Yuting Yang Part B

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STUDIO AIR PORTFOLIO

2017, SEMESTER 2, BADLEY YUTING YANG 813151

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TABLE OF CONTENTS About Author Part A: Conceptualization A1. Design Futuring Case Study 1 Case Study 2 A2. Design Computation Case Study 1 Case Study 2 A3. Composition/Generation Case Study 1 Case Study 2 A4. Conclusion A5. Learning Outcomes A6. Appendix - Algorithmic Sketches

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ABOUT AUTHOR

Hello, I am Yuting Yang from china, a second year student major in architecture and planing to take the master of architectural engineering.

Firstly, crafting and modelling are the hobbits since I was a kid. I also enjoy learning mathematics and physics especially the knowledge about geometry and mechanics.

When I was in Middle School, I watched the documentary about the Beijing Olympic Stadium. I was impressed by the miraculous processes of designing and constructing architecture and that is when I intended to be an architect. When I grow older, I found there are more meanings of architecture.

In the first study year of architecture, I found the course as a fairly broad domain that it involves the knowledge of art, science, technology, humanity and even everything related to human being and the planet. The university of architecture provides me the opportunities to have better understanding of the environment and to have various perspectives to observe the world. Lastly, I wish to use my little knowledge to contribute to the friendly relationships between each people, each species and each lives on the planet.

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PREVIOUS WORKS

Figure 1. Studio Earth Herring Island: A place for keeping secrets

Figure 2. Digital Design and Fabrication Seconde Skin: Light Cocoon

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PART A CONCEPTUALIZATION

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“Designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images.”

-- Wood, John

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“It is not just that many contemporary practices harm the world of our dependence but also that so few of them deliver the means to actually know the consequences of their activities beyond a horizon of immediate concern.�

--Tony Fry

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A.1 DESIGN FUTURE

INTRODUTION

In the twenties century, the dream of future has gradually downgraded into the hope of future. One significant factor of deciding our future is design which enable human beings to enhance or limit positive or negative factors which control the happening of our desirable future. The definition of design here is not merely problem solving but altering our attitude. It has to stop the defuturing conditions and conductions and bring more sustainable methods of living to us. To achieve that, every aspect that might be influenced by the design should be considered and possible results must be captured before turning the design into a real project.

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CASE STUDY 1: ZJA Architects - Ecoduct, The Borkeld (Netherlands, 2004) Whenever we bring something into being we also destroy something1. When humans invented highway accelerated transportation, a long barrier was also established among other species’ habitats. The wildlife bridge was designed to provide a safe way for animals to move from one side to the other. It is one of the methods of wildlife crossings which have been broadly adopted in many nations to protect wild animals.

The wildlife bridge was a practice in habitat conservation and has changed our attitudes towards design. The design is no longer anthropocentric and subject to economics.

The user has shifted from human into other species. The designer had exerted the nature of bridge which is connecting two separate areas to solve non-human issues.

However, this design is aimed to solve the problem while most problems are unfixable and become worse and worse2. The design should be in the from-line of transformative action3. What is more valuable is designing a kind of highway with least damage to the natural environments and solve the problem by avoiding its occurrence.

1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p 4.

2 Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p. 2.

3 Dunne, Anthony & Raby, Fiona, p.9.

Figure 3. Birdview of the Borkeld Ecoduct

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Figure 4. Phrase 1: Preparation

Figure 5. Phrase 2: Implementation

Figure 7. Perspective of habitat space

Figure 6. Phrase 3: Cultivation

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CASE STUDY 2: Magnus Larsson - Dune: Arenaceous Anti-Desertification Architecture In order to address or relief the impacts of desertification Magnus Larsson came up with an idea that to create a 6,000 kilometer-long inhabitable green sandstone wall along the Saharan desert by using only bacillus pasterurii and sands1.

Firstly, Defining a system’s rules has become the aim of a design process instead of the outcomes2. Larsson believes the power of design to reshape the world. He had focused on the ideology and values of the design rather simply its appearance and styles. The design is no longer subject to capitalism concerning about extravagant and impressive buildings.

It provides sustainable and cost-efficient shelters for refugees in the third world.

To achieve the force of design, it is necessary to interact with other disciplines and mobilise all kinds of technology to make alternations3.

In this case, the knowledgy of chemistry and biology were involved and served as the key point. Even though this is an “unbuilt” project, it offers a positive attitude towards threats that he actually considered the threat, sand as an opportunity to address the desertication issues and at the same time the sand is consumed to build the shelters for human beings. Nowadays, too many artificial and complicated materials are created but the least environment-damage one is what we are looking for.

1 Geoff Manaugh, “Sand/Stone,” BLDGBLOG (2009) <http://www. bldgblog.com/2009/04/sandstone/>[27 July 2017] 2 John Thackara, In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press, 2005), p. 224.

3 Fry, Tony, p.5.

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“Computation is “the processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure.”

--Sean Ahlquist and Achim Menges

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A.2 DESIGN COMPUTATION

INTRODUCTION

Architectural design not only relies on intuition and creativity but also analytical ability to deal with externally imposed various constraints.

Although computers lack any intuition and creativity, they excel us in terms of rational and search capability including accurate analysis of large and complex problems, vast storage and precise memory recalls1. These days, the relationship between computers and architecture has evoked the appearance and evolution of a new way of design, the computation design. The design process has shifted from representation and experience based into data or information based, from monolithic objects into infinitesimally scaled components, from doing it on site into threedimensional digital modelling, from mass production into mass customization2. This part is going to discuss some benefits of computational design in terms of the design continuum and the high efficiency.

1 Yehuda E Kalay, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p.2.

2 Rivka Oxman and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.2.

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CASE STUDY 1: ICD/ITKE - Fiber-Woven Research Pavilion, University of Stuttgart (German, 2013-2014) This pavilion was a beneficiary of the digital continuum owing to the computational design.

Firstly, the form generation has moved towards topologic material practice1. A light weight panelised canopy form was achieved through the biomimetic investigation of natural fibre composite shells2. The application of parametric modelling and computer simulation tools contributed to the complex modular variation and the enhancement of the overall performance.

Consequently, the robot was set up accordingly and made the intricate geometry fabrication a possible and fluent formal result of the design.

The computational design has demonstrated the potential of novel design, simulation and fabrication processes conducted in a seamless and efficient sequence. It allows the realization of complicated â&#x20AC;&#x153;free-formâ&#x20AC;? geometry and the formalization of biomimetic principles of design to create a natural ecologic system3.

1 Oxman, Theories of the Digital, p.2.

2 Amy Frearson, University of Stuttgart unveils carbon-fibre pavilion based on beetle shells, DEZEEN (26 June 2014), <https://www.dezeen. com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/> [10 Aug 2017] 2 Oxman, Theories of the Digital, p.6.

Figure 8. Fiber-woven Research Pavilion 2013-14

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Figure 9. Integrative design and fabrication strategy

Figure 10. Biomimetic analysis of beetles

Figure 11. Iintegration of multiple process parameters

Figure 12. Analysis of force and structure

Figure 13. Dural robot fabrication setup

Figure 14. Winding fabrication process

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CASE STUDY 2: Massimiliano Fuksas and Knippers Helbig Advanced Engineering, Bao’an International Airport Terminal 3, Shenzhen (China, 2012) Computational design affects profoundly the way of how we build. The high efficiency of it is obvious when refers to huge projects1.

In Shenzhen, China, with the rapid city expansion and population increasing, the scale and construction efficiency of the airport have to match the development.

A parametric data model facilitated both the design and construction processes of the airport. It achieved a curving roof canopy accommodating spans of up to 80 metres, hexagonal skylights allowing natural light to filter through three floors, large capacity of up to 45 million passengers per year and a fabulous rapid process of design, construction within only 3 years2.

Figure 15. Natural light coming through the honeycomb motif

Figure 16. Concourse divided across three levels

Computational design streamlined the long and repetitious design and fabrication processes to meet the overwhelming architectural requirements. Simultaneously, efficienct use of materials and natural resources can also be emphasized.

1 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design 83, 2 (2013), 08-15 (p.14).

2 Amy Frearson, Studio Fuksas completes Terminal 3 at Shenzhen Bao’an International Airport, DEZEEN (26 Nov 2013), <https:// www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/>[10 Aug 2017].

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Figure 17. Birdview of the vast airport

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â&#x20AC;&#x153;When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.â&#x20AC;?

-- Brady Peters

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A.3 COMPOSITION/GENERATION

INTRODUTION

Brady claimed that â&#x20AC;&#x153;we are moving from an era where architects use software to one where they create software1. The method of capturing and communicating designs has drifted from drawing with pencils or even Autocad into sketching by algorithm.

By defining and modifying of algorithms about the element placement, element configuration and the relationships between elements, the architectural concepts and forms can be generated and explored2.

Since design not only concerns about the constructional aspects but also the encounter between architecture and the public, it is necessary to receive and analysis the performance feedback between users, building and environment3. Computers would facilitate this part but some problems of computational design would be uncovered through this step.

1 Peters, (p. 10) 2 Peters, (p. 11) 3 Peters, (p. 14)

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CASE STUDY 1: Morphosis Architects, Emerson College Los Angeles (United States, 2014) The design of Emerson Colledge has won the AIA’S 2015 Technology in Architectural Practice Innovation Awards for its use of BIM system1.

Full-team BIM collaboration enables the design to take multiple parameters into consideration when the project is complicated with very aggressive schedule. The 120,00-square-foot project combined student housing, classrooms, and administrative facilities in one location. It balanced the features of both aesthetic and such as the automated sunshade which maximizes views and a 31% reduction in water use2. It also considered user needs that provided social gatherings for students and local context that became a stage set in accordance with the film industry circumstance. Also, the use of computation contributed to the sharing of codes, tools and ideas between disciplines(reading)3. In this project, both designers and engineers worked together with the produce of thirteen design models and gained a full understanding of the intricate relationships between each system which enhance the performance of the building as a whole.

1 Rory Stott, Morphosis Architects Headline AIA’s 2015 Technology In Architectural Practice Innovation Awards, Archidaily (2015) <http:// www.archdaily.com/635945/morphosis-architects-headline-aia-s-2015-technology-in-architectural-practice-innovation-awards> [10 Aug 2017] 2 Stott, ‘Morphosis Architects’.

3 Peters, (p. 11).

Figure 18. Buiiding of multiple functions

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Figure 19. The use of BIM

Figure 20. Complicated systema

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CASE STUDY 2: Zaha Hadid, Guangzhou Opera House (China, ) The generative design has been accused for its obsessive concentration on the complex form instead of truly solving the problem. Alexander stated that the designer’s own perspective of a problem could be distorted by the use of computers1. Only a tiny amount of aspects can be encoded that make designers think about. In this case, under the fancy appearance, the elevated construction costs, the caulking issues and the ignorance of the interior acoustic design are regarded as the side-effects. Limited building performance simulation and incomprehensive solutions are still far from being solved2.

Moreover, the design is totally irrelevant to the past. It is just an up-to-the-minute design which would be surpassed by tomorrow’s vision of the future. As Mark3 stated that “parametricism is not and has never been style”. He also pointed out the detriment on the architecture landscape and the value of individuality caused by the imitation of Zaha Hadid’s fluid signature by students and arhcitects4.

1 Witold Rybczymski, ‘Parametric Design: What’s Gotten Lost Amid the Algorithms’, Architect (2013) < http://www.architectmagazine.com/ design/parametric-design-whats-gotten-lost-amid-the-algorithms_o>[10 Aug 2017] 2 Rybczymski, ‘Parametric Design’.

3 Gage Foster Gage, A Hospice for Parametricism’ Architectural Design, 86(2), 128-133. doi:10.1002/ad.2034 (2016), 128-133, (p.130) 4 Gage, (p.131).

Figure 21. Caulking

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Figure 22. Design sketches

Figure 23. Under construction

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A.4 CONCLUSION

The design approach has changed dramatically from the traditional representing and analogue method into computer-based and parametric process. It combines the intuition and creativity of human brains and the perfect analytical capability of computers. It requires the profound understanding of the rules of every components but provides a more broad and valuable way of thinking.

The processes and the outcome of the architectural design would be beneficial from the new design method that includes more comprehensive analysis of the space, generating innovative method of problem solving, less limitation of geometry forms as well as the more efficient and controllable fabrication. In the ideal vision, every life, every corner and every discipline should be beneficial from the new method of design since taking every aspect into consideration is the aim of the method.

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A.5 LEARNING OUTCOMES

Through the reading, tutorial discuss and self-practice on Grasshopper, I gained deeper understanding of the meaning of computational design in architecture. Both advantages and disadvantages of the new method of design are analysed through the case studies. I realized the opportunity and new way of the use of computers. The practice through computational design will open my mind to search for better and original solutions, remind me to consider multiple aspects of an issue and enhance the efficiency of my design process. It also should be noticed that there are limitations of the computational tools and techniques. Hence, it is necessary to understand what aspects of a problem are amenable to computation and have a more flexible and rational harness of it.

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A.4 APPENDIX - ALOGORITHMIC SKETCHES

Figure 24. Octree

The process of optimizing the output by changing the input number.

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Figure 25. Contour and loft

Figure 26. Morph

It can generate geomtry with a great amount of components quickly and manipulate them easily to send to fablab for fabrication.

Figure 27. Jitter and explode tree of sphere

Figure 28. Jitter and explode tree of rectangle

Use the same system of codes to generate different outputs with simply changing the input geometry.

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REFERENCE Dunne, Athony,& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013).

Frearson, Amy, Studio Fuksas completes Terminal 3 at Shenzhen Bao’an International Airport, DEZEEN (26 Nov 2013), <https://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/>[10 Aug 2017] Frearson, Amy, University of Stuttgart unveils carbon-fibre pavilion based on beetle shells, DEZEEN (26 June 2014), <https://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/> [10 Aug 2017] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008).

Thackara, John, In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press, 2005).

Gage, Mark Foster, A Hospice for Parametricism’ Architectural Design, 86 (2), 128-133. doi:10.1002/ad.2034 (2016), 128-133, (p.130) Kaylar, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004).

Manaugh, Geoff, “Sand/Stone,” BLDGBLOG (2009) <http://www.bldgblog.com/2009/04/sandstone/>[27 July 2017] Oxman, Rivka and Robert, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014).

Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design 83, 2 (2013), 08-15 Rybczymski, Wiltold, ‘Parametric Design: What’s Gotten Lost Amid the Algorithms’, Architect (2013) < http://www. architectmagazine.com/design/parametric-design-whats-gotten-lost-amid-the-algorithms_o>[10 Aug 2017] Stott, Rory, Morphosis Architects Headline AIA’s 2015 Technology In Architectural Practice Innovation Awards, Archidaily (2015) <http://www.archdaily.com/635945/morphosis-architects-headline-aia-s-2015-technology-in-architectural-practice-innovation-awards> [10 Aug 2017] Thackara, John, In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press, 2005).

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IMAGE LIST Figure 1. Studio Earth, Herring Island: A place for keeping secrets, created by Yuting Yang.

Figure 2. Digital Design and Fabrication, Second Skin: Light Cocoon, photograph by Yuting Yang.

Figure 3. Birdview of the Borkeld Ecoduct, retrieved from https://au.pinterest.com/pin/202099102004496686. (accessed on 26 July 2017) Figure 4. Phrase 1: Preparation, retrieved from http://www.bldgblog.com/2009/04/sandstone/ (accessed on 26 July 2017) Figure 5. Phrase 2: Implementation, retrieved from http://www.bldgblog.com/2009/04/sandstone/ accessed on 26 July 2017) Figure 6. Phrase 3: Cultivation, retrieved from http://www.bldgblog.com/2009/04/sandstone/ (accessed on 26 July 2017) Figure 7. Perspective of habitat space, retrieved from http://www.bldgblog.com/2009/04/sandstone/ (accessed on 26 July 2017) Figure 8. Fiber-woven Research Pavilion 2013-14, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 9. Integrative design and fabrication strategy, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 10. Biomimetic analysis of beetles, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 11. Iintegration of multiple process parameters, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 12. Analysis of force and structure, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 13. Dural robot fabrication setup, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 14. Winding fabrication process, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 15. Natural light coming through the honeycomb motif, retrieved from https://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/ (accessed on Aug 10,2017) Figure 16. Concourse divided across three levels, retrieved from https://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/ (accessed on Aug 10,2017) Figure 17. Birdview of the vast airport, retrieved from https://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/ (accessed on Aug 10,2017) Figure 18. Buiiding of multiple functions, retrieved from http://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects (accessed on Aug 10,2017) Figure 19. The use of BIM, http://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects (accessed on Aug 10,2017) Figure 20. Complicated system, http://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects (accessed on Aug 10,2017) Figure 21. Caulking, retrieved from http://www.architectmagazine.com/design/parametric-design-whats-gotten-lost-amid-the-algorithms_o (accessed on Aug 11,2017) Figure 22. Design sketches, retrieved from http://arx.novosibdom.ru/story/NOV_ARX/Hadid/32_hadid_10.jpg (accessed on Aug 11,2017) Figure 23. Under construction, retrieved from http://arx.novosibdom.ru/node/1907 (accessed on Aug 11,2017) Figure 24. Octree, created by Yuting Yang Figure 25. Contour and loft, created by Yuting Yang Figure 26. Morph, created by Yuting Yang Figure 27. Jitter and explode tree of shpere, created by Yuting Yang Figure 28. Jitter and explode tree os rectangle, created by Yuting Yang

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PART B CRITERIA DESIGN

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B.1 RESEARCH FILED

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Research Field: Genetics Technique: Recursive Aggregation

John Frazer has argued that the generative process for the architectural form can be derived from the evolutionary nature rules, DNA which direct the genesis of living organism that generate their form1. Within the same species, the variation of the biological morphogenesis is achieved through the iterative exchange and the change of information which is called gene crossover and mutation2.

Therefore, like the chromosomes of nature, the genetic architecture is a string-like structure with various parameters encoded, randomly changing rules, a number of similar forms generated. The strength of this kind of architecture is that with small incremental changes over several generations, the optimum solution would be obtained with the advantages of previous generations.

1 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3-62 (p.

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2 Kolarevic, Architecture in the Digital Age, p.24.

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Getting to known Loop Loop is a structure, series, or process, the end of which is connected to the beginning. In grasshopper, a loop creates a copy of the data it receives at itâ&#x20AC;&#x2122;s input upon user request and store it locally1. It repeats the ruleset running again and again to generate objects.

1 Yconst, Hoopsnake, food4rhino (2013) < http://www.food4rhino.com/app/hoopsnake >[Aug 30, 2017].

Ruleset: Axiom: AB A=AB B=AB

n=1

n=2

n=3

n=4

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Getting to known L-Systems In the late 1960’s, the theory L-systems is proposed by a biologist Aristid Lindenmayer. It is based on the underlying logic, mathematics, and chemistry of nature’s forms and can fairly easily simulate simplified plants and their growth1 The system consists of an initial string, as marked in the black circle in the left figure and a set of rules for specifying a symbol substitution can be recursively performed to generate new symbol sequences.

1 Hansmeyer Michael, ‘L-Systems in Architecture’, Computational Architecture (2003) < http://www.michael-hansmeyer. com/projects/project3w.html > [Aug 30, 2017].

F

[-F]

Ruleset: F F=F[+F]F[-F]F Angle=26.81°

[+F]

F

F [-F]

F

[+F]

F

F

[-F] [+F] F F

n=1

F

n=2

n=3

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Hoopsnake plug-in was used to generate the following species:

Species 1: From 2 dimensions into 3 dimensions with the addition of the Z axis. Keep bending the branches to on

Rabbit plug-in was used to generate the following series of L-systems.

Species 2: Change from spread branches into dense branches. Gather branches together by dimishing the rotate

Species 3: 2 Dimensions - Increase the angle of rotation with the increasing amount of generations.

Species 4: 3 Dimensions -Increase the angle of rotation with the increasing amount of generations.

ne side by increasing the length in Z axis.

e angles and sweep around by adding more branches.

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B.2 CASE STUDY 1.0

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BLOOM PROJECT ANALYSIS Bloom project is an instance that applied the recursive aggregation technique.

An initial aggregation created by the designers shows the possibilities of the system.

With the addition of pieces by crowds, the form of the structure can be transformed into unexpected formations from the initial bench into another bench and even other urban furniture. This is the process achieved by different kinds of alternations to explore various iterations of the initial structure and even create new species.

People’s interactions are the energy for Bloom to grow. The structure only exists when thousands of pieces are put together. It illustrates the traits of repetition and recursion of the genetic system. It is not a single object but a “string-like” structure. Also, the structure never ends. By applying the ruleset properly, the branches would grow further and further.

Figure 32. Transformation from bench into unpredictable formations.

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COMPONENT DESIGN The component is suitable to be linear and bend in a certain direction slightly.

Component 1: Vine

Component 4: Spiral

Component

Component 5: Pe (too s

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2: Tumour

entagonal prism solid)

Component 3: Flappy

Component 6: Rubber (with no rotation)

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MANUAL AGGREGATION 1 - VINE

• Linear and smooth geometry.

• The branches grow like the vine heading to a certain direction • Create ordered, shelter-like space.

C B A

Axiom

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Tree Diagram:

B B

A B C

A

A

A

B C

BC

C

C

A

A

A C

A

C

B

A

A

B

A B

C

Ruleset: Axiom: ABC A=ABC B=AC C=AB

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Perspective

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Top View

Right View

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MANUAL AGGREGATION 2 - TUMOUR

• The component consists of three spheres of different sizes • Those spheres intersect with each other creating a sense of the crowd.

• They grow like tumours, cluster and spread arbitrarily.

B

C

A

Axiom

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Tree Diagram:

B B

A B C

A

A

A

B C

BC

C

C

A

A

A C

A

C

B

A

A

B

A B

C

Ruleset: Axiom: ABC A=ABC B=AC C=AB

Generation 4 Generation 3 Generation 2 Generation 1

Same rule with component 1. However the distinct result is obtained due to the difference of branches design.

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Perspective

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Top View

Right View

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MANUAL AGGREGATION 3 - Flappy

• The component is a single fluctuate surface.

• Each surface twists around as the branches growing and form unexpected structure.

B

A

C

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Tree Diagram:

B

C A

B

C

C

B

C

C

A

B C

B

C

A

A

C

A

C

B

B

Generation 4 Generation 3 Generation 2 Generation 1

Ruleset Axiom: ABC A=AC B=BC C=BC

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Perspective

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Top View

Right View

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MANUAL AGGREGATION 4 - SPIRAL

• The component is a spiralling surface.

• The branches are designed to form the spiralling structure.

• Each branch spirals in unique formation.

C

B

A

D

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Tree Digram:

D

C

C

C

D

B

B

C

C

C

B

D

C

C

B

D C

B

A

D

C

C

D

A

C

C

B

A Generation 4 Generation 3 Generation 2 Generation 1

Ruleset: AXIOM: ABCD A=AC B=BC C=CD D=BC

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Perspective

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Top View

Right View

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B.3 CASE STUDY 2.0

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REVERSE ENGINEER Step 1: Component Design Build the geometry and draw the handle (contain two segments joint at a right angle).

Place geom

a b

c

12 types of connections:

aa

ac

ac

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metries according to ruleset and obtain the position of handles.

bb

bc

cc

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Step 2: Use handle for reference of the geometry Reference single dummy axiom polyline and branch polylines and starting point of aggregation.

Dummy Axiom Branch polylines

Set up real axiom and tag each component Redraw heuristic handle (guide handle): each branch has the handle with unique length to be recognized in the further orient process.

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Step 3: Prepare for orient Draw plane for re-orientation of both axiom and initial branches

A B C

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Step 4: Start to orient Establish the loop with anemone plug-in Enter ruleset Read current iteration and selects growth branches based on length heuristic Orient the polylines according to the ruleset

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Step 5: Place geometry Place geometry to each branch with the reference of the plane drawn in previous steps.

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Summary about how to produce the project

Draw dummy axiom polyline

Design the component of the Bloom project and draw plane for it

Draw start point for aggregation

Draw dummy branch polylines

Place component into the established structure

Loop end (Anemone recursive plug-in)

Redraw handle (gu

Draw plan orientation genera

Read current selects growt based on len

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Draw plane for reorientation (axiom) Set up real axiom and tag each component

Draw planes for reorientation (initial branches)

w heuristic uide handle)

nes for ren (previous ations)

t iteration and th branches ngth heuristic

Enter rules

Loop start (Anemone recursive plug-in)

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Possibilities of different growing formations:

Ruleset 3: Axiom: ABC A=AD B=BD C=BC D=/ N=5

Ruleset 3: Axiom: ABC A=AD B=BD C=BD D=/ N=7

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Ruleset 3: Axiom: ABC A=C B=BC C=BD D=BD N=3

Ruleset 4: Axiom: ABC A=AC B=C C=BD D=A N=3

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Record of the growing

A B C

Initial Branches

N=1

N=2

N=3

N=4

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Tree Diagram:

Ruleset 5: Axiom: ABC A=AB B=AB C=AB

N=5

N=6

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Extra definition (with ruleset 5) Situation 1. When the branches touch the ceiling or wall, it stops growing.

Definition writing: a. In the loop, place the geometry according to the new generated branches b. Use Collision one/many - ceiling panel set as the obstacle object and the geometries set as objects for collision c. Cull - use the collision pattern to delete the curves corresponding to the collision objects. d.Connect the culled curves back to the loop Example: N=5, the ceiling above.

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Situation 2. When the branches grow too far away from the starting object, it stops growing further.

Definition writing: a. In the loop, extract the endpoints of the new generated branches. b. Measure the distance between the endpoints and the starting point and compare the distance with a certain value c. Cull those branches with a distance larger than the set value Example: N=7, when the distance larger than 1400, it stops growing. As a result, a sphere outline of the whole system is obtained.

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Situation 3. In the new generation, when the new objects collision with each other, if A with B, kill B; if D with A or B, kill A or B.

Grey componen

a. In the loop, place the geometry according to the new generated branches b. List handle of the selected objects b. Use collision many/many to find c. For all objects with equal handle length, cull the list of those geometries collision with each other (after previous steps). If A (with the handle length of 1) collision with B (with the handle length of 2), cull the curve list of B. Example: n=6, killed 64 collision objects.

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Situation 4. In the new generation, when the new objects collision with the previous generations, the objects of new generation are killed.

nts are killed

a. In the loop, place the geometry according to the new generated branches and the last generation branches b. List handle of the selected objects b. Use collision one/many to find the geometry of new generation collision with the one of the previous generations. c. Use the pattern obtained from b to cull the corresponding list of new generationâ&#x20AC;&#x2122;s handles. d. Culled list back to the loop Example: N=5, killed 7 components with their further branches, leave 372 components

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The combination of previous rulesets added with the special component footing and bench structure.

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B.4 Technique Development

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COMPONETN 1: Similar form and connection method with the bloom project. It is a flat plane, hence it has more types of connections up to 20 types.

Material: wood

A B

C

E

D

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Tree Diagram:

Ruleset 1: Axiom: BCE B=BC C=BC E=BC (n=7)

Ruleset 2: Axiom:ABCDE A=AD B=AB C=AB D=AD E=ABD (n=5)

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RULESET 1

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Position of points

RULESET 2 With two points to expel (when the branches growing close to the points, it stops.)

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COMPONETN 2:

The component is refined by altering the vertical poles into curving shape to add a sense of dynamic.

A B

C

D E

Axiom

F Material: Metal-Stainless-Magenta

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Tree Diagram: Rulese 1: Axiom: BCDE A=/ B=AB C=AC D=AD E=ECDE F=/ (n=)

Ruleset 2: Axiom: BDF A=AB B=C C=E D=AD E=B F=A (n=10)

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RULESET 1

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RULESET 2 With the refined component.

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COMPONETN 3: The component is slender which is less likely to collision with each other.

Material: Velvet Red

D E

C

B

A

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Tree Diagram:

Ruleset 1: Axiom: ABCDE A=AE B=AB C=AC D=AD E=AE (n=10)

Ruleset 2: Axiom: ABCDE A=BCDE B=A C=A D=A E=A (n=15)

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RULESET 1 In one generation, when branches collision, kill all. When the new generation collision with old generations, kill the one of the new generation.

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RULESET 2 In one generation, when branches collision, kill all. When the new generation collision with old generations, kill the one of the new generation.

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COMPONETN 4:

The geometry is a simple thin box, but creates an intricate structure with the recursive rules.

The geometry has a hollow inside whose dimension is influenced by the distance between that branch with the original axiom.

Material: Transparent plastic.

D

C

B

A E

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Tree Diagram: Ruleset 1: Axiom: ABCDE A=BE B=AB C=CE D=CD E=CA (n=5)

Ruleset 2: Axiom: ABCDE A=B B=C C=D D=A E=AD (n=48)

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RUESET 1

Extra definition writing: a. Find the distance between the end point of each branch with the starting point. Remap the distance into the value of length and width of the initial geometry. b. Draw box in grasshopper with the corresponding length for each geometry. c. Orient the box into the corresponding position that collision with the corresponding geometry. d. Use Solid Difference to obtain the final geometry with a hollow inside.

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RULESET 2

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B.5 Technique: Prototypes

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LASER CUTTING - for component 1 & 4

Some benefits of laser cutting include that this process is more precise and uses less energy when cutting steel and aluminum sheets.

The component 1 and 4 both are made of flat sheets and with an intricate outline, especially component 1. Hence, it is efficient to use laser cutting to obtain the objects of precise dimensions.

Steps of fabrication: Step 1: Draw the outline of the geometry and arrange them on the template for laser cutting.

Step 2: Send the template to the fablab and wait to collect the job.

Step 3: Pick up the requisite pieces and start to assemble them together.

Component 1 with its laser cutting template.

Component 4 with its laser cutting template.

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Figure 36. Laser Cutting Machine.

The finished whole piece job.

It is noticed that the dimension of the slots is actually larger than the one in the digital file.

Hence, several tests are necessary to get the accurate size of the real model.

The connection is not fairly tight since the voids are larger than required.

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Molding and Miling - for component 2 & 3 Some benefits of Molding and milling: With the advent of Computer Numerical Control, the milling machine obtains more freedom to move and mill. Also, it is facilitated with the computer program which enhances the accuracy and ability to produce more complicated form. The mold can be reused, all the components are identical which is suitable for mass production.

Figure 37. Five-axis machining center with rotating table and computer interface.

eject the material

Component 2 and its digital mold.

Component 2 Material: Metal.

Note: the tangent of the curve at the end of the component should be consistent so that it is able to be inserted into the hole in another component. Moreover, the curvature of the ends offers better connection ability than the straight one.

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Component4

mponent4

Material: rubber Material: rubber and metal (velvet red) and metal (velvet red)

Rubber

Steps of fabrication: is separated into is separated into Step 1: Draw the model for fabrication. Component4 (Subtract the Component4 geometry from the solid mold. The two parts for fabrication. two parts for fabrication. position of the component should be taken into careful consideration to avoid some parts of The main part of The main part of component is made ofcomponent is made of rubber. The end for connection velvet red rubber. The velvet end forred connection the mold floating in the air.) is made of metal, so that the connection is made of metal, so that the connection Step 2: Send the information from the computer to milling machine andwithstart is rigid.

Thethe metal is coated the to mill the is rigid. The metal is coated with Rubber Metal same colour as the main part.

Metal same colour as the main part. model.

Component4 Step 3: Melt the material and inject into the mold.

Step 4: Take off the mold and polish the component.

M

Co tw

MPONENT4 DESIGN

Rubber

COMPONENT4 DESIGN

Inject the material

Inject the material

Th ve is is sa

Metal

COMPONENT4 DESIGN

eject the material

eject the material PONENT4 MOLDS DESIGN COMPONENT4 MOLDS DESIGN 107

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Component 3 and its digital mold.

Component 3 The component 3 is divided into two parts for fabrication.

The main part of the component is made of rubber while the end slender pole is made of metal. In doing so, the connection is tighter with the increased friction between different materials.

Inject the material

COMPONENT4 MOLDS DESIGN

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B.6 Technique: Proposal

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PROPOSAL WITH COMPONENT 4 Site: Dulux Gallery The site allocated is Dulux Gallery, located in the Melbourne School of Design in Melbourne University Parkville Campus. It is mainly used for display studentsâ&#x20AC;&#x2122; work of Environments Faculty in Melbourne University.

In the proposal, two rulesets are used, one is placed on one side of the area with ceiling and the other one is hanging above the area without the ceiling. Two parts are connected with the special component, bridging which has slots of special positions to join with each other.

In terms of footing for the part in the area with the ceiling, the bottom component which closes to or on the floor has two slots on the bottom edge so that two pieces of strips are inserted into the component to make it more stable standing on the ground. For the components near the ceiling, a horizontal component is placed between the component with the ceiling. The horizontal component is melted to be joined with the component and then the horizontal component is screwed to the ceiling.

Briging

Ceiling connection

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Footing 1

Footing 2

In this system, plenty of rectangle panels can be used as display wall. To involve peopleâ&#x20AC;&#x2122;s communication, the holes inside the panel create the opportunities for visitors to interact with each other and share their experiences.

The horizontal panels of various height can be used in multiple ways including the step, bench, and table for display. Also, there are some spaces surrounded by 2 walls which can be used as exhibition booths.

The whole structure is not parallel to the wall. It is rotated 45 degrees and the hanging part is further rotated in all three axises to evoke a sense of growing.

Some components are selected to involve with non-human species, the climbing plant, such as ivy. The hole inside each component is substituted with lattice.

Special component for ivy

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Perspective

Section

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Plan

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Inside perspective

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B7. LEANING OBJECTIVES AND OUTCOMES

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In B2, I gained a deep understanding about the loop and L-system by doing research, drawing ‘tree diagrams’ illustrating how they work and actually generate 4 species by using the two methods. What is the most helpful is drawing the ‘tree diagram’ which clearly explains the rules and structural characters of each system.

In B3, the algorithm construction is learned by showing each step and drawing the flow diagram of the reverse engineer process. Moreover, the perception about algorithm construction is further enhanced by writing new definition by myself. It allows me not only being capable to mimic a project but also creating my own project and giving it unique definitions. Works in B4 has proved the ability that each work looks distinct but there is the same underlying rule behind them. In B6, special components are designed to meet certain requirements. It is a process to integrate my own design with a specific situation. This is important since the design has to be given certain connection with the site so that it is being the place it belongs.

In the design process, digital programs allow more boundless forms and reduce most part of tedious and repetitive works. For example, in B4, 4 various components with their whole system is generated by the same definition that the only thing needed to do is changing the input. That also means with the same component, it is more convenient to alter or adjust some parts to obtain the desired results. Moreover, digital fabrications make most of the complicated form designed by digital tools buildable that there are much less fancy designed remaining on paper. In general, with the facilitate of digital tools, the design process is more coherent and fluent and brings more formation possibilities.

Additionally, I have gained lots of lessons about using digital tools which would make my future application more efficient. For instance, it is necessary to scale down the geometry in Rhino to dimish the load of computing, especially with thousands of components.

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B.8. Appendix - Algorithmic Sketches

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REFERENCE Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3-62 .

Michael, Hansmeyer, ‘L-Systems in Architecture’, Computational Architecture (2003) < http://www.michael-hansmeyer.com projects/project3w.html > [Aug 30, 2017].

Yconst, ‘Hoopsnake’, food4Rhino (2013) < http://www.food4rhino.com/app/hoopsnake >[Aug 30, 2017].

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IMAGE LIST Figure 29. Recursive Pavilion - Marc Fornes, retrieved from https://theverymany.com/exploration/08-recursivegrowth/(accessed on Sep 12, 2017).

Figure 30. DNA representation, retrieved from https://illichsmedicalisation.wordpress.com/ (accessed on Sep 12, 2017).

Figure 31. Bloom Project, retrieved from http://www.archdaily.com/269012/bloom-a-crowd-sourced-garden-alisa-andrasekand-jose-sanchez (accessed on Aug 24, 2017).

Figure 32.Transformation from bench into unpredictable formations, retrieved from http://www.archdaily.com/269012/ bloom-a-crowd-sourced-garden-alisa-andrasek-and-jose-sanchez (accessed on Aug 24, 2017).

Figure 33. Bloom Project, retrieved from http://www.archdaily.com/269012/bloom-a-crowd-sourced-garden-alisa-andrasekand-jose-sanchez (accessed on Aug 24, 2017).

Figure 34. Bloom Project, retrieved from http://www.archdaily.com/269012/bloom-a-crowd-sourced-garden-alisa-andrasekand-jose-sanchez (accessed on Aug 24, 2017).

Figure 35. Laser Cutting, retrieved from https://www.trumpf.com/en_US/products/machines-systems/laser-cutting-machines/ (accessed on Sep 18, 2017).

Figure 36. Laser Cutting Machine, retrieved from https://www.trumpf.com/en_US/products/machines-systems/laser-cutting-machines/ (accessed on Sep 18, 2017).

Figure 37. Five-axis machining center with rotating table and computer interface, retrieved from https://en.wikipedia.org/ wiki/Milling_(machining)#/media/File:DeckelMaho-DMU50e-MachiningCenter.jpg (accessed on Sep 19, 2017).