AIR JOURNAL

S

I

L

E

N

T

V

O

I

C

E

STUDIOAIR 2016, SEMESTER , CHRISTOPHER F E R R I YUXIN

JIANG

Contents INTRODUCTION -----------------------------------------------------------------------------4 A  CONCEPTUALISATION A1 DESIGN FUTURING-------------------------------------------------------------------5 1.1 IAAC E ndesa Pavilion ------------------------------------------------------------10 1.2 K artal M asterplan ----------------------------------------------------------------12 A2 DESIGN COMPUTATION------------------------------------------------------------14 2.1 S ilk Wall

of the

A rchi -U nion O ffice ---------------------------------------------18

2.2 L andesgartenschau E xhibition Hall ----------------------------------------------20 A3 COMPOSITION & GENERATION --------------------------------------------------22 3.1 Sagrada Familia ------------------------------------------------------------------24 3.2 H eydar A liyev Center ------------------------------------------------------------26 A4 CONCLUSION -----------------------------------------------------------------------28 A5 LEARNING OUTCOMES ------------------------------------------------------------29 A6 APPENDIX - ALGORITHMIC SKETCHES ------------------------------------------30 A7 BIBLIOGRAPHY ---------------------------------------------------------------------32

INTRODUCTION

Yuxin J iang Second year A rchitecture student U niversity of M elbourne

Over

the past three semesters,

I

have

tried to use different programs such as

Auto CAD, Rhino, Photoshop,

illustrator, I n D esign as tools to

generate my studio design and other subject’s studies.

For

my experience,

the digital design software can help us well present the design outcomes. I n

AIR studio, the first time using the G rasshopper to design my project. the

4

AAVSHK 2016 SUGER SD PRINT INDIVIDUAL WORK “BLUE”

PHOTO TAKEN BY YUXIN

PHOTO TAKEN BY YUXIN

AAVSHK 2016 SUGER SD PRINT GROUP WORK “SWEET MADNESS“

5

6

A

CONCEPTUALISATION 7

THINKING collaboration sustainabilit y humanit y materialit y boundless climate energy creativit y

TECHNOLOGY cnc robots program fabrication

NEEDS

FIG.1

A1 DESIGN FUTURING

10

Considering the trends of the architecture design in recent year, which can be summarised in some key words: collaboration, sustainability, humanity, materiality, boundless, parametric, robots etc.

In the future, the role of architects may be very different to how we recognize it today. The future architecture is not just a cold construction for sheltering or the basic needs.

For example, environmental science and social anthropology will become active team members in architecture design studios, working on complex projects that require knowledge in different fields collaboratively.

Interaction, inclusiveness, easy maintenance and energy efficiency are getting priority over extravagance.

11

A.1.1 IAAC ENDESA PAVILION ARCHITECTS: INSTITUTE FOR ADVANCED ARCHITECTURE OF CATALONIA (IAAC), ARCH. RODRIGO RUBIO AND ARCH. MI-GUEL GUERRERO LOCATION: BARCELONA, SPAIN PROJECT YEAR: 2011

FIG.2

12

In terms of energy efficiency, there is a good example of Smart Living Architecture which is located in Barcelona.

The Institute for Advanced Architecture of Catalonia (IAAC), an educational and research centre located in Barcelona, focused on smart living and self-sufficient buildings. The pavilion is a self-sufficient building working entirely with solar power.

However, smart cities are not made just out of smart buildings. The building can generate 140 per cent of the energy it consumes.1 The surplus of energy production could feed other’s household consumption.

This project responds to the current challenge of building intelligent

and sustainable prototypes, and energy transformation between the construction and environment.

The prototype was designed to implement experimental research on the digital management of energy grids by enabling digital control of energy flows, crossing real-time data with decision-making. Networking, collaborating and interchanging are essential means to make a cohesive resilient system.2 In order to create an intelligent building, it parametric design reacts to specific solar site.

Hence the new technologies are crucial tools with their characteristics, which can promote the future design and achieve the sustainable goal.

13

A.1.2 KARTAL MASTERPLAN ARCHITECTS: ZAHA HADID LOCATION: BAKU, AZERBAIJAN PROJECT YEAR: 2006

“THR

ONLY

THE KARTAL MASTERPLAN IS A 2006 WINNING COMPUTATION PROPOSAL FOR A NEW CIVIC, RESIDENTIAL, COMMERCIAL AND TRANSPORT HUB APPROXIMATELY 25 KM TO THE SOUTH EAST OF THE CITY FIG.3

14

ROUGH THE PARAMETRICISM HAS ITS ROOTS IN THE DIGITAL ANIMATION TECHNIQUES OF THE MID-1990S, IT HAS

Y FULLY EMERGED IN RECENT YEARS WITH THE DEVELOPMENT OF ADVANCED PARAMETRIC DESIGN SYSTEMS.”

The masterplan is design by Zaha Hadid. S is the representative of the parametric design which canbe seen in her architecture design and urban planning.

The Patrick Schumacher explains that parametricism has become the domination, single style for Avant-grade practice today and why it suit for the large scale project such as the urbanism.

This project is design of a sub centre on Istanbul’s Asian side to reduce pressure on the city’s historic core. This is an major problem in some historical city. The plan show the different zone shape by the parametric design.

There are the interaction between the architecture design and the urban planning. Nowadays, this is still a consideration in the future design. The architectural design is not an individual innovation. The precedent I selected as demonstration the design future with the architectural design trends. Also, it is obvious that the parametric design method is a trend in the future.

15

A

FIG.4

16

A2 DESIGN COMPUTAION

DEGITAL COMPUTATION EFFECTS Design process includes 6 stages: define, collect, brainstorm, develop, feedback and improve At develop stage, architects will create drawings with specific solutions to be shown to the client.

Schematic drawings, as these are typically called, help illustrate the big ideas and space requirements of the project. Based on the technology support, the drawings and modellings is not always by handmade today. Some software can help designers to present their ideas better which cannot easily shown on the paper or physical model.

17

18

COMPUTATION REDEFINE THE PRACTICE Learning from the design theory and history, what we can see is the critical difference between then and now. So why not try again change the current practice?

The architectural design practice can be redefined by the computation. For the architecture flied, the design practice is pluralism, the design team is not simply included architect anymore. In this era of computers and technology.

19

A.2.1 SILK WALL OF THE ARCHI-UNION OFFICE ARCHITECTS: ARCHI-UNION ARCHITECTS LOCATION: SHANGHAI PROJECT YEAR: 2011

FIG.5

20

DIGITAL DESIGN AND FABRICATION OF TRADITIONAL MATERIALS Silk Wall of the Archi-Union Office is constructed by the traditional Chinese brick. The layout of the bricks within different angles are created a ripple pattern. The design create a soft and touchable atmosphere of the wall which is generally considered as the cold brickwork. From different directions, the light through the brick hole with unique reflection make the silk wall more dynamic which looks like the real silk fluttering in the wind.

This project focuses on collaborating parametric designs with regional cultures and adaptive nature. Schumacher points out that it is needed to shift parametricism into a global formula. However, in my view,

FIG. 6

the typical local material, traditions and other situations could shape the architecture styles differently in the globe.

With local fabrication logics, the parametric approach could integrate simulations.

Yuan argues that it would be hard to place each brick with accurate angles, if it without the algorithmic guidelines.

The parametric methods guarantees the structural integrity for original design intension. The algorithms build a bridge for communication between designers and builders Parametric method effectively presents original design and makes the structure integrity.

21

A.2.2 LANDESGARTENSCHAU EXHIBITION HALL ARCHITECTS ICD/ITKE/IIGS UNIVERSITY OF STUTTGART LOCATION: UNIVERSITY OF STUTTGART, KEPLERSTRASSE 7, 70174 STUTTGART, GERMANY PROJECT YEAR: 2014

FIG.8 FIG.7 22

FIG.9

FIG.10

Computation offers considerable possibilities for architecture, going well beyond the conventional sphere of design that focuses on the generation of complex geometries.

Achim Menges, a regular contributor and founding Director of the Institute for Computational Design (ICD) at the University of Stuttgart, is famous for his pioneering approach to computation and materials. (ref) He defines how computation is allowing an assembly of the processes of form generation and materialisation, creating in new areas of architectural speculation and experimentation.

Parametricism has the possibility to transfer beyond the limitation of architectural design. Renowned industrial designer Ross Lovegrove, known as ‘Captain Organic’ for his nature inspired designs, acknowledges the potential of ‘new

codes of creation’ being incubated in architecture schools for product design, accelerating innovation across materials, structures and manufacturing technologies. (ref) In this project, and construction demonstrates that robotic fabrication in conjunction with computational design, simulation and surveying methods enable architects, structural engineers and timber manufacturers to work interdisciplinary as well as material- and fabrication-oriented.

Based on the computational design, fabrication and construction shows that the mechanical fabrication and computational design, simulation and measurement methods for the architects, structural engineer and timber producers working together.

Agent-based modelling and simulation is not only a viable method for integrating (biomimetic) design principles and fabrication constraints, it can also activate the reciprocity between geometry and manufacturing as a key principle of design. (ref)

23

From the lecture and architectural literature, we know that parametric design is developed over time, design methods are gradually shifted from COMPOSITION TO GENERATION. If composition is traditional approaches of design, then what is generation in design?

“GENERATIVE DESIGN” is a concept of

Generative design is the “feedback” loop of the normal practice, which means there must be inputs and outputs of the design model. Architects could speculate the outcome based on the data analysis and their unique ALGORITHMIC THINKING, so that design process can be relatively efficient.

PARAMETRIC DESIGN is a logic of digital design thinking and plays a significant role in generation. It can diminish the efforts during the design process and perceive the result straightaway. However, the computational methods may be misleading and confusing. In other consideration, the parametric design might also lead into similar design, and which may block the design thinking.

FIG. 11

24

A3 COMPOSITION & GENERATION

f design process through computational design, which is so abstract and at the cutting edge of architecture.

25

A.3.1 SAGRADA FAMILIA ARCHITECTS: ANTONI GAUDÍ LOCATION: BARCELONA, CATALONIA, SPAIN PROJECT YEAR: BEGAN IN 1882 UNTIL PRESENT

FIG. 12 26

FIG. 13

FIG. 14

FIG. 16

FIG. 17

FIG. 19

FIG. 18

Sagrada familia carries the distinctive spirit of an era as the “most extraordinar y personal interpretation of gothic architecture since the middle age�. The cathedral is incompleted and with missing documentations which become a challenge for ever yone working on building this fabulous architecture.

With the development of technology and acknowledge, Sagrada familia has adopted digital design approach and new construction technologies, which used for architects and builders to analysis the existed pieces with the part documentations to speculate the original design by Gaudi. Besides.

In addition, 3D printing and 3D scanning was introduced to the projects, which uses in modelling process to test the complex structures and ornaments. With all kind of new technologies or more, Sagrada familia is able to finish in 2026.

FIG. 15 27

A.3.2 HEYDAR ALIYEV CENTER ARCHITECTS: ZAHA HADID, PATRIK SCHUMACHER LOCATION: BAKU, AZERBAIJAN PROJECT YEAR: 2013

FIG.20

The Haydar Aliyev Centre in Baku, Azerbaijian is designed by Zaha Hadid, Patrik Schumacher.

The structure and appearance design of the centre is a good example of generative design in this era which is applied with algorithmic

28

methods to create the form of the architecture.

Generative design method is hard to predict, and it often makes us away from the understanding of traditional formal logic.

However, it provides the way to rethinking the continuity of the architecture design

and landscape which present in this precedent.

The building appearance and the landscape are designed to response the natural environment, showing the continuity as well. The data based design has the elegant curves and proper surface shape which accurate measurement

of the structural and surface design. It means, based on the parametric design, those kind of complex patterns can be designed and constructed in the real world.

On the other hand, the monotonous array of designs may be generated by the

same design methods. For example, the same script in the grasshopper may create the similar shapes if we just slightly change the slider of the quantity control.

However, Zaha Hadid adapted this approach well which can be seem in her later works. If we see

a building with the waves, the first word in our mind is her name. Those flowing parametric shapes are the symbol of her design. So the parametric methods can help us design, but I believe the most important element of design is the thinking.

29

A4 CONCLUSION Architecture is not just a cold construction for sheltering in this generation, it is design for the future needs. The world can be reshaping by the design practice for the more sustainable future.

Computational approach is a good tool in the design process in the generation. It can collaborate between different disciplines to force new design opportunities.

Computer may argued as a machine which is lack of thinking, generates the “fake� creativity. However, the architects and the designers use the computational methods to gain the outcomes within their design and test the design ideas properly.

The design is not the just the product of the parametric design output, it is the gains of the designers’ thinking. We thought digitally just a way to towards a better future.

30

A5 LEARNING OUTCOMES In the Part A, we fundamentally understand the idea of conceptualization. Based on the lecture, architectural literature and the precedents study from the architectural design journal, we discussed effects of critical design thinking and the computing methods during design process. For me, I find that the computational design approaches can help us present some fancy ideas which may hardly present on the real paper or physical model.

In the past, I saw the imaginative design just in the movies or the cartoons, and thought it can only be existed in the screen world. After the Part A study, I find that we may design in the real world what we really want. However, it is not just limited in the appearance design, it also can be used in modelling the structure form, materiality performance and others.

There is no doubt that the computational approaches have their limits, but it still pay a significant role for designers in this generation.

The design digitally with the software, we can create the complexity of the architecture and even more relative innovation. The growing needs of the human and the nature promote designers and design student gain those skills for further studying and working. More than that the methods changing also effects our design thinking. Sometimes, getting stuck with one methods may force us to change the original ideas and rethinking it from different direction.

Ultimately, some new ideas come out, it may not perfect ideas, but it is a perfect attempt.

31

32

A6 APPENDIX This is the first time I try to use grasshopper to modelling simple objects in rhino.

The selected sketches is created by the online tutorial.

During the study process, I find that some modellings we can do both in the rhino and grasshopper, however, there some commands in the grasshopper can help us adjust it easier and generate more interesting geometries Also, the grasshopper gives us an algorithmic thinking of the design.

33

A7 BIBLIOGRAPHY REFERENCES BURRY, MARK, “PERMANENCE AND CHANGE”, ARCHIT. DESIGN, 85 (2015), 80-85 GRAMAZIO, FABIO, MATTHIAS KOHLER, AND JAN WILLMANN, “AUTHORING ROBOTIC PROCESSES”, ARCHITECTURAL DESIGN, 84 (2014), 14-21 LOVEGROVE, ROSS, “‘SUPER-NATURAL’: PARAMETRICISM IN PRODUCT DESIGN”, ARCHIT. DESIGN, 86 (2016), 100-107 MARKOPOULOU, ARETI AND RODRIGO RUBIO, “SMART LIVING ARCHITECTURE: SOLAR PROTOTYPES. IAAC ENDESA PAVILION BARCELONA”, ARCHIT. DESIGN, 85 (2015), 128-131 MARSHALL-BAKER, ANNA, “DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE”, INTERIORS: DESIGN, ARCHITECTURE AND CULTURE, 2 (2011), 138-140 SCHUMACHER, PATRIK, “PARAMETRICISM: A NEW GLOBAL STYLE FOR ARCHITECTURE AND URBAN DESIGN”,ARCHITECTURAL DESIGN, 79 (2009), 14-23 SCHWINN, TOBIAS AND ACHIM MENGES, “FABRICATION AGENCY: LANDESGARTENSCHAU EXHIBITION HALL”,ARCHIT. DESIGN, 85 (2015), 92-99 SCHWINN, TOBIAS AND ACHIM MENGES, “FABRICATION AGENCY: LANDESGARTENSCHAU EXHIBITION HALL”,ARCHIT. DESIGN, 85 (2015), 92-99 TONKINWISE, CAMERON, “HOW WE INTEND TO FUTURE: REVIEW OF ANTHONY DUNNE AND FIONA RABY, <I>SPECULATIVE EVERYTHING: DESIGN, FICTION, AND SOCIAL DREAMING</I>”, DESIGN PHILOSOPHY PAPERS, 12 (2014), 169-188 YUAN, PHILIP, “PARAMETRIC REGIONALISM”, ARCHIT. DESIGN, 86 (2016), 92-99

34

FIGURES FIG.1 http://mg-architecture.ca/ FIG.2 http://www.archdaily.com/274900/endesa-pavilion-iaac FIG.3 http://www.zaha-hadid.com/masterplans/kartal-pendik-masterplan/ FIG. 4 http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc FIG. 5 http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc FIG. 6http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc FIG. 7 http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart FIG. 8 http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart FIG. 9 http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart FIG. 10 http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart FIG. 11 photo taken by Yuxin in Singapore 2016.07.08 FIG. 12 http://www.dailymail.co.uk/news/article-2440014/How-Gaudis-finished-La-SagradaFamilia-cathedral-look-completion-2026--144-years-building-started.html FIG. 13 https://www.google.com.au/search?q=Sagrada+Familia&espv=2&biw=1090&bih=967&source=lnms&tbm=isch&sa=X&ved=0 ahUKEwj-xN37nLvOAhULopQKHQQOAaUQ_AUIBigB#tbm=isch&q=sagrada+familia+finished&imgrc=oIc5KuNzb2IUvM%3A FIG. 14 http://software.materialise.com/cases/sagrada-familia-magics-meets-modernism FIG. 15 http://inhabitat.com/guadis-sagrada-familia-gets-a-boost-from-3d-printing/ FIG. 16 http://www.sagradafamilia.org/en/architecture/ FIG. 17 http://www.sagradafamilia.org/en/architecture/ FIG. 18 http://www.sagradafamilia.org/en/architecture/ FIG. 19 http://www.sagradafamilia.org/en/architecture/ FIG. 20 http://www.sagradafamilia.org/en/architecture/

35

36

B CRITER DESIGN 37

Contents Bâ&#x20AC;&#x192; CRITER DESIGN

B1 RESEARCH FIELD---------------

1.1 Patterning ------------------B2 CASE STUDY 1.0---------------

2.1 D e Young Museum --------

2.2 I terations -------------------

2.3 A nalysis --------------------

B3 CASE STUDY 2.0 --------------3.1 UK Pavilion -

seeds cathedral

3.2 Reverse - engineer -----------

3.2 A nalysis --------------------

B4 DEVELOPMENT ----------------

B5 PROTOTYPES -------------------

B6 PROPOSAL ---------------------

B7 LEARNING OBJECTIVES & OU

B8 APPENDIX ---------------------

B9 BIBLIOGRAPHY ----------------

38

----------------------------------------------------------------------------------------------------------------------40

---------------------------------------------------------------------------------------------------------------------40 ---------------------------------------------------------------------------------------------------------------------44

---------------------------------------------------------------------------------------------------------------------46

---------------------------------------------------------------------------------------------------------------------48

---------------------------------------------------------------------------------------------------------------------54

---------------------------------------------------------------------------------------------------------------------56

dral

------------------------------------------------------------------------------------------------------------------58

---------------------------------------------------------------------------------------------------------------------60

---------------------------------------------------------------------------------------------------------------------70

---------------------------------------------------------------------------------------------------------------------72

---------------------------------------------------------------------------------------------------------------------82

---------------------------------------------------------------------------------------------------------------------84

UTCOMES --------------------------------------------------------------------------------------------------------92

---------------------------------------------------------------------------------------------------------------------94

---------------------------------------------------------------------------------------------------------------------98

39

THIS HANDMADE COLLECTION IS DESIGNED BY PATRICIA URQUIOLA, A SPANISH ARCHITECT AND DESIGNER. HER DESIGN USES BAS-RELIEF AS A THEME AND IS AVAILABLE IN DIFFERENT DEPTHS AND VARIATIONS.1 COMPOSED OF THREE TILE PATTERNS FORMED THROUGH EXTRUSION, THE BAS-RELIEF COLLECTION MAKES INNOVATIVE USE OF NATURAL AND NEUTRAL TONES.

FIG. 21 BAS-RELIEF DESIGN BY PATRICIA URQUIOLA 1. “Bas-Relief - Patricia Urquiola”, Patricia Urquiola, 2016 <http://www.patriciaurquiola.com/design/bas-relief/> [accessed 3 September 2016].

40

B1 RESEARCH FIELD

41

B1.1 PATTERNING

FIG. 22 SCREEN AT THE MAUSOLEUM OF SHAH RUKN-I â&#x20AC;&#x2DC;ALAM IN MULTAN, PAKISTAN.

42

FIG. 23 PALACIO DO BUITI. BRASILIA. BRASIL.2006 PHOTO TAKEN BY BERNIE DECHANT

FIG. 24 ARAB WORLD INSTITUTE

FIG. 25 BURSTS OF SUNLIGHT PERMEATE INTERIOR GALLERIES OF LOUVRE ABU DHABI

Ornamentation plays an important role in architecture that is integral to communicating a sense of community.1 Patterns are fundamental features of spatial design of ornamentation.

The history of ornamentation shows that patterning designs are different in forms, their applications and functions which are influenced by social experiences, regional cultures and political effects.2 Therefore, patterning is a kind of language in the ornamentation telling the stories of architectural history.

In early ages, patterning designs were based on an aesthetic requirement.

For example, the ornamental timber window and door of an ancient architecture usually have unique patterns (fig.22). As can be seen the piece contents at least 10 pattern motifs which brings more delicate characters to the surface. These patterns seems to tell the story of that era. Many pattering ideas were usually originally from pattern motifs from the nature world such as symmetry or radial symmetry motifs found in many plants like flowers, animals like starfish or even non-living things like snowflakes. The beauty of the pattern design is not only presented by the motifs themselves but also

presented by the reflection of the surrounding and the nature source. As mentioned “there appears to be a tendency within architecture’s history to associate patterns with nature” 3 . From the photo taken by Bernie Dechant in Brasil in 2006(fig 23), the straight line pattern of the building become curves when it is reflected in the water.

Besides the outside visual effect of the building patterning design, pattern motifs on roofs, walls and windows are also give special visual experience inside the building with light go through these patterns. In terms of architecture design, creating an atmosphere is important which is emphasized by Peter Zumthor.4 The atmosphere in the Louvre Abu Dhabi museum (fig.25) is generated by the light through the roof pattern.

Nowadays, the design of patterns within a building is not just for a decorating purpose, it considers more functional aspect. For example, the pattern motif is required not only providing a good visual effect but also allowing the most efficiently utility of the sun light source so that the use of electronic power can be

greatly reduced. Jean Nouvel’s stunning Institut du Monde Arabe (fig.24) is a good example of the adjustable shading façade design and it also shows that the pattern design combined with functions. The unique design surprised the 19 nations in the era. Far from a traditional austere building, the radical high-tech façade of the Institute emblazoned with mechanical apertures contain metal blades. In order to respond the sunlight, the circular holes can close up, like narrowing the aperture on a camera, to allow natural light suffusing the interior. With the development of computer science, new designing software, new calculate methods and new building materials, patterning design fulfils both the “beauty” and “function” requirements become easier. Even some believed difficult patterning motifs can be achieved.

Although many ideas of patterning can be achieved with the help of modern techniques, however, neither computer nor software is only a tool, good designs still come from a good design thinking which is original from our life.

1. Wallace Rosenbauer, “The Function Of Ornament”, College Art Journal, 6 (1947), 222 2. Robert Venturi, “Diversity, Relevance and Representation in Historicism, or Plus ça change . . . Plus a Plea for Pattern All Over Architecture . . . ,” the 1982 Walter Gropius Lecture, in Architectural Record ( June 1982), 114–119, p. 116 3. Mark Gracia, The Patterns Of Architecture (London: John Wiley, 2009) 4. Peter Zumthor, Atmospheres (Basel: Birkhäuser, 2006).

43

PIXILATED PHOTOGRAPHS OF THE TREE CANOPY IN THE PARK WERE USED AS A POINT OF DEPARTURE FOR THE DESIGN OF THE MUSEUM’S COPPER SKIN. A COMPUTER PROGRAM TRANSFORMED THE IMAGES INTO AN ABSTRACT PATTERN OF DIMPLES, BUMPS, AND PERFORATIONS. —DIANA KETCHAM

FIG. 26 10 YEARS OF THE NEW DE YOUNG MUSEUM 44

B2 CASE STUDY 1.0

45

B2.1 DE YOUNG MUSEUM

The M.H. de Young Memorial Museum is designed by Herzog & de Meuron. It is a significant revival of a building. The part of old museum was a massive structure decorated with concrete ornaments.

Due to the salt air rusted the supporting steel, the building became hazardous, leading to their removal in 1949. The whole building was completely destroyed in 1989 by the Loma Prieta earthquake.1 A decade later, this striking architectural landmark has been woven into the cultural fabric of the city, hosting ground breaking exhibitions, iconic art

and landscape commissions, pioneering performances, and unforgettable events.2 Most interesting of all was the choice for the exterior of the museum. Herzog & de Meuron intentionally chose a copper facade which would slowly become green due to oxidation and therefore fade into its natural surroundings.

The facade is also textured to represent light filtering through a tree.3 The pattern of the copper sheets is designed digitally, which is a good example for pattern generation study.

1. “M.H. De Young Museum / Herzog & De Meuron”, ArchDaily, 2010 <http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron> [accessed 23 August 2016].

2. “10 Years Of The New De Young”, 10year.deyoungmuseum.org, 2016 <http://10year.deyoungmuseum.org/index.html#origins> [accessed 23 August 2016].

3. “M.H. De Young Museum / Herzog & De Meuron”, ArchDaily, 2010 <http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron> [accessed 23 August 2016].

FIG. 27 DE YOUNG MUSEUM FACADE 46

SURFACE

DIMPLED SURFACE

EVALUATE SURFACE

RECTANGLE GRID

IMAGE SAMPLER

REMAP

EVALUATE SURFACE

RECTANGLE GRID

IMAGE SAMPLER

REMAP

SURFACE PERFORATIONS EXPRESSION

CIRCLE

CIRCLE

CIRCLE

MOVE

FACADE PANEL LOFT

47

B2.2 ITERATIONS

1 SCALE

2 SHAPE

3 EXPRESSION

4 ANGLE 48

50 X 50 10 X 50

50 X 10 10 X 50

30 X 30 15 X 10

The exploration start with changing the scale of the gride and the circles radius

The basic geometries are changed on the surface points The new geometries combinations create the new patterns on different layers

X^Y X^Y

30 O

XY + 1 XY

90 O

X+Y X^Y

60 O

Using expression to control the relationship between X and Y with the algorithmic methods

Lofting the curves with different angles rather than simply extrde on the Z axis the angles are changed dimpled surface

49

B2.2 ITERATIONS

5 REVERSE

6 IMAGE

7 ATTRACTORS

8 FIELD 50

+

100 X 25

-

200 X 200

-

200 X 200

Exploring the negative and positive patterns on the panel

Changing the image base and grid scale to generate the patterns which represent the images

Change the grid style and offset geometry to create the polygon pattern Attactor points are used for controlling the shape offset gap in this species for the gradient effect

Creating the field lines based on the points of the original definition Field is a great component to create the soft and dynamic patterns

51

B2.2 ITERATIONS

9 GRAPH MAPPER

Based on the original definition and add the component extrude curves and using graph mapper control the height with different profiles

BEZIER

52

SINC

PERLIN

SPACE 10 PATTERN

Except the patterns are placed on the surface Iâ&#x20AC;&#x2122;m trying to generate the 3D pattern through a cube with the component popgeometry and the metaballs The patterns may hard to fabricated with some general construction material, but the ideas can be applied into the gallery space which can ebdesign or other vitual art design

POP LINES

POP NURBS

POP METABALLS

53

B2.3 ANALYSIS SELECTION CRITERIA --------------------------------------------------------How to bring about a change in the visitorâ&#x20AC;&#x2122;s relationship to the Merri creek?Based on the brief and link the pattern study the selected criteria are: AESTHETICS: Referring the fundamental feature of pattern, the aesthetic is the key element. The aesthetic presentation of the outcomes is an important criteria.

ADAPTABILITY: The pattern design is not limited to aesthetic, also have the specific functions. The reflection of the environment and the architectural practice should be considered during the design process.

SYMBOLISATION: This criteria is set for the brief, except the architectural consideration, the meaning of the design is also a vital aspect of the virtual museum design.

DESIGN POTENTIAL --------------------------------------------------------Based on my current parametric design experience, I find that some interesting patterns can be easi ly generated by altering the definition. The one component can create a series of outputs, the successful outcomes usually generate when I define the variable.

Due to the brief requirement of designing a virtual museum with the qualities beyond the reality, in this stage, the iterations of patterns could be a good start ing point of the virtual museum design for Merri creek.

Patterning can be effectively applied into the detail design for the museum. The special pattern design could be used as a media to telling the story of the site and placed in the architecture.

However, the feasibility of those patterns should be considered from three aspects including materiality, constructability and symbolisation.

54

4 ANGLE

6 IMAGE

This iteration is generated by lofting the curves with different angles. It shows a clear pattern on the top view which looks concise.

However, the second skin of the dimpled surface present the irregular change in the regular based pattern. One pattern top feelings. Also, the second skin can be developed for the architecture in practice such as the adjustable faรงade design for sunlight.

Applying the image on the pattern, and changing the scale of the pixel shape to represent the photo in an abstract way.

Comparing with the high-definition of the image, the design pattern is a better way to generate the symbolism.

7 ATTRACTORS

The gradient effect here is generated by attracting point. This iteration is controlled by two attractors which create a much softer gradient pattern. In this stage, the pattern looks simple, however, placing the pattern on the wall or bigger scale, the shock effects bring about by the simple pattern base.

9 GRAPH MAPPER

The graph mapper controlled iteration shows the new ideas in the pattern design. This pattern looks like the wave of the water shows the dynamic mood from the solid model.

55

FIG. 28 UK PAVILION INTERIOR 56

B3 CASE STUDY 2.0

57

B3.1 UK PAVILION - SEEDS CATHEDRAL

The Seed Cathedral is a box, 15 metres high and 10 metres tall. From every surface protrude silvery hairs, consisting of 60,000 identical rods of clear acrylic, 7.5 metres long, which extend through the walls of the box and lift it into the air. Inside the pavilion, the geometry of the rods forms a space described by a curvaceous undulating surface. There are 250,000 seeds cast into the glassy tips of all the hairs. By day, the pavilion’s interior is lit by the sunlight that comes in along the length of each rod and lights up the seed ends. You can track the daily movement of the sun and pick out the shadows of passing clouds and birds and, when you move around, the light moves with you, glowing most strongly from the hairs that point directly towards you. By night, light sources inside each rod illuminate not only the seed ends inside the structure, but the

tips of the hairs outside it, covering the pavilion in tiny points of light that dance and tingle in the breeze.

The pavilion is sitting on a landscape that is crumpled and folded like a sheet of paper, which suggests that the pavilion is a gift from the UK to China, still partly enclosed in wrapping paper. With inclined surfaces and lifted edges forming a gentle amphitheatre, the landscape is entirely carpeted in silvery-grey Astroturf, which translates the softness of the Seed Cathedral into a more tactile softness underfoot and invites you to sit anywhere, lie down or even play, rolling down the slopes. Its atmosphere of intimacy and ambiguity of purpose allows people to treat the space like a village green, invoking the UK’s record as a pioneer of the modern public park.1

1. “UK Pavilion | Heatherwick Studio”, Heatherwick.com, 2016 <http://www.heatherwick.com/uk-pavilion/> [accessed 11 September 2016].

58

FIG. 29 UK PAVILION

FIG. 30 UK PAVILION SECTION AND PLANS 59

B3.2 REVERSE-ENGINEER

3

1

POINTS

CENTRAL POINT

2

CUBE

60

4

LINES

ATTEMPT 1

5

7

EXTRUTION

PIPES

6

TRIM

8

CAPPING

61

B3.2 REVERSE-ENGINEER ARCHITECTURAL APPEARANCE

CREATE LINES FROM THE CENTRAL POINT AND THE POINTS FROM BOX SURFACE

CREATE THE CENTRAL POINT FOR LINES

62

INTERNAL BOX

DECONSTRUCT BREP FOR THE BOX SURFACES

DIVIDE SURFACE

EXTERNAL BOX

DECONSTRUCT BREP FOR THE BOX SURFACES

DIVIDE SURFACE

ATTEMPT 1

EXTRUDE THE LINES

TRIM THE LINES

BY THE BOXES TO CREATE THE INTERNAL SPACE

CREATE PIPES ALONG THE LINES AS THE SPIKES

CAPPING THE HOLE OF THE PIPES

63

B3.2 REVERSE-ENGINEER FRAME

CENTRAL PO

CREATE ARCH FROM 3 POINTS

CREATE A SPHERE BASE

DIVIDE SURFACE

EXPLORE TREE FOR DATA

CIRCLE

64

SCALE

ATTEMPT 2

OINT

TRIM SOLID

EXTRUDE POINT

LOFT SCALE

65

B3.2 REVERSE-ENGINEER PANEL MODULE

66

ATTEMPT 2

CONSTRUCT DOMAIN

CREATE A SPHERE BASE

DIVIDE DOMAIN MESH

SURFACE BOX

BOUNDING BOX

MORPH BOX

EACH PANEL MODULE WITH SPIKES THE PROCESS IS SILMLER WITH THE ATTEMPT 1 DEFINITION ECTRUDING LINES, PIPING AND CAPPING

67

B3.2 REVERSE-ENGINEER

STRUCTURE

68

EXTER

RNAL

ATTEMPT 3

INTERNAL

69

FIG. 31 UK PAVILION EXTERNAL SPIKES 70

B3.3 ANALYSIS

ATTEMPT 1

ATTEMPT 2

ATTEMPT 3

The first attempt is focusing on the architecture appearance based on the initial observation. In order to generate the spike and flag on the surface, I tried to use image sampler to generate the flag pattern in the first attempt. The result looks good. However, when I rotate the baked model in the rhino, it not looks the exactly the same as the uk pavilion Heatherwick did. I tried another way to generate it. The second attempt I just extrude the lines from the original lines. I find that the British flag pattern is shown on the baked model from different views automatically.

In order to simulate the actual pavilion by the grasshopper in structure details, I create a spherical model instead of the rectangular shape that was actually built. Through the grasshopper, I design the pavilion frame and model the divided panels on the sphere to simulate the actual structure of the pavilion and analyse the relationship between the frame the panel modules.

Based on the further parametric analysis of the uk pavilion, I create the final definition of the uk pavilion model. Various combination of the exterior and the interior attributes are modelled in the final model with different components including exterior, interior and the structure. Through a combination of several grasshopper definitions, the detail of the original uk pavilion are fulfilled by computation simulations.

understand the structures more and gives me some inspirations to start the further reverse engineering.

Finally, combining the architecture and construction consideration, the final model looks better than the first attempt.

the struggle was in dealing with â&#x20AC;&#x153;redâ&#x20AC;? components in the grasshopper. I was frustrated when I got a bunch of red components and the stuck rhino, nearly gave up, but it just because the limited knowledge of the grasshopper skills which is can be solved in the further study.

REFLECTION In my attempts to reverse engineer the UK pavilion, I was surprised that how close I got to the successful simulated model. Different aspects of modelling consideration make the reverse engineering process more interesting.

Analysing the construction process of the original pavilion makes me

During the reverse process,

71

B4.1 DEVELOPMENT - FRAME

1 FRAME SCALE 1.1

0.9

1.2

2 FRAME CENTRUAL POINT (50.50.50)

72

(25.50.0)

(0.50.0)

5

(0.0.50)

5

(0.0.100)

5

(0.100.0)

LATITUDE

LONGITUDE

73

B4.1 DEVELOPMENT - FRAME

3 PLANAR 2

3

3+

XY+ZY

XY+ZY+XZ

PIONTS

LINE

SQUARE

CIRCLE

4 CURVE

74

5 OFFSET

75

B4.2 DEVELOPMENT - PANEL MODULE

6 ITEM LIST

7 GRAPH MAPPER

8.1 TARGET BOX - GEOMETRY

76

77

B4.2 DEVELOPMENT - PANEL MODULE

8.2 TARGET BOX - MESH

9 CELLS

10 VORONOI TREE

78

79

B4.2 DEVELOPMENT - PANEL MODULE

11 GRANDIENT

80

B4.3 ANALYSIS

After analysing the definitions of my three attempts, I decided to develop two definitions from the attempt 2. There are more opportunities to explore more outcomes.

Successful iterations are based on my understanding of the brief and the selected criteria.

In this development process, I was still following the selection criteria. In order to create some interesting iterations, the definition is developed by adding single component or combining different definitions.

The challenges I faced in my development process are two types: â&#x20AC;˘ the red component shown again. â&#x20AC;˘ only a few of changes visually shown on the baked outcomes.

Through the exploring the grasshopper technic, I am able to create some complex and special

81

B6 PROPOSAL DESIGN PROCESS UNDERSTANDING OF THE BRIEF VIRTUAL MUSEUM

SITE ANALYSIS CREEK WATER

INSPIRATIONS MUSEUM&GALLERY ART WORKS

TECHNIQUE APPLICATION SINGULAR ITERATION MULTIPLE ITERATIONS

DESIGN PROPOSAL

84

DESIGN CONCEPTS Merri creek . . .

FLOW

CONTINUITY DYNAMIC TRANSFROM UPSIDE DOWN AIR TOUCH . . .

85

PRECE

FIG. 32 SNOWFLAKE BY TOKUJIN YOSHIOKA FOR KARTELL

86

FIG. 33 REVERSE OF VOLUME RG YASUAKI ONISHI USES THE SIMPLEST MATERIALS — PLASTIC SHEETING AND BLACK HOT GLUE — TO CREATE A MONUMENTAL, MOUNTAINOUS FORM THAT APPEARS TO FLOAT IN SPACE.

FIG. 34 A SPIDER WEB SPUN WITH 12.5 MILES OF YARN

EDENTS

FIG. 35 MILAN 2015: OVER 100,000 METRES OF TRANSLUCENT WHITE FABRIC IS CUT INTO STRIPS TO CREATE THIS TUNNEL-LIKE INSTALLATION BY NEW YORK STUDIO SNARKITECTURE FOR FASHION BRAND COS

FIG. 36 PLASTIC BAG LANDSCAPES

BY VILDE ROLFSEN

FIG. 37 INSTALLATION FOR SCOPITONE FESTIVAL, OCTOBER 2011, NANTES, FRANCE. PROJECT BY YANNICK JACQUET, JÉRÉMIE PEETERS, THOMAS VAQUIÉ.

3DESTRUCT IS AN IMMERSIVE INSTALLATION, A LARGE SEMI TRANSPARENT CUBE THAT GENERATES LIGHT AN SOUND, AND AS THE VISITOR WALKS THROUGH, HE LOSES HIS LANDMARKS IN THIS NON-LINEAR UNIVERSE THAT DESTROYS ANY SPACIAL COHERENCE.

87

88

?

89

90

UNDERSTANDING OF THE BRIEF VIRTUAL MUSEUM

SITE ANALYSIS CREEK WATER

Virtual museum?

What is that function of museum?

Based on my understanding, I think museum is a space for storytelling.

create a space to tell the story

60km creek flowing

content of the story

museum and the gallary installation create the atmosphere

atmosphere

back to the B2 outcomes, combining the simple iterations to create a space for vitrual museum

modelling the space via grasshopper

INSPIRATIONS MUSEUM&GALLERY ART WORKS

TECHNIQUE APPLICATION SINGULAR ITERATION MULTIPLE ITERATIONS

DESIGN PROPOSAL

1. CHAOS IN TIME: the design is based on the historical changes of the Merri creek In order to tell the story abou the creek history, Iâ&#x20AC;&#x2122;m trying to represent the historical maps of the Merri creek in to my design.

2. MICRO MERRI CREEK: the design I will test the different water quality based on the microscope and represent the pattern into the design to tell the story about the water pollution.

91

B7 LEARNING OBJECTIVES AND OUTCOMES

92

In reflection of part B, It was very painful when I started to learn using grasshopper. With a little bit of knowledge of computer and no experience of programing, I faced a huge challenge to play with grasshopper. But I want to become an architect in my life. Strong desire and big goal force me to take the challenge and to get through the painful and frustrating phase. After manual reading and web searching I gradually understand some key definitions during the producing iterations and reverse engineering . I have done a lot of modelling with lots of possibilities via changing parameters. This process brought me an immense amount of experience. It also gave me confidence that I have ability to learn and use, even grasshopper as designerâ&#x20AC;&#x2122;s assistant.

Towards the end of part B, I found I were able to use grasshopper with assistance of tutorial, manual reading and lecture video. Meanwhile I asked myself what I were going to do with new skill I learned with grasshopper. Suddenly I understand the meaning of design. I realized that grasshopper is truly a tool which can be used to visualise a design.

True design is the soul of a designer. So I think about some concept and idea and do some modelling with parameters. I think I will continue develop and refine something valuable and exciting in the future.

In regards to my understanding of computation, data handling and programming I gradually get better which can be described in a word from grasshopper: gradient. I know it is still a way for me to completely master grasshopper. However, I am pleased that I can handle some data structures through a particular exploration of a script. I also can use some script to call function. I start to think about number and brackets. I wonder whether grasshopper is capable of visualising all my thinking.

In terms of design, I think that design idea is generated from the â&#x20AC;&#x153;airâ&#x20AC;? (the brief requirement/ natural / human environment...) not just simply based on the iterations we create. For me, grasshopper is considered as a good tool to help us design and modelling.

93

94

B8 APPENDIX

SQRT((Y^2)+(X^2)-(Z^2)) SQRT(((X/ Y)^2)-(Z^2))

This is a successful outcome which is generated by accident. I forgot to hide the previous script when I wrote a new expression for another definition. Two models are overlapped from the central point which create a Wizardâ&#x20AC;&#x2122;s Hat with magic.

95

STRUCTURE

SOLID

TOP VIEW

96

SQRT(((X/ Y)^2)-(Z^2))

97

B9 BIBLIOGRAPHY REFERENCES “Bas-Relief - Patricia Urquiola”, Patricia Urquiola, 2016 <http://www.patriciaurquiola. com/design/bas-relief/> [accessed 3 September 2016] Farshid Mossavi and Michael Kubo, The Function Of Ornament (Barcelona: Actar,2006) Mark Gracia, The Patterns Of Architecture (London: John Wiley, 2009) “M.H. De Young Museum / Herzog & De Meuron”, ArchDaily, 2010 <http://www.archdaily. com/66619/m-h-de-young-museum-herzog-de-meuron> [accessed 23 August 2016].

Robert Venturi, “Diversity, Relevance and Representation in Historicism, or Plus ça change . . . Plus a Plea for Pattern All Over Architecture . . . ,” the 1982 Walter Gropius Lecture, in Architectural Record ( June 1982), 114–119, p. 116 “UK Pavilion | Heatherwick Studio”, Heatherwick.com, 2016 <http://www. heatherwick.com/uk-pavilion/> [accessed 11 September 2016] “10 Years Of The New De Young”, 10year.deyoungmuseum.org, 2016 <http://10year. deyoungmuseum.org/index.html#origins> [accessed 23 August 2016].

98

FIGURES FIG. 21 http://www.patriciaurquiola.com/design/bas-relief/ FIG. 22 https://djcadteam6.files.wordpress.com/2012/01/5cut.jpg FIG. 23 http://www.berniedechant.com/#mi=2&pt=1&pi=10000&s=6&p=2&a=0&at=0 FIG. 24 http://www.pixelpollen.com/index.php?showimage=64 FIG. 25 http://www.designboom.com/architecture/jean-nouvel-louvre-abu-dhabi-under-construction/ FIG. 26 http://www.10year.deyoungmuseum.org/ FIG. 27 http://www.10year.deyoungmuseum.org/ FIG. 28 http://www.heatherwick.com/uk-pavilion/ FIG. 29 http://www.heatherwick.com/uk-pavilion/ FIG. 30 http://www.heatherwick.com/uk-pavilion/ FIG. 31 http://www.heatherwick.com/uk-pavilion/ FIG. 32 http://www.dezeen.com/2010/04/20/snowflake-by-tokujin-yoshioka-for-kartell/ FIG. 33 http://www.design-vagabond.com/search?updated-max=2012-09-03T08%3A00%3A00-04%3A00 FIG. 34 https://www.fastcodesign.com/1669031/a-spider-web-spun-with-125-miles-of-yarn FIG. 35 http://www.dezeen.com/2015/04/14/cos-snarkitecture-white-fabric-strips-installation-brera-milan-2015/ FIG. 36http://origin.anothermag.com/art-photography/3675/plastic-bag-landscapes-by-vilde-rolfsen FIG. 37http://www.antivj.com/3Destruct_v2/

99

100

C DETAIL DESIGN 101

Contents C

DETIAL DESIGN

C1 DESIGN CONCEPT-----------------------------------------------------------------------------------------------------

C2 TECTONIC ELEMENT & PROTOTYPES-----------------------------------------------------------------------------

2.1 Tangible voice---------------------------------------------------------------------------------------------------------

2.2 Visible & Tangible voice ----------------------------------------------------------------------------------------------

C3 FINAL DETAIL MODEL-------------------------------------------------------------------------------------------------3.1 Visible

voice

–

natural voice

3.2 Visible

voice

–

manmade voice ---------------------------------------------------------------------------------------

3.3 Virtual

----------------------------------------------------------------------------------------

museum app ---------------------------------------------------------------------------------------------------

C4 LEARNING OBJECTIVES & OUTCOMES-----------------------------------------------------------------------------

C5 BIBLIOGRAPHY ---------------------------------------------------------------------------------------------------------

102

---------------------------------------104

---------------------------------------122

---------------------128

---------------------132

---------------------------------------136

---------------------142

---------------------146

---------------------150

----------------------------------------156

---------------------------------------158

103

C1 DESIGN

FEEDBACK

SITE

CONCEPT

RESEARCH VISIT ANALYSIS

FRAGMENT CRACK SPIDER WEB SEASONING RUST HOPE HEALING AUDIO TEARS CHAOS S I L E N T V O I C E

104

N CONCEPT

PRECEDENTS DESIGN PROPOSAL OCULUS RIFT

TECHNIQUES

GRASSHOPPER AGISOFT PHOTOSCAN

VIRTUAL

UNITY

PHYSICAL

105

106

FEEDBACK

?

According to the feedback from the interim presentation, I had made some changes and tried to play with the black lines in grasshopper to generate the irregular installation design which was shown in my previous precedents.

However, the outcomes still cannot provide the experience I preferred.

!

:)

Therefore, I decided to visit the site again in order to get more inspirations from the site rather than describe my concept just simply based on the selected words water and trees.

Based on my understanding of the brief. Virtual museum is a space for storytelling.

So Iâ&#x20AC;&#x2122;m trying to get some information from the site which can tell the story, the story about the site.

After several visits of the site, I got some inspirations and analysed them with different programs, and got some interesting outcomes.

For this propose, I try to adjust with my part B reverse models and grasshopper.

107

CERES CONMMUNITY ENVIRONMENT PARK

DIGHTS FALLS MERRI CREEK LSBYRINTH

ABBOTSFORD CONVENT 108

SITE RESEARCH

BACKGROUND RESEARCH The Merri Creek flows about 60 km from the Great Dividing Range through Melbourne’s northern suburbs to the Yarra River. All areas of the Creek are important because they contribute to the linking of areas of environmental, heritage and recreational value along the Creek.

Environment The Merri Creek and its immediate surrounds are host to some of the most threatened ecosystems in Australia. The Creek has a unique role to play in the preservation of threatened flora and fauna and the maintenance of vegetation communities that in other places have almost been totally destroyed.

REFLECTION unknown sites are likely to exist and the areas likely to have the greatest density of these are sensitive to development.

Recreation Revegetation works and parkland development including path construction have created a linear park of outstanding quality and landscape character – one which plays an important role in the park system of the metropolitan region. The creek trail provides the path for walking and cycling.

While walking or cycling along Merri Creek you may be aware of the indigenous plantings, constructed wetlands and the animal life of the creek corridor.1

According to the background research and considering the requirement of the brief. I realise that there are many interesting points can be explored which I think is better than the general words that I pointed out in the part B proposal. In order to make my virtual museum is much more engaged with the site, I’m decided to visit the site again and it may help me to get more inspirations.

Heritage The Creek is the focus of a large number of pre and postcontact archaeological sites which as a group are highly significant.

Many

1. “About Merri Creek”, Mcmc.org.au, 2016 <http://www.mcmc.org.au/index.php?option=com_content&view=article&id=36&Itemid=188> [accessed 20 October 2016].

109

FRAGMENTS FROM THE MERRI CREEK

HERITAGE

LITTLE GRADEN

CORROSION

CONNECTION

OFF PAINT

SBIDER WEB

110

SEASONED

GAP

PETROUS

STUMP

BRICK WALL

LIFE

MANMADE VS NATURAL

BARK

DRY RIVER

DAMAGED

the photos were taken from the site along the merri creek the differences in pattern design and materials usage from the ABBOTSFORD CONVENT end to MERRI CREEK LSBYRINTH tell the story of time

VITAL FORCE

PAINTING

HOPE

WELCOME

BRICK WALL

STORY

BOOKS BOX

FAIRY TALE

VITAL FORCE

WISHES

STAIRS

SCULPTURE

DANDELION

HAPPINESS

RUST

DIGHTS FALLS

111

SOUNDS FROM MERRI CREEK

WALKING

WIND

112

MUSIC

WATERFALL

the sounds are recorded randomly from the selected sites the sounds randomly recorded are much more natural rather than the sounds are recorded deliberately

KIDSâ&#x20AC;&#x2DC;NOISE

CYCLING

RIVER

CREEK

113

THE

114

S TO RY

S I L E N T F ROM

V O I C E MERRI

CHAOS

TEARS

AUDIO

HEALING

HOPE

RUST

SEASONING

SPIDER WEB

CRACK

FRAGMENT

CONTRAST

DAMAGED

DANDELION

SCULPTURE

HERITAGE

PETROUS

PAINTING

HAPPINESS

WISHES

VITAL FORCE

CONCEPT

CR E E K

S I L E N T V O I C E AUDIO COLLECTION AUDIO ANALYSIS FIREFLY VVVV

AUDIO DATA COLLECTION

MODEL BUILDING GRASSGOPPER

AUDIO VISUALING

VISIBLE VOICE

VITRUAL MODEL AGISOFT PHOTOSCAN

TANGIBLE VOICE

PHYSICAL PROTOTYPE DIGITAL FABRICATION

VIRTUAL REALITY OCULUS RIFT 115

AUDIO ANALYSIS

RECORDING

CAPTURING

SIMULATING

FIREFLY is a set of comprehensive software tools dedicated to bridging the gap between Grasshopper - (a free plug-in for Rhino) - the Arduino microcontroller and other input/output devices like web cams, mobile phones, game controllers and more. It allows near real-time data flow between the digital and physical worlds – enabling the possibility to explore virtual and physical prototypes with unprecedented fluidity. 1

1. “Home”, Firefly Experiments, 2016 <http://www.fireflyexperiments.com/#home> [accessed 20 October 2016].

116

TRANSFERMING

REPRESENTING

Based on the fundamental tutorial of the plug-in firefly and the design intent, I decided to use the component frequency spectrum to capture the sounds and represented them by curves with a simple definition.

Despite the definition seems like quite simple, it is a good way to generate the frequency curves.

TECHNIQUES APPLICATION

FIREFLY

LIST LENGTH

FREQUENCY SPECTRUM audio capturing

creating points from the audio frequency data

SERIES AS LIST

CONSTRUCT POINT DATA RECORDER

DATA DAM delay data on its way through the document

DATA RECORDER

CURVE

MASS ADDTION

the data are represented by oscillating lines

timer

We can create an analysis tool with Grasshopper to perform a complete development of potential study. In my design, I use the plug-in firefly from grasshopper to analyse the audio collection.

The sounds are represented as a various groups of frequency curves. Those curves provide an opportunity for the further design.

NEXT Playing with those “sounds”

117

MAN-MADE SOUND

WALKING

MUSIC

00:01:29

00:01:00

NATURAL SOUND

WIND 00:01:02

118

WATERFALL 00:01:01

TECHNIQUES APPLICATION

KIDSâ&#x20AC;&#x2DC;NOISE

CYCLING

00:00:08

00:00:09

RIVER

CREEK

00:01:05

00:01:01

119

The diagram show the process of the site mesh producing via AGISOFT PHOTOSCAN. In the original plan, I decided to add my virtual museum installation into the selected site from the ABBOTSFORD CONVENT. However combination of the site mesh and the museum model not looks well.

So I start thinking another form of my silent voice museum without the site mesh.

ADD PHOTOS

1 227

CANMERAS

2 51

CANMERAS

120

ALIGN PHOTOS

BUILD DENSE CLOUD

TECHNIQUES APPLICATION

BUILD MESH

DBUILD TEXTURE

TEXTURE

121

122

C2 TECTONIC ELEMENT & PROTOTYPES

123

SOUNDS FROM THE SITE

1

2

124

TRANSLATING

DESIGN

BRAILLE CODE

REMODELING

FREQ C

NING

QUENCY CURVES

TANGIBLE VOICE

PHSICAL MODEL

FRENQUENCY SECTION

LASER CUTTING

LASER CUTTING

125

EXHIBITION REVIEW OF “FLAT GLOBE” AT JOSEE BIENVENU NEW YORK 2006 Noriko Ambe was born in Saitama, Japan; she currently works in New York and Tokyo.

In “Flat Globe, “her second one-person show in New York, Ambe exhibited wall pieces, cut-out books, and industrial metal cabinets with drawers, which serve as semiarchitectural spaces to contain her cut-paper sculptures.

Using an X-Acto knife to cut through many layers of a synthetic Japanese paper called Yupo, Ambe laboriously brings her projects to their final state, which tends to resemble a finely featured topography.

The sheets of paper appear as narrow-ridged hills and valleys, and because Yupo’s transparency and organic touch give it the quality of skin, there is also a reference to the human body.

The overall experience of Ambe’s work is, paradoxically, both delicate and tough: the processes of gouging and cutting lend themselves to a more violent interpretation of the works ‘subtle energies. 1

FIG. 38 A PIECE OF FLAT GLOBE 126

1. “Selected Works: Noriko Ambe”, Norikoambe.Com, 2016 <http://www.norikoambe.com/works/index.html> [accessed 25 October, 2016].

PRECEDENTS

A

PIECE

OF

FLAT

GLOBE

FIG. 39

FIG. 40

FIG. 41

FIG. 42

FIG. 43

FIG. 44

N

O

R

I

K

O

A

M

B

E

127

C2.1 TANGIBLE VOICE

TRANSLATING

The tangible voice is my prototype design concept. In order to create a real tangible voice for everyone, I add the ideas of the braille code in to my prototype design.

DESIGNING

1

2

3

1. select the section of frequency curves 2. link the section points 3. create a new curve

4

5

DESCRIPTION

128

6

DESCRIPTION

4. create an voice shape 5. add the description & braille code 6. fillet the sharp corner

TANGIBLE VOICE

FABRICATING

600.00

600.00

LASER CUT TEMPLATE MATERIAL: 2MM BLACK PERSPEX

129

In order to create a tangible voice, Iâ&#x20AC;&#x2122;m thinking how to represent those sounds.

Inspired from the braille code, I am trying to design a physical model as tangible code to demonstrate the sounds.

Although the frequency curves is a quite good organic visualisation of the sounds, the individual curve is the 0.05s from the whole sounds based on my grasshopper sounds capture setting,. How to produce a physical objects with an integral experience of the sound for the visitors is a challenge for me.

130

I select a group of frequency curves and design start from the section of those curves.

The section shows the length of the sound which is represent the integrity of the sounds. This design as a code to show the different sounds in section, and it is represented by a new shape.

Because the inspiration of the braille code and the aim of my design intent, I recognise that a better design should be suitable for more people.

Thus, I add the braille code into my design to make sure the tangible voice is much more readable for everyone as a real braille code.

131

C2.2 TANGIBLE & VISIBLE VOICE DESIGNING

1

3

EXTRACT A CURVE FROM A FREQUENCY GROUP

BUILD A CUBE

2

4

CREATE A PIECE MODEL FROM THIS CURVE

COMBINE DIFFERENT INDIVIDUALS INTO THE CUBE

This prototype is design as a tangible and visible voice The reflection of light with frequencies create an unique effect Representing the sounds from the site

132

TANGIBLE VOICE

FABRICATING

600.00

600.00

LASER CUT TEMPLATE

MATERIAL: 3MM CLEAR PERSPEX

133

The seconds prototype can be touched and seem.

The individual piece is a frequency curve. The material selection is the clear Perspex which provides a unique effect with the spot light. The combination of the several pieces create a crystal cube with the inside rippling â&#x20AC;&#x153;voiceâ&#x20AC;?.

In the original plan, I design a two type of support for these voice pieces. The one seems like a test tube rack to make those pieces stand. The other unlisted is something like the traditional mortise and the tenon structure which can bind those pieces together.

According to experiments of the two supports, ultimately, I prefer the second design.

Because my interest of the traditional connection methods. I explored the mortise and the tenon

134

structure without any adhesives. In my design I design a simple connection without glue and combine all pieces together.

In addition, I change my design in the end, which can be associated with the part b case study, UK pavilion (seeds cathedral). After the 2010 expo, the cathedral has been dismantled, with some rods donated to schools, some donated to the World Expo Museum and some being auctioned for charity.

Appling this idea into my design, I decided keep those pieces separately.

Those pieces not only can be stood together with the tenon structure, but also can be divided for visitors as a present. Each visitor can gain a part of the sounds after the virtual museum journey, and recalls when they see the voice postcard.

135

136

C3 FINAL VITRUAL DETIAL MODEL

137

138

FIG. 46

PRECEDENTS

A REAL TIME TWITTER - VISUALISATION

LATLONG is part of the public art project ‘Virtual Depictions: San Francisco’

by Refik Anadol with Kilroy Realty Corporation / John Kilroy and Skidmore, Owings & Merrill LLP Architects.

Public art commission for 350 Mission Building in City of San Francisco, California.

In this real-time visualizations of twitter activity in San Francisco, thousands of daily tweets are transformed into millions of particles that illuminate the cityscape, floating up from where they were written and rising into the sky.

The of

visualization was created by mapping every geotagged tweet to a point-cloud model the

heatmap emits

a

iconic of

seaside

city

of

Twitter-messages

swarm

of

particles

San Francisco. In

that

colorize

that

spawn

words and letters of the tweet.1

on

and the

the

video,

displace

the

point-cloud

this

mapping

point-cloud. itself

and

generates

Every

a

tweet

symbolize

the

1. “Virtual Depictions : San Francisco | Refik Anadol”, Refikanadol.com, 2016 <http://www.refikanadol.com/works/virtual-depictions-san-francisco/> [accessed 20 October 2016].

139

S

HEARING

SOUNDS FROM THE SITE

140

I

L

E

N

T

SEEI

VITRU MOD

V

O

I

C

E

ING

TOUCHING

UAL DEL

PHSICAL MODEL

141

C3.1 VISIBLE VOICE - NATURAL VOICE

142

NATURAL VOICE is recorded along the merri creek, in order to keep the organic form of the sounds. The natural voice are built by the soft white material which represent the sounds is pure and nature.

This form has two different experience.

For everyone, they can walking through the white sounds.

However, the special space are designed for the kids, hay have that chance to see the inside voice.

143

W A L K I N G T H R O U G H T H E N A T U R A L V O I C E

TWO WAYS

144

PATH 1

PATH 2

SPECIAL SPACE FOR KIDS

145

C3.2 VISIBLE VOICE - MANMADE VOICE

146

MANMADE SOUNDS are represented by the thousands of sphere. The ideas is inspired from the LATLONG - a part of the public art project â&#x20AC;&#x2DC;Virtual Depictions: San Franciscoâ&#x20AC;&#x2122;.

The manmade sounds is much noisier than the natural sounds.

In order to generate the massive atmosphere, I use grasshopper create four types sphere with different colours to represent the manmade voice. The voice introduces the human activities from the site.

Considering the feature of VR, these floating bobbles create a unique experience for the visitors which may not be easily seen inside the real world.

147

QUANTITY: 4000 RADIUS: 5MM COLOUR: C54-M16-Y0-K0

QUANTITY: 2000 RADIUS: 10MM COLOUR: C87-M76-Y0-K0

QUANTITY: 1000 RADIUS: 25MM COLOUR: C62-M0-Y5-K0

QUANTITY: 500 RADIUS: 50MM COLOUR: C65-M11-R0-K0

148

FLYING TO THE MANMADE SOUND

WALKING THROUGH THE VOIVE

PLAYING WITH THE SOUNDS

149

C3.3 VIRTUAL MUSEUM APP

AFTER THE FINAL PRESENTATION, Iâ&#x20AC;&#x2122;M TRYING TO FIGURE OUT HOW TO GENERATE THE EFFECT I REALLY WANT. DURING THE UNITY AND THE 3DS MAX PRACTICAL EFFECT TESTING PROCESS, I FIND THAT MY SILENT VOICE CAN BE DESIGNED AS A GAME OR APP ON THE PHONE FOR THE VISITORS. THE VIRTUAL REALITY IS A TREND AND IT CAN BE CONNECT WITH OUR PHONES.

150

HOW TO MAKE THE VITRUAL REALITY MORE INTERESTING

LETS VISIT THE SILENT VOICE MUSEUM ON YOUR PHONE

CREATING A SILENT VOICE MUSEUM APP

151

1 2 3 4 5

SHOW THE FULL MAP

ZOOM IN

SELECT A LOOKOUT POINT

TWO TYPES

- MANMADE SOUNDS - NATURAL SOUNDS

6 LOOK AROUND

7 8 152

FINISH

8 CYCLING 7 MERRI CREEK 6 WALKING 5 MUSIC 4 DIGHTS FALLS 3 YARRA RIVER 2 WIND 1 KINDSâ&#x20AC;&#x2122; NOISE

153

KIDSâ&#x20AC;&#x2122;

154

DIGHTS FALLS

MUSIC

YARRA RIVER

CYCLING

WIND

WALKING

MERRI CREEK

155

C4 LEARNING OBJECTIVES & OUTCOMES

156

Through this semester learning and the design process. I think that Grasshopper is a good plug-in for us to learn and help us to generate the design possibility. In addition, there are different functions plug-in tools such as the firefly which I can use for the audio analysis.

Due to the design topic is based on the virtual reality, it is a challenge to build a model to ex-press it. In order to better exhibit the topic from the real object, I have tried different soft-ware and plugin such as agisoft photoscan, vvvv, adobe audition, 3DS max and unity in my modelling besides grasshopper. After the comparison of different software, I find many software can be applied in the model design and in my future study.

In the process of prototype

construction, I used grasshopper to help me finish the digital fabrication which has greatly decreased the layout time.

Many people terms studio air as grasshopper workshop which means teach you how to use grasshopper. However, in my case I think I learn more than the techniques. The design brief has pushed me to explore more useful programs. During the designing, I once hesitated either directly chose part B that achieve my design by development of the iteration or make a design that I what to following to the brief. Finally, I choose the later rather than being limited by the previous iterations. From the study, I realize no matter how complex the scripts of grasshopper and the software are and how difficult to understand them, the different soft wares

are useful to help you better express the design intent.

To a designer, it is essential to grasp useful techniques to finish a design, however, the â&#x20AC;&#x153;just know how to useâ&#x20AC;? is not enough, to become a good designer, he/she must have the ability to get ideas from different sources and express them in a design which can tell the story by combination of various of means like sounds, photos, digital patterns, curves and the words, and in order to achieve a good design, one should break some limits for example using some other soft wares or techniques which have not been used previously or are not supposed to be used. During the process of design, the following the idea from your heart is also very important, it is always the better way to achieve the creative design.

157

C5 BIBLIOGRAPHY REFERENCES “About Merri Creek”, Mcmc.Org.Au, 2016 <http://www.mcmc.org.au/index.php?option=com_ content&view=article&id=36&Itemid=188> [accessed 20 October 2016] “Home”, Firefly Experiments, 2016 <http://www.fireflyexperiments.com/#home> [accessed 20 October 2016] “Virtual Depictions : San Francisco | Refik Anadol”, Refikanadol.Com, 2016 <http://www. refikanadol.com/works/virtual-depictions-san-francisco/> [accessed 20 October 2016] “Selected Works: Noriko Ambe”, Norikoambe.Com, 2016 <http://www. norikoambe.com/works/index.html> [accessed 25 October, 2016].

158

FIGURES FIG. 38 http://www.norikoambe.com/works/index.html FIG. 40 http://www.norikoambe.com/works/index.html FIG. 41 http://www.norikoambe.com/works/index.html FIG. 42 http://www.norikoambe.com/works/index.html FIG. 43 http://www.norikoambe.com/works/index.html FIG. 44 http://www.norikoambe.com/works/index.html FIG. 45 http://www.norikoambe.com/works/index.html FIG. 46 http://www.refikanadol.com/works/virtual-depictions-san-francisco

159

160

161