOPLE

BOOKCROSSING

Tree-Structural Integrity

Passengers-Cycling/Walkby

swap HUNT FOR

SET FREE

Water Point

DISCOVERY

tak

Senses-View,Sound,Touch

giv

RELEASING

Bridge-Access

responds to site elements

bookcrossing

THE INTERACT

THE TRIO

THE TAKE IT IN

E TRANCE

THE SMART LEAN

THE MULTI

abstract hue of site

THE SCRUNCH as furniture architecture

THE COCOON

119

120

FI NAL DE TAI L MODE L

121

C3 FI NAL DE SIGN

SITE PLAN

122

PLAN

SECTION

123

VERTICAL CIRCULATION

HORIZONTAL CIRCULATION

124

UPPER LEVEL

ELELOPE

PLATFORM

BOOKCROSSING

swap SET FREE

tak

HUNT FOR

DISCOVERY

giv e

RELEASING

125

(COLOUR ATI ON)

OLAFUR ELIASSON_COLOR EXPERIMENT NO. 57

Iridescence is the phenomenon of certain surfaces that appear to gradually change colour as the angle of view or the angle of illumination changes. (soap bubble, butterfly wings, seashells, certain minerals). It is often created by structural coloration which is the production color by microscopically structured surfaces fine enough to interfere with visible light. ‘Our-ASIS’ intents to respond to surrounding and fuse the itself into nature. The complex angles of form is possible to apply structural coloration and iridescence, in order to merge the color itself and blur the form. Olafur Eliasson has been working with a color chemist to produce paint pigments that correspond to each nanometer of the visible light spectrum. The Color Experiment reveal different gradients of the color spectrum. He extracted the hues on painting and abstracted to pure color painting. From the idea of Eliasson’s work, we decided to extract the hues from site and abstract them to ambiguous dematerialization and state of flux. Thus has an illusionary effect appearance to blur the vision, which blur the vision and response to vision disorder of pig mentioned before.

https://hyperallergic.com/174725/olafur-eliasson-on-turning-light-into-color/

126

REAL

TRUTH

FAKE

IMAGINATION

FUSION

EXIST

FANTASY

COLOURATION CONCEPT PHILOSOPHY

127

COLOR E XPE RI ME NT

Colour experiment 1

Colour experiment 2

Holographing: iridescent finish that conjures waves of colour with its geometric form Diffraction of light to exert a soft, romantic, illusionary effect

Acrylic Pouring Paining 1. Mix acrylic, pouring media and water. 2. Randomly mix different colors of the mixed acrylic in cup 3. Flip the cup on canvas and wait until it settle down on the canvas 4. Take away the cup and leave the acrylic ‘flood’ on canvas till it cover all page

128

IRIDESCENCE

Abstract the hue Record use of light / colour + extract sense of ephemera Mix paint in the extract colour (or each nanometer of visible light spectrum ) Decentralized meandering Position within urban realm, evokes natural phenomena brims with rich, unpredictable deal and tactility Ambiguous dematerialization, state of flux

Computationary generated the coloration drawing

129

COLOURATION RENDER

The surface skin reflects the color of water, bush, sky in site, and interfering with the sunlight. The design is recognizable but does not break the context.

130

INTERNAL LIGHTING

Internal spots lights light up at night and transfer through the translucent skin.

131

132

133

CONDENSATION

134

Our-ASIS

Sandy Kwok

The day blisters and heat evaporates in the air, he bursts to tear, as he feels himself burning, the scorching sun hanging up the sky, he starts to cry. WATER! WATER! Desperately exhausted and thirsty, dehydration and mental confusion made him dizzy, his eyes suddenly covered with fizzy -immersed dreamily. He tries rubbing his eyes, places amongst appeared blurred and magnified, all his sight is revived. He snorts, OINK! Scared by his own voice, Why am I producing such a noise? He groans while continuously tramples the ground, he can’t control and stand. There is something stirring up his mind, he starts running, Crossing fences or nothing, destructing bushes, structures, he is unstoppable, he is almost there, but he comes to an obstacle, he is trapped, ‘THE OASIS! MY ALL TIME DESIRE!’ There is no way to escape, he is flooded with terror and hopelessness. Where am I? He waked up from a nighmare. Did I get lost? ‘We were lost around the center of the land you get a heat stroke whilst the journey’ It is truly like an adventure and discovery, that is impossible if I need to survive the heat by myself, he murmured. QUICKER! We reach the river! Colonizing the water and nearby cover, in the land of pleasure and agglomeration, THE Our-ASIS!

135

3D PRINT MODEL

136

3D PRINT MODEL

137

138

139

140

141

142

3d printing provide high quality of model communication. It creates nice detailing and solve the complex form into realization. However the PLA material quality is so hard that it cannot present the flexible quality of our principle.

143

TECTON I C E LEME NT AND PROTOT YPE S

144

C3.1 CASE STUDY

The Cushicle and Suitaloon by Micheal Webb1

The Cushicle is a chassis with appliances and personalized apparatuses and an inflatable envelope. It was conceived as usable in any environment. The Suitaloon can be thought of as an improvement of the Cushicle’s membrane, to be a more complex wall surrounding the essential technologies of the house. The Suitaloon would be able to be erected anywhere through pneumatic inflation or by simply pushing the membrane into shape from the inside. We intent to apply the pneumatic technology to our design fabrication, in order to achieve the concept of light-weight, flexible structure. The inflatable structure can satisfy variety gesture of human sit postures. The unlimited ways of usage is appropriated to ‘Oasis’ which provides comfortable space fusing into the wild natural surroundings.

1. SUITALOON, T. (2018). THE CUSHICLE AND SUITALOON. Retrieved from http:// architecturewithoutarchitecture.blogspot.com/p/cushicle-and-suitaloon-were-conceptual.html 145

C3. 2 PROTOT YPE

SILICONE TEST

SILICONE high elasticity high compressibily excellent resistance to temperature change good water proofing

1. Silicone fluid takes 10 minutes for hardening and about 4 hours to solidifying.

2. Part A and B is poured 3. Thoroughly mix material with a mixing stick, into a container. scarping both the sides and bottom of the container.

4. After double mixing the material, it can be poured into the mould.

tools 1. 0030 Silicone Part A & B 2. Spray 3. Formwork 4. Different dimension chamber 5. Pump

5. Silicon Stereotypes

6. Inflate.

It is easy to be formed the shape with formwork and inflated.

deformation because of the same flexibility.

Because of the overlay of these two pieces, the edges

Problems: The form requires variety of accurate attributes of

bounder is very obvious. And the connection of these two pieces is not strong enough to resist a stronger pressure when more air pumped into. Harness of control the degree of

146

silicon. How to mix the correct attribute of silicon and connect

CNC-INSPIRED

1. Poured into the precasted formwork.

2. After the silicone is settled, removed the formwork.

3. Silicone is highly flexible and elastic.

4. Outcome

Easy to fabricate. The core structure is better to separate into few pieces because the big scale and complex form. Problem: the solid form is too heavy as a moveable furniture.

147

SILICONE TEST #2 In #2, we tested different thickness effect on the elastisity.

thick

medium

thin

148

medium

thin Failed The two pieces of silicon are to thick to pump up. low elasticity

Successed The two pieces have different thickness. The thiner one has higher elasticity. Control the thickness can pump up dynamic form (more complex).

--The thin piece can easily blow up.

149

INFLATION

A.J.S. Aerolande. Unexecuted project for an armchair with triangular backseat, 1969

The generous volume and low cost of ‘pneumatic living’ easily epitomized the ideal of total comfort for all. Before this, the taught skin and the ‘stickiness’ of the PVC material meant an unrelaxed form. Pneumatic comfort was an apt simulation to impose a monumental presence to the intimacy of the user or experience.

Dessauce, Marc. (Eds). (1999). The Inflatable Moment: pneumatics and protest in ’68. Princeton Architectural Press. New York. 150

tools 1. tape 2. iron 3. pump 4. marker pen 5. scissor

materials: 1. plastic 2. polyester fabric 3. 0.2 mm PVC 4. 0.5 mm PVC seal position 1. edge 2. surface

FABRICATION PROCESS

1. Draw the outline.

2. Cut two pieces of the form and connecting pieces.

3. Hot weld the connection and pulling point.

Periphery Centre

4. Hot weld the edges.

5. Inflate.

6. Seal the opening.

151

CONTRADISTINCTION

MATERIAL / THICKNESS

EFFECIENCY

plastic

polyester fabric

0.2 mm PVC

0.5 mm PVC

easy to melt in low

not very easy

hard to melt; super

temperature

to melt; time

timeconsuming

consuming

FRANGIBILITY

frangible, easy

frangible, easy to

to burn a hole

burn a hole; better

not frangible

medium elasticity

low elasticity

than plastic

ELASTICITY

high elasticity

ENDURANCE

low; cannot stain

high pressure

COMFORT

not frangible

medium

high elasticity

high

medium high

medium

Comprehensive ability of these four materials, 0.2mm PVC is easier to melt the connections and strong enough to avoid burned holes. It has higher elasticity and endurance to achieve a more flexible deformation.

152

high

medium

MATERIAL

MATERIAL PVC Silicone

Silicone

PVC

FABRICATION

TECHNIQUE

POP UP FURNITURE PNEUMATIC INFLATION

POP UP FURNITURE

/DEFLATION

PNEUMATIC INFLATION

The silicon has higher elasticity than PVC. Moreover silicon’s elasticity can be changed by adding medium to increase or decrease the flexibility. However, PVC sheet’s quality cannot be changed. ALTERNATIVESOn the other hand, PVC is more convenient ALTERNATIVES in fabrication without matching and mixing. Holographic plastic

MENT 2

The main issue in all prototypes is the opening sealing. At first, we left a part of edge without sealing Thermoplastic elastomer

Faux Leather fabric ETFE

Laminating sheet Polyethylene

Holographic plastic

Thermoplastic elastomer Faux Leather fabric

ETFE Laminating sheet

and pump in air from it. When pump air in, the sealed edge next to the opening is extremely

HolographicPolyeth plastic

frangible and causing leakage. However, when we changed the opening to surface where is large complete sheet. The sealed edge is not easily affected. To seal the opening after pumping in with less leakage, it required us to seal the hole immediately. Sealing by silicon or covering the opening increased the sealingCOLOR time EXPERIMENT and cannot resist the leakage. We realized that using blocking tool 1 COLOR EXPERIMENT 2

PLASTIC

POLYSTER

0.2 PVC

0.5 PVC

PLASTIC

POLYSTER

0.2 PVC

0.5 PVC

PLASTIC

COLOR EXPERIMENT 1

COLOR EXPERIMENT 2

like plastic inflatable air valve to resist the leakage without anymore influence to the rigid edges.

plastic inflatable air valve

153

C3. 3 FABRI CATI ON AS A WHOLE

SECTION FR

ISOLATION

154

RAGMENTS

10 FRAGMENTS OVERLAY

The main body is separated into 10 sections pieces. Each of them has their own Pneumatic structure. After pumping them up individually, overlay the 10 sections in order. In this overlay structure, few small pieces are inserted into the structure. Users can pulled them out, without any impacts on the whole, as a small scale individual seat. The design plays with variety of scales. Each scale was decided by the function, target users. The flexible structure provides comfortable experience to users. The moveablility liberates the limitation of the location to freedom of usage. Easy to connect and assemble encourage people to participate the interaction with the design.

155

C3.4 1 : 1 LASERCUT PROTOTYPE

original model

In order to make the model fabricatable into 1 to 1 scale, we divided it into 3 pieces following the radian of the surface. Because model edge

we use MDF template to accurate the sealing edge. The MDF template is the outline (edge) of the model. And the size is limited by the laser cutting requirements.

model simplification

156

HEAT

MDF PVC

The previous PVC prototype has the issue of inaccurate sealing edges. This time, a new workstation is setting up, sandwiching the two PVC at the bottom and MDF template overlaying on them. The heat is from above to melt the PVC. W used MDF template to give the accurate edge when sealing the PVC. We proposed to using heat gun which is more effective and can seal it more properly.

157

FABRICATION PROCESS

sandwiching 0.2mm

determine valve location

cut a hole to install valve

iron along the edge

pump in air

PVC overlay MDF

valve installation opposions 1. Glue 2. Melt

This time we used bike tire pump rather than toy air pump. It is much more efficient and time-saving.

158

TOOLS 1. Inflated prototype 2. Hook and loop fastener 3. Eyelets 4. Strings

stick Velcro on the egde of fragment

Flexible combination

Advantage

Disadvantage

Apply velcro on every edge of the pieces.

The loops can become elongated or broken

Users can combine them freely. Touchfasteners

after extended use. The tearing noise made

are easy to use, safe, and maintenance free.

by unfastening hook and look fastener make

There is only a minimal decline in dffectiveness

it inappropriate for some applications.

even after many fastennings and unfastenings.

punch eyelet Advantage

Disadvantage

clear and nice performance; variety of

not convenient to assembly or seperaate

tying patterns show careful detailings.

159

INFLATION CONCLUSION

SEALING TECHNIQUE - IRON + WAX PAPER Unefficient, time-consuming, and cannot seal properly

- HEAT GUN + MDF accurate sealing edge

JOINERY - TIE

Variety of tying pattens, uneasy to seperate

- OVERLAP AND STICK

eyelet

and assemble

flexible and easy fasten

- EDGE STICK

and unfasten velcro

- 3D SEALED JOINT more oppotions

160

OPENING - SEAL OPENINGS

unchageable

free to inflate or deflate;

- VALVE

easy to pump air in with valve; less leakage

COLOR - ACRYLIC test solubility in silicon High solubility in silicon, can achieve the patten we did in the color experiments

161

INFLATABLE FURNITURE DEVELOPMENT AND INSPIRATIONS

Now

1967

Lomazzi Blow Inflatable Armchair,designed

Barbairella inflatable long chair

by De Pas, D’Urbino, and Lomazzi 1967

The Blow Inflatable Armchair is the first mass-produced

The inflatable long chair is designed by German Company

inflatable chair. This icon of 1960s Pop furniture embodies

PNEUMOCELL. The chair is created by a series of shapes,

the revolutionary spirit of its time. It is a youthful, playful

all in the same shape. The interpolation of ‘cells’ form the

expression of the free, casual lifestyle and culture of

dymanic, human driven furniture.

ephemerality associated with this period. Executed in candy-colored plastic, it was far more affordable than other contemporary works of “high-style” Italian design. Air pumped into the PVC (polyvinylchloride) skin gives it its form. In its deflated state, the chair is soft and pliable. In a fully inflated state, it feels more solid and can support more weight.

Lomazzi Blow Inflatable Armchair,designed by De Pas, D’Urbino, and Lomazzi 1967 . https://www.moma.org/ learn/moma_learning/paolo-lomazzi-donato-durbino-jonathan-de-pas-blow-inflatable-armchair-1967 Barbairella inflatable long chair. https://asknature.org/idea/pneumocell/#.WxZ_Pp8zbIU 162

pneumocell is an assembly-kit consisting of inflatable building elements analogous to biological cell-structures, which (like large Lego bricks) can be quickly connected in numerous combinations to form complete constructions. pneumocell sets a milestone in the development of pneumatic architecture. Pneumocell: Inflatable Resilient Structures

CONSTRUCTION PROCESS RECOMMENDATION POSITIONED ELEMENTS IN

NYLON-ZIPPER ON THE EDGES

PRESS-DISKS AT

DEFLATED CONDITION

FOR CONNECTION

THE CORNERS

CONNECT THE ELEMENTS WITH

COMPLETE ASSEMBLED

PIPES FOR AIR-SUPPLY

A HOSE SYSTEM TO UNIT AND

CORNER: PRESS-DISK, NYLON-

FROM ELEMENT

INFLATE FROM CENTRAL HOLE

ZIPPERS, AND AIR-PIPE

TO ELEMENT

In the whole fabrication process, we are struggling on how to fabricate the exact form of our design. For the core part, we are stuck in the inflation as a whole unite. Inflation as whole has two mean problems: the PVC sheet is so complex as a whole object; second 1:1 scale model requires professional industrial production of PVC formed sheet and pump tools. We never considered separate the body into simple elements then combine them together. The standardized blocks will be much easier to fabric and inflate. Further, the structures can be rapidly assembled in varying shapes and sizes. Single damaged components can be easily replaced, imparting substantial resilience on the structure.

163

LE ARN I NG OBJECTIVE S AND OUTCOME S

164

165

C4.1 FURTHE R DE VE LOPME NT CASE STUDY

Aqua space pavilion (Beam’s Gallery) Wakefield – United Kingdom (2009)

Nature-oriented architecture is a floatable structure that a weak material in sheet form is immediately made blends the aesthetics of origami with the shape of a structural by folding, a concept explored thoroughly jellyfish. Dubbed as the aqua-space, the masterpiece by in the art of origami.

The designers used sine-like

Japanese designer Ryumei Fujiki and Tokyo-based Fujiki waves that meet at their crests to create curved spines Studio.

across the form. The object itself remains ‘boneless’ but

The cocoon-like hide out is made from folded appropriates the structural methodology of a shrimp polyethylene. The translucent outer membrane has an in that a transparent shell wraps around a soft core of

inner interlaced wire that makes it resistant enough to woven polyethylene fibers. This inner skin allows the form withstand adverse climatic conditions. Undeniably, it of the body to find its own resonance in space. allows visitors to perceive how plastic, when adorned with some artistic touches, could send a powerful green

transparent polycarbonate and woven polyethylene fibers.

message. The form pushes the capabilities of state-of-the art materials, in particular plastics, to create structure out of pliable sheets. An expanse of transparent polycarbonate,

F.A.D.S + fujiki studio: aqua scape in the orangery, england. Designboom. https://www.designboom. com/architecture/f-a-d-s-fujiki-studio-aqua-scape-in-the-orangerywest-yorkshire-england/ 166

origami inspired structure

DESIGN DEVELOPMENT

TENSILE

TRANSPARENT POLYCARBONATE

WOVEN POLYETHYLENE

ONE SYSTEM

WAFFLE TWO STRUCTURES OPPOTIONS

The future development may consider changing the structure to replace the inflatable structure. The persistence of inflatable structure cannot be long enough because of the leakage. The reason that causes leakage problem is the sealing of edges and openings. Changing structure system to avoid the inflation, but still maintain the quality of the design, is the key issue. The case study presents a new way of thinking that using materials and layers (transparent polycarbonate and woven polyethylene fibers) cooperating with ‘bone’ structure can also achieve the ‘floating’ architecture. There are two structure systems are suggested, and applied 3 layers of plastics. Rigid plastic is suggested as the material of frames to reduce the dissimilarity to the materials of layers.

167

CONNECTIONS

TENSILE STRUCTURE CONNECTION

DEVELOPMENT OF FORM

JUNCTION AND DOWEL

T-JOINT

The bending point can use the junction and dowel method to achieve the angle of the point. 3d print joints satisfy the exactness and variety requirement.

WAFFLE STRUCTURE CONNC=ECTION

Waffle system itself includes the concoction--- interlocking

168

TO BE CONTINUE

ORIGAMI STRUCTURE

In the previous case study, the designers borrowed folding methods from the art of origami for the rigid outer layer. Instead of separate the form into two systems: structure system and cladding system, is it possible to use similar method from the reference to create self-support architecture by folded sheet. Technique: The rigid origami, a subset of origami that permit continuous motion between folded states along the pre-determined folding creases without the need for twisting or stretching of the facets. This allows the patterns to be readily manufactured from modern materials such as plastic, metal, or carbon-fibre sheets, producing patterns that are sufficiently strong and durable to be of use in large-scale applications.

169

SCALE INCREACE

Increasing the scale to allow

form allow users to interact w

170

w user to go inside, the material and

with the object in various ways.

171

172

7 PRELIMINARY

ANIMAL BEHAVIOR ANALYSIS

WEEK

8 REEVALUATION

SCIENTIFIC INTERPRETATION

WEEK

DESIGN PROCESS

9 RECONSTITUTIO FORMFINDIING

DEFINITION

PROTOTYPE

11 SUBLIMATION

WEEK

12 EXPERIMENTATION

WEEK

ARCHITECTURE AS FURNITURE

COLOR EXPERIMENTS

173

C4.1 REFLECTION

Computational techniques can save designerâ&#x20AC;&#x2122;s lots of time to create complex form. It also provides variety of iterations to create more possibilities and

The subject encouraged me a lot to learn and use parametric 3D modeling media, specifically in computational geometry, parametric modeling and analytic diagramming. In the final project, the process of form-finding was exactly relied on the computational calculation of analytic diagramming and then computational the forms. The digital design process worked very logically and developed gradually. However, in the fabrication part, we havenâ&#x20AC;&#x2122;t had opportunities to using computational assistance a lot, except the

3D printing. The prototype of PVC and Silicon were all crafted by hand. The gap between skill and structure of

complex form is the main issue that we cannot rely on the parametric technique. We had no idea how to deal

opportunities for designers. However, I support all the advantages are based on the skill level and understanding of it. Utilizing it as an assisted tool is to achieve and ambitions of designersâ&#x20AC;&#x2122; proposes. Researching the case study and architecture projects developed my capabilities for conceptual, technical and design analyses. I realize as a designer, the broader knowledge you have, the more opportunity and possibilities you have to development the design to be more considered and reasonable. I strongly realize that assimilation and innovation from the previous projects are so important and necessary to develop our project in the concept, digital design and fabrications.

with the structure of complex shape model, especially for the tensile structure. The limitation of understanding the parametric processes is the gap which restricts the usage of it. During this semester, I am satisfied with final

design process which step by step and became mature. I understood that how necessary the reference is, to broad the knowledge and inspired me a lot. Research and selfstudy are important to absorb ideas and inspirations.

In one of the class, my tutor asked us when you think that the design is finished. I thought that design is finished after the production. After various changes and developments, clients and designers can satisfy. But is there any possible to make design variable after settling down? I believe design should satisfy the requirement for usurers no matter on the provided function or the created environment. Is possible to evolve design to delight user when they

I feel there are still a lot to learn about parametric design and computational design. The hardest part, for me, is the logical thinking and formulation when using the parametric program. At the beginning of this semester, the skill of it imitated my design qualities, because the finite knowledge of Grasshopper limited the expansion of the imagination. Even several outcomes surprised me, which the design process was actually out of

control. Therefore, at beginning I do feel like, I was a curator, not a creator. In the final design process, after being familiar with grasshopper, the design logic was absolutely control by us. The scientific analysis and

statistics were penetrated through the design concept, form-finding and modification. Then, according to the site analysis, context and concept, we modified the selected iteration in the parametric formula in order to achieve the reasonable under controlled object.

174

using it? Let design provide more possibilities even after settling down. From the Our-ASIS project, I strongly feel the infinite possibility to develop our design and design the relationship between the object and users. I believe the detailing design can resolve the development to future as an on-going project. Consideration of materials and construction techniques can provide better function and responds to surrounding and user. I am so glad to have Sandy as my group mate. I learnt a lot from her, such as the logical thinking and language presentation. We encouraged to each other during the whole semester and never give up (even the fabrication is so tough to us). And I really appreciate that my tutor Julius inspired us and helped as a lot.

175

REFERENCE peters, brady, “the building of algorithmic thought”, architectural design, 83 (2013), 14 <http://onlinelibrary. wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.v83.2/issuetoc> [accessed 16 march 2018] “the yas hotel / asymptote architecture”, archdaily, 2018 <https://www.archdaily.com/43336/the-yas-hotel-asymptote> [accessed 16 march 2018] “asymptote architecture”, asymptote architecture, 2018 <https://www.asymptote.net/yas-slide-show> [accessed 16 march 2018] menges, achim, “material computation: higher integration in morphogenetic design”, architectural design, 82 (2012), 14-21 https://doi.org/10.1002/ad.1374 fiamma, paolo, “architecture.....from generative design”, 2011 <https://disegnarecon.unibo.it/article/viewfile/2301/1685> [accessed 16 march 2018] peters, brady, “realising the architectural idea: computational design at herzog & de meuron”, architectural design, 83 (2013), 56-61 https://doi.org/10.1002/ad.1554 “speculative everything: design, fiction, and social dreaming”, choice reviews online, 51 (2014), 51-5390-51-5390 https://doi.org/10.5860/choice.51-5390 marshall-baker, anna, “design futuring: sustainability, ethics and new practice, by tony fry”, interiors, 2 (2011), 138-140 https://doi.org/10.2752/204191211x12980384100355 oxman, rivka, and robert oxman, “new structuralism: design, engineering and architectural technologies”, architectural design, 80 (2010), 14-23 https://doi.org/10.1002/ad.1101 HTTPS://LAND8.COM/UNDERSTANDING-THE-BASIC-PRINCIPLES-OF-ORGANIC-DESIGN/ https://land8.com/how-did-flying-beetles-inspire-the-va-museums-courtyard/ https://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/ anti-pavilion: https://art21.org/read/benjamin-aranda-engineering-the-morning-line/ www.evolo.us/architecture/catalyst-hexshell-matsys/ http://matsysdesign.com/2013/02/27/t-pavilion/ suitaloon, t. (2018). the cushicle and suitaloon. retrieved from http://architecturewithoutarchitecture. blogspot.com/p/cushicle-and-suitaloon-were-conceptual.html https://hyperallergic.com/174725/olafur-eliasson-on-turning-light-into-color/ f.a.d.s + fujiki studio: aqua scape in the orangery, england. designboom. https://www.designboom.com/ architecture/f-a-d-s-fujiki-studio-aqua-scape-in-the-orangerywest-yorkshire-england/ dessauce, marc. (eds). (1999). the inflatable moment: pneumatics and protest in ’68. princeton architectural press. new york. lomazzi blow inflatable armchair,designed by de pas, d’urbino, and lomazzi 1967 . https://www.moma.org/learn/ moma_learning/paolo-lomazzi-donato-durbino-jonathan-de-pas-blow-inflatable-armchair-1967 barbairella inflatable long chair. https://asknature.org/idea/pneumocell/#.wxz_pp8zbiu

176

FIGURE LIST fig1: vitra fire station, plan, zaha hadid, 1993 http://www.zaha-hadid.com fig2-4: photographed by yilan fig.5: vitra fire station perspective, http://www.zaha-hadid.com fig.6: mocape internal photograph by yilan fig.7-9: mocape, 2015, https://www.archdaily.com/ fig.10: mtrace perspective, by yilan fig.11: mtrace design process, by yilan fig.12: plan, by yilan fig.13: yas viceroy abu dhabi hotel facade section, https://www.archdaily.com/ fig.14: asymptote architecture, yas viceroy abu dhabi hotel, abu dhabi, uae, 2009, https://www.archdaily.com/ fig.14: yas viceroy abu dhabi hotel, grid-shell, digital model, https://www.archdaily.com/ fig.16: icd/itke research pavilion https://www.archdaily.com/ fig.17: icd/itke research pavilion, generative design process, https://www.archdaily.com/ fig.18: uncertainty, designed by sandy and yilan fig.19: photograph by richard mosse’s enclave, https://en.louisiana.dk/exhibition/richard-mosse fig.20: uncertainty design process, designed by sandy and yilan fig.21: uncertainty design concept designed by sandy and yilan fig.22: melbourne rectangular stadium, https://commons.wikimedia.org/wiki/file:melbourne_rectangular_stadium_exterior.jpg fig.23: messe basel - new hall completed, https://www.herzogdemeuron.com 25. https://www.stylepark.com 26. https://www.stylepark.com 28. https://www.artsy.net/artwork/michael-gromm-waiting-for-my-life-to-become-a-cigarette-advertisement 29. www.evolo.us/architecture/catalyst-hexshell-matsys/ 30.http://matsysdesign.com/2013/02/27/shellstar-pavilion/ 31. https://hyperallergic.com/174725/olafur-eliasson-on-turning-light-into-color/ 32. suitaloon, t. (2018). the cushicle and suitaloon. retrieved from http://architecturewithoutarchitecture. blogspot.com/p/cushicle-and-suitaloon-were-conceptual.html 33. https://hyperallergic.com/174725/olafur-eliasson-on-turning-light-into-color/ 34. f.a.d.s + fujiki studio: aqua scape in the orangery, england. designboom. https://www.designboom.com/ architecture/f-a-d-s-fujiki-studio-aqua-scape-in-the-orangerywest-yorkshire-england/ 35. dessauce, marc. (eds). (1999). the inflatable moment: pneumatics and protest in ’68. princeton architectural press. new york. 36.lomazzi blow inflatable armchair,designed by de pas, d’urbino, and lomazzi 1967 . https://www.moma.org/learn/ moma_learning/paolo-lomazzi-donato-durbino-jonathan-de-pas-blow-inflatable-armchair-1967 37.barbairella inflatable long chair. https://asknature.org/idea/pneumocell/#.wxz_pp8zbiu

177

Our-ASIS

178