STUDIO AIR 2016, SEMESTER 1, Bradley Elias Zhuo Zeng
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PART A
Contents A1 Design Future A2 Design Computation A3 compostion / Gerneration A4 conclusion A5 outcome
A6 APPENDIX
Self Introduction
My name is Zhuo Zeng, Vermy is my English name. I was borned in Chengdu, China and studying in Melbourne now. I am currently in third yeaar of Environments degree and major in architedture. I love imaginatoin and creating ideas, I’m very interested in model making. The reason why I choose architecuture as my major, because when I was very young, I liked to play lego, the model with plastic construction things are really atrracted my attention. So I started to learn architecture history and read some architecture building books in high school. before I started university, I thought model making is only by hand making, when I got into design studio, I found there was another way to do model, like 3D printing and laser cutting. I learnt some drawing softwares like Autocad, Photoshop, Illustrator, Rhino and Indesign, now we are getting into Grasshopper, How excited! Studio Air is more like digital design, I haven’t got in touch with digital design before, I’m looking forward to explore how digital and computational method could enhance the design project through learning studio Air.
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A.1
D
ESIGN FUTURING
Nowadays, human are facing a great amount of serious environmental problems, they affect land, water and air. Some result from what human take from the environment, in the form of land for agriculture, accommodation for increasing population, mineral and timber. These issues include climate change, urban pollution and acid rain. Fry argues the relation between creation and destruction is not an issue when a resource is renewable, but it is a disaster when it’s not. 1 In dealing with these problems, human aware of the seriousness of the problem to achieve sustainable design is the key to an environmentally positive future. Fry claimed that design is not an independent entity but it influences and shaped by cultural, social, political and ethical means.1 not only sustainable design, but also shift into digital revolution and bring to the design futuring.
1. TONY FRY. DESIGN FUTURING-SUSTAINABILITY, ETHICS AND NEW PRACTICE. (NEW YORK: BERG 2008) P1-16 2. JASON F. MCLENNAN. THE PHILOSOPHY OF SUSTAINABLE DESIGN: THE FUTURE OF ARCHITECTURE. ( KANSAS: ECOTONE PUBLISHING, 2004) P.4
‘Sustainable design is a design philosophy that seeks to maximize the quality of the built environment, while minimizing or eliminating negative impact to the natural environment.’ 2
CASE STUDY 1
ABSOLUTE TOWERS
LOCATION: MISSISSAUGA, ONTARIO, CANADA ARCHITECT: FERNBROOK HOMES AND CITYZEN DEVELOPMENT GROUP
1. ‘Absolute Tower’, Dac& Life Build Cites, Last modified January 28, 2013. http://www.arcspace.com/features/mad-/absolute-towers/ 2. ‘Absolute Towers/ MAD Architects’, archdaily, last modified 12 December, 2012, http://www.archdaily.com/306566/absolute-towers-mad-architects 3. ‘Absolute Towers/ MAD Architects’, ArchDaily, last modified 12 December, 2012, http://www.archdaily.com/306566/absolute-towers-mad-architects 4. Jason F. McLennan. The Philosophy of Sustainable Design: The Future of Architecture. ( Kansas: Ecotone Publishing, 2004) p.5
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HTTP://WWW.DOMUSWEB.IT/EN/ARCHITECTURE/2012/11/07/AN-EMPATHETIC-TWIST.HTML
Absolute Towers is a residential condominium twin tower skyscraper complex in the five tower Absolute City Centre development. Dubbed the “Marilyn Monroe” building, due to its sexy curves, Absolute Towers has added a new landmark to the skyline of Mississauga, the fast-growing suburb of Toronto. The architects sought to add to something “naturalistic, delicate and human in contrast to the backdrop of listless, boxy buildings.”1 the design features smooth, unbroken balconies that wrap each floor of the building. The torsional form of the towers is underpinned with a surprisingly simple and inexpensive structural solution. With Absolute we can see the entire building twisting to achieve the organic form, creating a beautiful new landmark for a developing urban area. A sustainable architecture in modern concept. Real sustainability results in a harmonious civilization.2 The dynamically fluid shaping of the towers, naturally aerodynamic, adeptly handles wind loading and ensures comfort throughout all the balconies. Besides providing every resident with a nice exterior place to enjoy views of Mississauga, the balconies naturally shade the interior from the summer sun while soaking in the winter sun, reducing air conditioning costs.2
Even though this project has achieved sustainable design, there is no linkage to natural environment. I found the article criticise about forced into an unnatural state of conformity, metropolitan life is negatively affected by these unchecked, efficiency-centric development practices. Without a challenge to the status quo, cities will continue to lack the cohesion of life as implied by the term: forest. A forest is a thriving ecosystem wherein every organism survives only in a state of symbiosis.3 As the philosophy of sustainable design mentioned about “It is helpful to think about sustainable design in terms of the word respect. The opposite of respect is contempt. Our current system of construction, materials manufacturing and design are done in such4a way that it may as well be contemptful of natural systems.” I think bring high technologies and digital technologies into architecture design, we have to consider carefully the balance between human and nature. If we faced problem, then we need to find a way to solve the problem. Trying to achieve harmonious civilization and sustainability in the future design
HTTP://OPENBUILDINGS.COM/BUILDINGS/
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CASE STUDY 2
THE SUSTAINABILITY TREEHOUSE ARCHITECT: MITHUN SOLOMON LOCATION: MAIN STREET, GLEN JEAN, WV 25846, USA
1. Jason F. McLennan. The Philosophy of Sustainable Design: The Future of Architecture. ( Kansas: Ecotone Publishing, 2004) p.4 2. ‘The Sustainability Treehouse/ Mithun- Solomon’, ArchDaily, last modified 10 March, 2014, http://www.archdaily.com/484334/the-sustainability-treehouse-mithun
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The Sustainability Treehouse, a Living Building Challenge targeted interpretive and gathering facility situated in the forest at the Summit Bechtel Reserve, serves as a unique icon of camp adventure, environmental stewardship and innovative building design.1 Mithun led the integrated design process and a multidisciplinary team to achieve the engaging, high performance facility.
he Treehouse provides dynamic educational and gathering spaces for exploring and understanding the site and ecosystem at the levels of ground, tree canopy, and sky.1 The towering Corten steel frame elevates visitors to extraordinary vantages and provides an armature for green building systems, such as photovoltaic panels, wind turbines, and a large cistern and water cleansing system. Interactive exhibits showcase and celebrate sustainable technologies.1 As a definition of the philosophy of sustainable design ,2 this project has achieved minimization of negative impact to the natural environment. Human wants to reach the harmony between human and nature, the building has connection within natural, and the use of high technology materials to save energy. They bring habitat into in natural area with surrounding vegetation.
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A.2
D
ESIGN COMPUTATION
Digital technology has appeared in architecture within in last decade. As rivka and Robert mentioned that ‘ in synthesizing material culture and technologies within the expanding relationship between computer and architecture, this phenomenon defines a digital continuum from design to production, from form generation to fabrication design.’1 Digital frabracation constantly changes the world of design, increasing the complexity and capability of design. Rivka and Robert has pointed out that formation precedes form effetely. In my understanding, I think the use of logic algorithm thinking to generate design and formulation is the process of making form. Digital is a new methodology in expanding boundaries and possibilities. We can see nature design is more than imitating the appearance of the organic. It is learning from natural principle of design how to produce form in response to the conditions of the environmental context. This is an age in which digitally informed design can actually produce a second nature,1 and led to design futuring.
1.Rivka Oxman and Robert Oxman. Theorise of the Digital in Architecture. (London, New York, Routledge, 2014) pp. 1-10
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CASE STUDY 1 ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart
1. ‘Researching New Tectonic Possibilities in Architecture/ Robotically Fabricated Pavilion In Stuttgart’, EVOLO, last modified 21 August, 2013. http://www.evolo.us/architecture/researching-new-tectonic-possibilities-in-architecture-robotically-fabricated-pavilion-in-stuttgart/ 2. ‘University of Stuttgart unveils carbon-fibre pavilion based on beetle shells’, Dezeen magazine, June, 26, 2014. 3. A. Menges. Material Computation- Higher Integration in Morphogenetic Design, Architectural Design. (London: Wildey Academy 2012). 4. Tony Fry. Design Futuring-Sustainability, Ethics and New Practice. (New York: Berg 2008) P1-16
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.
The Research Pavilion is the brain-child of the University of Stuttgart’s Institute for Computational design in collaboration with the Institute of Building Structural Design. It is a temporary structure that demonstrates the advancements in the material- oriented approach to design computation, material simulation and robotic prototyping processes in architecture. ‘Unfolds morphological complexity and performative capacity from material characteristics and fabrication logics without differentiating between form generation and physical materialization process.’1 The project is part of a successful series of research pavilions that showcase the potential of novel design, simulation and fabrication processes in architecture. The performance of these lightweight structures relies on the geometric morphology of a double-layered system and the mechanical properties of the natural fibre composite.2 These structures were then translated into a series of design principles, realised using glass and carbon-fibre reinforced polymers to give the pavilion an optimum strength-to-weight ratio. 3 This investigation of natural lightweight structures was conducted in an interdisciplinary cooperation, which is Bionics of Animal Constructions. A protective shell for beetles’ wings and abdomen has proved to be a suitable role model for highly material efficient construction. The integrated environments enabled the integration of design computation and materialization.2 As reading in week2, ‘theories of the digital in architecture mentioned that fabrication has now emerged as a leading technological and design issue of digital research design. within this renewed interest in materialization and fabrication, the concept of digital materiality has given new meaning to the contemporary definition and discourse on the role of digital tectonic in design.4
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DONGDAEMUN DESIGN PLAZ ZAHA HADID ARCHITECTS DDP is the first public project in Korea to utilize the 3-Dimensional Building Information Modelling (BIM) and other digital tools in construction.1 Throughout the design process, every building requirement was considered as a set of inter-related spatial relationships which will define the social interactions and behavioural structure in the project. These relationships became the framework of the design, defining how different aspects of the project, such as spatial organization, programmatic requirements, and engineering come together.1
In construction, the benefits of using the parametric modelling techniques are apparent. The digital design model could be refined at any time throughout the design and construction to accommodate additional onsite conditions, local regulations, engineering requirements and cost controls.1 The team were able to have greater control of the design and details, with much greater precision than a conventional construction process; giving the client and the contractors a much better understanding and control of the project.
With parametric building information modelling software and design computation, these technologies helped to maintain the original design aspiration throughout the project’s construction. It also streamlined the architectural design process and coordination with consultants. The parametric modelling process not only improved the efficiency of workflow, but also helped to make the most informed design decisions within a very compressed project period. 1
metal-forming and fabrication process to develop a mass-customization system. Parametric modelling enabled the cladding system to be designed and engineered with much greater cost and quality control. Throughout the construction process, the cladding model was adjusted to incorporate various engineering, fabrication, and cost controls while maintaining the integrity of the original design.
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ZA According to week2’s reading, the author described parametric design is a new form of the logic of digital design thinking. 3Parametric design focuses upon logic of associative and dependency relationships between objects and their parts and whole relationship. Parametric design as a facility for the control of topological relationships enables the creation and modulation of the differentiation of the elements of a design. 2
1. ‘Dongaemun Design Plaza/ Zaha Hadid Architects’, ArchDaliy, last modified 31 May 2015. http://www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects 2. Rivka Oxman and Robert Oxman. Theorise of the Digital in Architecture. (London, New York, Routledge, 2014) pp. 1-10
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A.2
c
OMPOSITION/ GENERATION
‘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. ’ 1
“Algorithms are not a special type of operation, necessarily. They are conceptual, a set of steps that you take in code to reach a specific goal.” --Mark Zuckerberg
1. Brady Peters. ‘computation works: The Building of Algorithmic Thought’. (Architectural design, 2013) pp. 08-15
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1. Brady Peters. ‘computation works: The Building of Algorithmic Thought’. (Architectural design, 2013) pp. 08-15 2. Admin. ‘Algorithmic Tower’. EVOLO 2006-2010. (2009)
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Architect: Junkai Jian, Jinqi Huang (China) 2009 Skyscraper Competition
The cities of the twenty-first century embody extreme qualities of communication and complexity of interaction. Generative designing can be seen in the Algorithmic Tower at 2009 Skyscraper Competition. In response to the new urban demands, the Algorithmic Tower employs a code-based scripting methodology that configures higher orders of complexity required by a kind of aggregation logic. It is coded with specific rules for growth and subdivision that articulate spatial organizations with a mathematical approach.1 The Algorithmic tower is formed by cells that are divided into three distinct continuous non-intersecting volumes that allow interplay between indoor and outdoor spaces. The skin wraps and changes its shape, porosity and character in response to the indoor spaces which vary in dimensions, according to the proposed parametric growth.1 The Algorithmic tower relies in various mathematical equations for gradual transitions and space subdivisions.1 Its system could be applied at an urban level to create a city that reacts and adjusts to different programs and events. It is worth mentioning that whole project were used computation as design methods. They use computer as virtual drafting to help them edited easily. The use of generation architectural in the design process has advantages of using computation technique—designers must be flexible and must adapt to the constantly changing parameters of architecture design.2 Through exploring this case study, we can see computation and the use of the computer facilitate the sharing of codes, tools and ideas. 2 we have to take an interpretive role to understand the result of the generating code, modify code and explore new code, speculating on further design potential, 2this is a definition of algorithmic thinking.
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PROJECT : DRAGON SKIN PAVILION ARCHITECT: HONG KONG & SHENZHEN BICITY BIENNALE OF URBANISM/ ARCHITECTURE LOCATION: TAMPERE UNIVERSITY OF TECHNOLOGY
Using algorithmic thinking is essential for understanding how the revolution has changed the position of the architect in the design process. 1 In the case of Dragon Skin Pavilion, the used of digital fabrication technologies as mean translation. Architects are experimenting computation to simulate building performance. They used in architectural practice to simulate dragon skin at pavilion. This new custom digital tools of architecture project create new design opportunities.2 The Dragon Skin Pavilion was carefully designed to maintain balance between the regular, repetitive framework of the rectangular panels and their gradually irregular interconnections as they configure the overall shape.2 Computational design linked to computationally driven manufacturing requires a new interpretation of design and construction process.2 The components were the result of a complex process involving the latest techniques in digital fabrication. A computer programmed 3D master model generated the cutting files for those pieces in a file-to-factory process: algorithmic procedures were scripted to give every rectangular component their precisely calculated slots for the sliding joints, all in gradually shifting positions and angles to give the final assembled pavilion its curved form.3
The development of simulation in computation can creates more responsive design, allow architect to explore new design options, and to analyse architectural decisions during the design process. In contrast, I found the interesting article that point out shortcomings exists in computation. Computation is a process, the result of which is not necessarily credited to its creator. Computations are understood as abstract and universal mathematical operations that can be applied to almost any kind or any quantity of elements.4 For instance, an algorithm of computational geometry is not about the person who invented it but rather about its efficiency, speed, and generality. Consequently, the use of algorithms to address formal problems is regarded suspiciously by some as an attempt to overlook human sensitivity and creativity and give credit instead to an anonymous, mechanistic, and automated procedure.4 For example, Lynn reveals that „because of the stigma and fear of releasing control of the design process to software, few architects have attempted to use the computer as a schematic, organizing and generative medium for design.“ 5
1. Kathrin M. Wiertelarz. ‘Processes of making: Algorithmic methods in architectural practise’. (kassel university press GmbH 2015) pp 32-33 2. Brady Peters. ‘computation works: The Building of Algorithmic Thought’. (Architectural design, 2013) pp. 08-15 3. Lidija Grozdanic. ‘Dragon Skin Pavilion is a Digitally Fabricated Plywood Sculpture’. EVOLO 2006-2010. (2012) 4. “Algorithmic Design: A Paradigm Shift In Architecture?”, erzidis, Kostas,Graduate School of Design, Harvard University . 2004. http://cumincad.scix.net/data/works/att/2004_201.content.pdf.
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A.4 CONCLUSION Part A explored computation plays an important role in architectural design. Computation is redefining the practice of architecture, the development of the algorithmic and computational process in architecture has shifted the way we design. Moreover, digital fabrications informed design could actually produce a second nature that led to sustainable design. Parametric design is a new form of the logic of digital design thinking. ‘The digital linkage established an advanced environment for interactive digital generation and performance simulation as a paradigm of collaborative design between the architect and the engineer.’ 1 Even there are some evidences have criticized computational in design process, the problem can be solved by algorithm. And we have to be aware of algorithmic thinking on further design potential. In relation to the brief of Merri Creek, I have to explore the use of computation involved in design process and minimizing negative impact to the natural environment. Always be aware of achieving harmonious civilization. I intend to design through digital generation and performance simulation relate to the natural environment.
1.Oxman, Rivka and Robert Oxman. Theorise of the Digital in Architecture. London, New York, Routledge, 2014.
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A.4 OUTCOME Part A has explored knowledge of parametric design. My understanding of architecture design as a course has been upturned. I think the potential ideas opened up by algorithmic designing and computation via Grasshopper gives many opportunities for exploring further design ideas. And this new digital software led to a better way of thinking further. With limited background on computation design, it is unfamiliar to me use grasshopper at present. But I think the more you practice, the more you mastered this skill expertly. Grasshopper has opened my limitation of imagination; there are many ways of thinking deeper and further.
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A.6 Appendix-- Algorithmic Sketchbook
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Reference “Algorithmic Design: A Paradigm Shift In Architecture?”, erzidis, Kostas,Graduate School of Design, Harvard University . 2004. http://cumincad.scix.net/data/works/att/2004_201.content.pdf. ‘Absolute World Towers, Mississauga’, CTBUH, last modified February 2013. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ FeaturedTallBuildingArchive2012/AbsoluteWorldTowersMississauga/tabid/3840/language/en-GB/Default.aspx Lynn, Greg. Princeton Architectural Press. New York: Animate Form 1999. Perters, Brady. ‘computation works: The Building of Algorithmic Thought’, Architectural design, 2013 Grozdanic, Lidija. ‘Dragon Skin Pavilion is a Digitally Fabricated Plywood Sculpture’ EVOLO 2006-2010 (2012) . Admin. ‘Algorithmic Tower’. EVOLO 2006-2010. (2009) Wiertelarz, Kathrin M. ‘Processes of making: Algorithmic methods in architectural practise’. kassel university press GmbH 2015. McLennan, Jason F.. The Philosophy of Sustainable Design: The Future of Architecture. ( Kansas: Ecotone Publishing, 2004) ‘Absolute Tower’, Dac& Life Build Cites, Last modified January 28, 2013. http://www.arcspace.com/features/mad-/absolute-towers/ ‘Absolute World Towers, Mississauga’, CTBUH, last modified February 2013. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ FeaturedTallBuildingArchive2012/AbsoluteWorldTowersMississauga/tabid/3840/language/en-GB/Default.aspx ‘Absolute Towers/ MAD Architects’, ArchDaily, last modified 12 December, 2012, http://www.archdaily.com/306566/absolute-towers-mad-architects ‘The Sustainability Treehouse/ Mithun- Solomon’, ArchDaily, last modified 10 March, 2014, http:// www.archdaily.com/484334/the-sustainability-treehouse-mithun Fry, Tony. Design Futuring-Sustainability, Ethics and New Practice. New York: Berg 2008.
Oxman, Rivka and Robert Oxman. Theorise of the Digital in Architecture. London, New York, Routledge, 2014. ‘Dongaemun Design Plaza/ Zaha Hadid Architects’, ArchDaliy, last modified 31 May 2015. http:// www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects ‘Researching New Tectonic Possibilities in Architecture/ Robotically Fabricated Pavilion In Stuttgart’, EVOLO, last modified 21 August, 2013. http://www.evolo.us/architecture/researching-new-tectonic-possibilities-in-architecture-robotically-fabricated-pavilion-in-stuttgart/ ‘University of Stuttgart unveils carbon-fibre pavilion based on beetle shells’, Dezeen magazine, June, 26, 2014. Menges, A.. Material Computation- Higher Integration in Morphogenetic Design, Architectural Design. London: Wildey Academy 2012.
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PART B CRITERIA DESIGN
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Part B Contents
B.1 Research filed B.2 Case study 1 B.3 Base study 2 B.4 Technique: Development B.5 Technique: Prototypes B.6 Technique: Proposal B.7 Learning objects and outcomes B.8 Appendix Bibliography
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B.1 RESEARCH FIELD
TESSELLATION
‘Parametric design and its requisite modes of thought may well extend the intellectual scope of design by explicitly representing ideas that are usually treated intuitively.’— Robery Woodbury 2
In digital computation, there are numerous methods of algorithmic manifestation in design, on of that is tessellation. Based on Escher’s Fundamental definition, tessellation is the division of surface into similar shaped figures that exist in harmony with no gap in between or touching each other1 As in today’s technological engagement, tessellation patterns are further advanced with the help of computed mathematical algorithms. Its definition remains similar, but yet totally revolutionary in form due to the role of parameters. Relationships are established between form-dictating factors, which increase the ability for exploration, generative and performative design.1 The Avant-garde innovation of tessellation is demonstrated by Neri Oxman’s Chaise Lounge. It transforms conventional notion of chaise lounge into a performative object base on the analysis of human body that informs the tessellation arrangement.3 Oxman used the term ‘Tiling Behaviour’ as an interchangeable term material based Tessellation. smaller cells on steeper curvature and large ones on shallow curvature suggest the idea of Curvaturebased tessellation informed by the angle between the surface normal and the projection vector.
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Neri Oxman and Mediated Matter at the MIT Media Lab 3
The prototype for Chaise Lounge uses tessellation for achieving Digital Morphogenesis. 3
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B.1 RESEARCH FIELD Voussoir Cloud Iwamotoscott One notable example of research is the process of tessellation. Tessellation refers to the practice of breaking up complex surfaces into a repetition of elements, essentially segregating the geometry into multiple smaller shapes.5 As the case in the Voussoir Cloud installation by studio Iwamotoscott. The example of computational architecture uses digital computation as a way to experiment and optimise contrary forms with inspiration from great masters such as Gaudi and Otto whom originally used hanging chains as a way to predict and model the final outcome. Along with physical simulation, the structure is created using computer assisted fabrication to create the individual plywood pieces which look upon configurations such as delineation. Such a project would be very difficult and costly without the assistance of digital media echo demonstrates not only the success of computational design but also the many possibilities it can present. A composition of vaults and columns. This compressive system of shapes is made up of a series of curving petals. These individual elements all differ from each other slightly in their geometry, creating a pattern of unique surfaces and openings, that increases the complexity of the installation’s form to a higher degree.6 This case study presents an opportunity to explore plug-ins that simulate the constraints of physics such as those done through Kangaroo as well as methods of tessellating the result form with repeating elements.
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B.2 CASE 1 ITERATON MATRIX SPECIES 1: Keep original form- change stength of uforce combine with Weavebird transforms
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SPECIES 2: Change different curve- different number of points-different height of each columnweavebird transforms- cull pattern
Pecies3: change tyoes of forces- number of points- transforms of weavebird
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PECIES 4: Change curve- type pf forces- transforms from weavebird
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PECIES 5: Change different curve - number of points- type of forces- transform
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SUCCESSFUL ITERATIONS
OUTCOME1: This outcome creates a geometry form. using power low force to get a compression strength from kangroo plugin, change the slider of stregnth can get different form. The output connect with weavebird window mesh, change the disctance of wb-window can get different pattern on form. repeating and tessellating the pattern. Lastly I played with Cull Pattern, change the random boolean: true/false to get random and irregular pattern .
OUTCOME 2: This form I used different forces to create the geometry, Equalize force with 100 of strength, and the height of each column changed to positive value makes the force goes up. after mesh I connected it with triangulate, then connected with weavebird frame. The pattern on form is tessellating regularly.
This installation is a result of utilising computation as a proce for the exploration of tectonics in tessellation, as well as s accordance to real-world physics via digital simulation. The range of tessellating geometries with could be used in archit
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OUTCOME 3: For this one, I randomly draw a curve in Rhino, and then use different forces to test the come out forms. I choose Planarize Force with 100 of strength, and mesh out with weavebird frame with the 31 of distance. Large the distance, gathered the pattern on form. This one is also repeating and tessellating the pattern.
OUTCOME 4: I found its interesting when I test different forces, that related to phycis forces. Each force achieved a different outcome. This form I add more number of points and use Wind force with strength:4. And used weavebird Freme to get the final outcome.
ess for structural form finding and patterning. as such it is ideal simulation, through the structural capabilities of this system in base can be experimented with and altered to consider a wide tectural designs.
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B.3 CASE 2 TESSELLATION Hyposurface Tessellation also generates opportunities for a design’s function, specifically in regards to movement. By dividing a single geometry into a multitude of smaller surfaces, displacement in these small elements is made achievable, allowing movement as a series to create motion in the built form. In case 2 study of Hyposurface by decoi Design, it is a coordinated arrangement of tessellating triangular tiles, supported by actuators on the underside to enable movement. The system can be programmed to produce motion in response to a number of external inputs, such as sound, touch, and even recognized movement in its proximity. The hyposurface becomes applicable in numerous designs to serve different functions, from being an information display medium, to an interactive structure for users, or even an ever-shifting insallation. This structure consists of a series of metallic panels that are connected and move in sync, deforming the structure physically as a reaction to people’s movement and their voices. 4 this allows the building to communicate to the users directly, facilitating a relationship where users become the active participants.7 This relationship can be also extended to the physical environment in which the architecture locates. the tessellation can be parametric designed to response to factors such as wind and sunlight, similar to how it responses to people’s presence. Thus, it will create a structure that is sensitive to the nature in a unique way. 8
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B.3 CASE 2 REVERSE- ENGINEER NEW ADDED PLUG-IN: FIREFLY
1. SOUND CAPTURE
Sound Capture ------ List Length ----- Series ----- Construct Point -----Nu Timer
Multiplication
XY Plane ------ Rectangle ----- Mesh Plane ----- Face Normals ----- Distanc
Bounds
Cons
Create mesh plane and set face normal, make sure every divided square has a central point.
Use Sound Capture from Firefly, oonnect with tim increaslly extrude out when speak louder. the Sh change.
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urbs Curve
ce ----- number ----- Remap numbers ----- Graph Mapper ----- Muitiplication
struct Domain ----- Weavebird’s Stellate/ Cumulation
mer. each mesh shape hape follows the sound
Connected with Graph Mapper, and also can cahnge type of Graph. Each mesh square extrende randomly which follow the graph mapper and sound. Lastly, Connected with Weavebird’s Stellate/ Cumulation, that chieved a shape of each mesh square.
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2. Video Stream
XY Plane ----- Rectangle ----- Mesh Plane -----Face Norm
Video Stream ----- Bitmap Info
Bitmap Sampler
Constrast -----Bitmap painter
The Video Stream uses the same method as the Stream, it will reflect human body and extrude s human’s movement and the Graph Mapper will r
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mals
r -----Graph Mapper -----Multiplication ----- Weavebird’s Stellate / cumulation
e sound capture. When I use Video shape on the surface. It follows the result the shape of the geometry.
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B.4 TECHNIQUE: DEVELOPMENT ITERATION MATRIX SPECIES 1:
Change geometry to mesh sphere, use sound capture and graph mapper to create different form
TOP VIEW
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SPECIES 2: Change geometry to mesh box, combine wirh sound capture to create diiferent shape.
SPECIES 3: Use mesh UV, change the number of VU slider, and combine wirh sound capture to create diiferent shape.
TOP VIEW
SPECIES 4: Use mesh UV, and change different surface like circle and random surface. change the number of VU slider, and combine wirh sound capture to create diiferent shape.
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SPECIES 5: THIS time, I want to play with Lunchbox, Used Dimond and combine wirh sound capture to create diiferent shape.
SPECIES 6: Change UV value and connect with weavebird’s transforms. and combine wirh sound capture to create diiferent shape.
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SPECIES 7: USE Weavebird Mesh- Mesh Icosahedro and connect with weavebird’s transforms. and combine wirh sound capture to create diiferent shape.
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SPECIES 7: USE lunchbox - 3d Super shape and combine with weavebird’s transforms. then connect wirh sound capture and use graph mapper to create diiferent shape.
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SPECIES 8: USE Weavebird Math and combine with weavebird’s transforms. then connect wirh sound capture and use graph mapper to create diiferent shape.
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SPECIES 9: USE lunchbox - Hyperbolic Parabolid and combine with weavebird’s transforms. then connect wirh sound capture and use graph mapper to create diiferent shape.
SPECIES 10: USE lunchbox - Klein Surface
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SPECIES 11: USE weavebird’s Math geomatry below combine with sound capture to create different shapes.
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SUCCESSFUL OUTCOMES
OUTCOME 1: THE first outcome I think it has achieved to relate my chose site. The component I used is a new added componentFirefly. use sound capture to create different shapes. I want to see how sound can affect forms. And use weavebird to mesh out the forms. I’m so impressed grasshoppper can do like this way. I think this outcome might be suited in site, but looks more like sculpture.
OUTCOME 2: THIS one I also used sound capture from firefly. And use mesh UV, testing defferent value of UV to get different forms. use graph Mapper to create different extrusion of each mesh. And then use Weavebird to mesh out. This one looks cool, I’m thinking this might be put in my chose site, but also looks like a sculpture.
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OUTCOME 3: THIS outcome I started to play with LUNCHBOX. I found it was very Interesting. The component I used is 3D super shape. This component brings lots of ideas of geomertry. And I also connect with sound capture and weavebird mesh out. I might consider this one to put in my chose site. Because this one looks more like a place for people, they can wolk in and sit down.
OUTCOME 4: THE last one I think it is successful, because the geometry of this one is very special. This one I used Math from Lunchbox - Hyperbolic Paraboid. Change U V division and parameters to get this form. This also connect with sound capture and weavebird mesh out. sound capture effects the pattern form on the surface. I think if I put this one on the site, it might be suite for people to wolk through, like a tessellation pathway.
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B.5 TECHNIQUE: PROTOTYPES 1.CONNECTION: USE FLORIST WIRE:to combine each pecies together without glue to make the flow movement
2. 3D PRINTING : there is a joints between each edge of columns, each columns combine together to form a triangle geometry
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3. BALSA WOOD Drill a hole and use wood stick into the hole to make a connection AT first time, I used Balsa Wood to make a hole, but I failed. Balsa wood is very easy to break, and it is hard to cut the straight line. Then I tried something with stiff board.
4. STIFF PAPAER BOARD THIS TIME, I change the material to stiffness. It is difficult to cut but it is stable. I drilled two hole space for each edge pecies. oppsite 2 triangle length are different. It is because I want to make a angle of it when connect with other triangle forms.
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THERE IS A ANGLE BETWEEN TO CONNECTION, THAT ACHIEVED OF CREATING A FLOW SHAPE OF MOVEMENT.
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B.6 TECHNIQUE: PROPOSAL SELECTED OUTCOME DEVELOMENT
AS development of the outcome, I choose this one as my most successful design. I think my other outcomes of case 2, most of them are look like sculpture if I consider the connection of the site. The Main components I used in design are sound Capture from firefly, 3D supershape from Lunchbox and the transforms mesh from Weavebird. Change the UV division of the 3D supershape, as well as Parameter. Testing how different value of components achieve different shapes. This outcome also follow the Tessellation method, repeating the pattern on the geometry. This shape may consider in my chose site, through the way of developing this outcome, I think it looks more like a rest area for people who can walk through in and sit down on the site. I still need to develop more in Part C.
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SITE ANALYSIS
The Digital Falls is where the merri creek joins the Yarra river, created by a natural bar of basalt boulders.
The Merri Creek is a waterway in southern parts of Victoria. the area where the creek meets the river was traditionally the location for lager gatherings of aboriginal people.
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The creek and wetlands seek out of places where fish, streetles, insects and white faced heron are plentiful. lots and
of
indigeous trees, shrubs plants in wetlands.
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CONCEPTURALIZATION The site i choose is located at the intersection of the Merri creek and The yarra River. this site has a large area of flat grass. I want to create a tessellation pathway to interrupt human and non human. creating a symbol of intersecting with the Merri creek and the Yarra River, getting people to notice that there is the intersection. People Also can sit down and wlalk through. There is the place for people having lesuire. Also non human like birds can rest at the top.-
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B.7 LEARNING OBJECTS AND OUTOMES AFTER EXPLORING A SPECIFIED FIELD OF PARAMETRIC DESIGN IN DETAIL AND EXPERIMENTING WITH ITS TECHNIQUE, MY UNDERSTANDING AND PERCEPTION OF ITS ROLE IN ARCHITECTURE HAS DEVELOPED FURTHER. THROUGH PERSONAL EXPERIENCES WITH USING ALGORITHMS AS THE PRIMARY METHOD FOR GENERATING DIFFERENT DESIGN OUTCOMES, I HAVE DISCOVERED SOME OF THE ADVANTAGES OF USING AN ALGORITHMIC APPROACH FOR IDEA GENERATION, SUCH AS THE EASE AT WHICH THE ALGORITHM CAN BE ALTERED. THIS ALLOWS FOR A LARGE VARIETY OF DESIGN ITERATIONS TO BE GENERATED QUICKLY, OPENING UP POSSIBILITIES AND ENABLING DESIGNERS TO TEST THE PARAMETER’S LIMITS FURTHER. THE CONVENIENCE OF USING COMPONENT BASED ALGORITHMS ALSO ALLOWS FOR EASY ADAPTATION AND INTERCHANGEABILITY BETWEEN DEFINITIONS, MEANING THAT THE COMPONENTS USED TO PRODUCE ONE DESIGN CAN BE EXTRACTED AND COMBINED WITH ANOTHER DEFINITION TO DEVELOP IT FURTHER. I FOUND VERY HARD PART FOR ME IS REVERSE ENGINEER, IT IS NOT AS THE SAME AS CASE 1 STUDY, THERE IS NO DEFINITION YOU CAN FIND. IT ALL BASED ON YOUR UNDERSTANDING OF USING GRASSHOPPER TO FIND THE ANSWER. FOR MY CASE 2 STUDY, THERE IS A NEW PLUGIN I HAVE TO USE, BUT I HAVEN’T USED IT BEFORE, IT QUITE CHALLENGE FOR ME TO LEARN A NEW COMPONENT. BUT THROUGH THE PROCESS AND DEVELOPMENT, I HAVE A BETTER UNDERSTANDING OF HOW TO MANAGE MY DATA STRUCTURE TO IMPROVE THE EFFICIENCY OF WORK NOW. THIS IN TURN HAS BOOSTED UP MY CONFIDENCE IN DEVELOPING MY OWN SCRIPTS.
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B.8 APPEDIX
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B.8 BIBLI0GRAPHY 1. Ranucci, Ernest R. ‘Master of tessellation: MC Escher, 1898-1972.’ The Mathematics teacher (1974):299. 2. R. Woodbury,’ How Desigers Use Parameters,’ in Theories of the Digital in Architecture, ends. by Rivka Oxman and Robert Oxman ( London, New York: Rutledge, 2014), 153. 3. Oxman, Neri,’ Material- based design computation : Tiling behaviour,’ In reform: Building A better Tomorrow, Proceedings of the 29th Annual Conference of the Association for Computer Aided Design in Architecture, Chicago, 2009, 125. 4. Neri Oxman and Mediated Matter at the MIT Media Lab. http://www.creativeapplications.net/objects/neri-oxman-and-mediatedmatter-at-the-mit-media-lab/ 5. Voussoir Cloud - Iwamotoscott Architecture. http://www.iwamotoscott.com/VOUSSOIR-CLOUD 6. ‘Voussoir Cloud by Iwamoto Scott, ‘ DEZEEN magazine. last modified at August 7, 2008. http://www.dezeen.com/2008/08/08/ voussoir-cloud-by-iwamotoscott/ 7. Hyposurface. http://www.hyposurface.org/ 8. dECOi- Hyposurface. http://www.decoi-architects.org/2011/10/hyposurface/
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