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.3
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.5 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 PPENDIX
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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 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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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
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CASE 1
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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
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CASE 2
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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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REVERSE- ENGINEER NEW ADDED PLUG-IN: FIREFLY
1. SOUND CAPTURE
Sound Capture ------ List Length ----- Series ----- Construct Point -----N Timer
Multiplication
XY Plane ------ Rectangle ----- Mesh Plane ----- Face Normals ----- Distan
Bounds
Con
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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Nurbs Curve
nce ----- number ----- Remap numbers ----- Graph Mapper ----- Muitiplication
nstruct 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.
CONCEPTUALISATION 57
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.
CONCEPTUALISATION 59
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.
CONCEPTUALISATION 61
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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CONCEPTUALISATION
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.
CONCEPTUALISATION 63
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
64
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CONCEPTUALISATION 65
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.
66
CONCEPTUALISATION
THERE IS A ANGLE BETWEEN TO CONNECTION, THAT ACHIEVED OF CREATING A FLOW SHAPE OF MOVEMENT.
CONCEPTUALISATION 67
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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CONCEPTUALISATION 69
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.
70
CONCEPTUALISATION
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.
CONCEPTUALISATION 71
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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CONCEPTUALISATION 73
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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S D R G N Y, E D E
E O T D E N
CONCEPTUALISATION 75
B.8
76
APPEDIX
CONCEPTUALISATION
CONCEPTUALISATION 77
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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CONCEPTUALISATION 79
Feedback from interim presentation: -it was clear that my technique and concept were still underdeveloped. -no specific point out what kind of non-human I connect with. -Prototype needs to improve more -photomontage skill should improve -consider how to draw your idea into the site -idea needs to develop fur ther -discuss how parametric design works in the environments -this problem was not at all considered when proposing the design, showing a lack of knowledge and research of my own chosen site.
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CONCEPTUALISATION 81
PART C CONTENTS.
C.1
Design Concept
C.2
Tectonic Elements & Prototypes
C.3
Final Detail Model
C.4
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Leanring Objectives and Outcomes
CONCEPTUALISATION 83
C. 1
D ESIGN CONCEPT
FINAL DESIGN AGENDA In part C process, we form into a group— me, Kallen, Kai and Stella. We have similar idea and we are very complementary. The design brief for this project is to design a human and non-human interface which is an object or space that allows humans to interact with other species. There are lots of magpies we found at Merri Creek. Magpie is a species that is familiar to Australia. 1 They could be found when there is a combination of trees and adjacent open areas 2. Grassland are also a nice spot where magpies can walk along the ground searching for insects and larvae. Water as the fundamental need for life should also be considered in our site selection. So, for nonhuman species, we choose magpie. For site choosing, we considered to choose Kallen’s site as our final site. Comparing with others’ site, Kallen’s site has more trees, adjacent open grass land and near to the water resource. This site has all we want and need.
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CONCEPTUALISATION
‘ A i n te rs e c ti o n pl ace fo th e tw o s p e c i e s coul d h a rmo n i o u s l y.’
FIGURE 1: google map3
Water resource is near the site
Open grassland on the site
o r hu ma n and M agpie where g e t a long wi th eac h ot her CONCEPTUALISATION 85
FORM FINDING Site Data Our design are taking into account of the trees positions. Trees are the chance to encounter magpie, and it has potential of being attracted on the site due to sensitive season for defining the base curve of design. Trees Data: Highlight the exsiting trees around the site.
Water resource Existing trial
-Trees -open grass land area -water resource There is a slope bewteen creek and the open grass land area,
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CONCEPTUALISATION
Generally, magpie is quite tame apart from the pleasant song from them, but sometimes so are aggressive. So, we have to consider how to attract magpie to come through.We found Magpie loves shining things. For the attraction, we plan to do a shining staff that can attract magpie’s attention. They can fly through the site. - Tree distribution positions - Existing trail - Define base curve - Define entrance & exit
At the starting point, we just randomly draw curves close to the trees, and connected with each other.
draw more lines and connect with more trees.
Draw straight lines from one tree to other tree, and se how they connect.
Starting to draw curve lines between two straight lines. CONCEPTUALISATION 87
Delete all straight lines,and we can fine the base cure form.
88
CONCEPTUALISATION
BASE POTENTIAL GEOMETRY BASE IDEA we plan to to combine our different knowledges from Par B. After we define our base curve, we create three layers for our design. The first layer is a grid shell, which can use Sectioning to finish. Grid shell is for human and magpie, human can enter from west area. The second layer is Magpie path which can use Kangaroo to define, each edge corner of the layer are hanging on the trees. Magpies can fly directly from trees’ position above the second layer and under the first layer. Due to Magpies might attack human, that’s the reason why we create the second layer. And lastly, the third layer is for attraction. We plan to use Firefly to create a movement by camera. Put each piece of mirror on each panel, when people come in, and the third layer can move. Then, mirror attracts magpie’s attention and magpies can fly through. That can achieve our agenda that human and non-human species can get along with each other harmoniously.
CONCEPTUALISATION 89
PLAN
Even though we can achieve this final form in Grasshopper and Rhino. But the hard thing is there are three different layers, it’s difficult for us to achieve in the real life. Such as used firefly — video capture to achieve movement, it is hard for us to process in prototyping. Grid shell and Bird path use different materials, and that’s too complicated during the prototyping step.
South Elevation View
90
CONCEPTUALISATION
PERSPECTIVE VIEW
LAYER 3: use firfly to create this form
CONCEPTUALISATION 91
RE- ASSESSING DESIGN PROPOSAL Surface
Contour
F-Y-V A/B
Surface
Surface
92
CONCEPTUALISATION
Extr
F-Y-V
Contour
Contour
Dispatch
Surface
Dispatch
Surface
Dispatch
Surface
Extr
Extr
Due to we re-assessing design proposal, we considered tutor’s suggestion. There still are three layers in this design, the method is the same for three layers. It’s much more clear than our last design proposal. Two layers are the same, they just mirrored and intersected with each other. Using Sectioning method to define the form. Three tunnels are for magpies fly through, and two tunnels underneath are for people walk through.
CONCEPTUALISATION 93
FINAL FORM
As we re-think our design proposal, we considered our tutor’s suggestion. Based on the first form finding from trees data, we still want to use our base form as our final shape. And we make the processes from this shape. Top view for the final shape is still the same, then we randomly use Rhino to change the forms. Put two sides of this form down, makes it bend more times. We think it looks more better than before, and we mirror the new form, then intersect two shapes with each other. 94
CONCEPTUALISATION
CONCEPTUALISATION 95
TECHNIQUE DIAGRAM CONTOUR Create evenly spaced curves A mm apart on the referenced surface using contur
Loft CURVE create a lofted surfsace through a set of undulating curves
OFFSET Offset both surfaced by A mm to the direction of the mirror plane (offset towards inside)
mirror the lofted surface in the Z direction for a second surface
BREP INTERSECTION Extract curves describing where the two initial surfaces (base surface and its mioor) intersect extrude
CONCEPTUALISATION
CULL
Similarly r curve for e for the mir
BREP INTERSECTION Extract curves describing where the two offseted surfaces intersect
CULL CONTOUR& EXTRUDE Create evenly spaced curves on the surfaces and extrude the furves in the Y direction same as the process done above
MIRROR
96
EXTRUDE Extrude curves in the Z and Y directions by B mm giving material thickness or volume to the referenced curves
CULL Creating a weaving ge two lofted s moving the every two c pattern on th
Remove th every five remaining c s
CULL PATTERN
Remove the first thre every five curves o remaining curves on mirrored surfaceA
L PATTERN an interlocking, eometry from the surfaaces by resecond curve for curves using cull he first geometry
MIDDLE TUNNEL MIRROR INTERLOCKING FORM
L PATTERN
LIST ITEM
remove the first every two curves rroed geometry
Select surface on the middle tunnel using list item
TUNNEL MIRRORS
SURFACE SPLIT Split the remaining curves with the curve at intersection
SIDE TUNNEL MIRRORS
L PATTERN
he last three for e curves of the curves on the first surface
N
ee for of the n the Anim
LIST ITEM Select surface on the side tunnels matching the selected surfaces on the middle tunnel resulting in a continuous pattern SURFACE SPLIT
Split the remaining curves with the curve at intersection
FINISHED MODEL
CONCEPTUALISATION 97
CONSTRUCTION PROCESS DIAGRAM Digitsl modeling
Preparing digital model for fabrication
Resolving connections of separate parts and materiality at actual built scale
Translating digital model into computer operated machine commutable files
Sending files to manufacturer for prefabrication
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CONCEPTUALISATION
Weather exposure protection and termite solution
Assembling parts using digital model as a guide temporary fasteners used if necessary before permanent fixing
Transporting precut parts to site
Site works levelling uneven or bumpy ground
Component parts preparation off site
CONCEPTUALISATION 99
FINAL DIGITAL MODEL
100
CONCEPTUALISATION
CONCEPTUALISATION 101
FINAL DIGITAL MODEL
102
CONCEPTUALISATION
CONCEPTUALISATION 103
MIRROR LAYER DIAGRAM
104
CONCEPTUALISATION
CONCEPTUALISATION 105
SEQUNECE DIAGRAM DURING BREEDING SEASON
People movement to the structure Exsiting pathway access
106
CONCEPTUALISATION
Users arriving to the site via existing pathways and walking into the two tunnels designated for people under the structure
People movement in the designated area inside tunnel Reflective mirrors
d
Mirrors reflect movement of users through the tunnel, reflections bounce off adjacent mirrors with its curvature.
Bird flight path Targeted cluser of trees
Magpies attracted to the reflected movement on the mirror, swooping through the tree tunnels.
CONCEPTUALISATION 107
CIRCULATION THROUGH THE SITE DURING BREEDING SEASO
People movement to the structure Bird flight path 108
CONCEPTUALISATION
ON
CONCEPTUALISATION 109
SECTION AND ELEVATIONS
SECTION
110
CONCEPTUALISATION
CONCEPTUALISATION 111
112
CONCEPTUALISATION
BREEDING SEASON
NON-BREEDING SEASON
CONCEPTUALISATION 113
WEST ELAVATION
EAST ELEVATION
114
CONCEPTUALISATION
NORTH AND SOUTH ELAVATION
CONCEPTUALISATION 115
116
CONCEPTUALISATION
CONCEPTUALISATION 117
118
CONCEPTUALISATION
CONCEPTUALISATION 119
The view from people standing inside the tunnel looking at outside
120
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CONCEPTUALISATION 121
122
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CONCEPTUALISATION 123
C. 2
TECTONICANDELEMENT PROTPTYLES For prototype testing, this part is quite hard process for us. We tried laser cut so many times during the process. We failed so many times, but we didn’t give up. The most difficult one is to use Grasshopper to find the point, the point which is the hole for bending by using screw. This one is the most parametric prototype.
124
CONCEPTUALISATION
CONCEPTUALISATION 125
For material choose, we plan to use plywood. We think plywood is much more friendly and natural with related to the site. First of all, we start to test 3mm plywood and see how much it can bend. With large scale it can easily bend, but for small scale, it is easy to break. We test one 3mm thickness and 1m length plywood, and make two how at each edge. Then use rope to cross the hole, and tighten the rope. we can see plywood with large scale can easily bend the curve form. That’s what we need,
126
CONCEPTUALISATION
PROTOTYPE 1
Material test
CONCEPTUALISATION 127
HOLE: 3 MM DIAMETER
P
10MM LONG
128
CONCEPTUALISATION
PROTOTYPE 2
We are trying to use Grasshopper to create parametric shape. This time we use grasshopper to achieve bending. The diagram is showed at next page. Divided each trip to different parts, and use two layers overlap together to bend one strip. There is a distance between tow holes for each layer, so we have to bend one layer by hand first and overlap two hole together by using screw. The force of screw can achieve bending. The shape supposed to be bend by itself by using this method. We tried laser cut 1:20 at this time, but we found the hole is very close to each other and the scale is too small for this material. It is hard to bend and it is easy to break. We failed at this time.
Parametric test
CONCEPTUALISATION 129
PROTOTYPE 3 Change scale
130
CONCEPTUALISATION
Three main steps
STEP 1: Surface(First shell) - Countour - ExtrudeDispatch
Changing thickness: Making gap between layers will slighty affect location of holes, hence affect bending accuracy. surface (A-B)- Series( isolation sections)- IntItem(B-B strip)-Edge- Item- Curve (B-B) Offset (A-U)- Series( isolation sections)- IntItem(B-U strip)- Edge- Item- Curve (B-U)
STEP 2:
STEP 3:
ALT: devided by length and Divide each strip into Pick Individual strips to unroll one by one. many parts PShift- TB- Evalsurface(B-1 tag)-PShift- Lng (B-B nest tag)- Series Main uses component: Divide, ptDivideLen, Crve CP, shatter, Eval, Moce, Srf Cp, Evalsurface, project, Item- Int- Contract- contract- contract
At this stage, we change scale to 1:10 as we failed the last prototype. And also change the distance between each screw location. It can easy to bend before fixed them together, we can see there is a gap between two layers that achieve bending. It is more stable than last time. The hole is 3mm diameter. We found this method can only achieve with large scale, we can use this technique into actual 1:1 scale and put into real situation. But for the representation model, we cannot make the large scale. So we are thinking how to deal with the representation final model. CONCEPTUALISATION 131
132
CONCEPTUALISATION
PROTOTYPE 4 Intersection joints
We are trying to test how the intersection joints connect with each other. We used Rhino to achieve this, as each strip’s intersection point is different. We need to make the hollow space at meeting point on each strip, create a joint and put joint between
two
strips
that
can
connect with each other. We used 3mm plywood and laser cut it, the scale is 1:20 and wejust unrolled bend curve.
CONCEPTUALISATION 133
PROTOTYPE 5 Strip dividing As we think scale 1:20 laser cut cannot fix in one piece of 90*60 cm- 3mm thickness laser cut, so we divide one strip into three parts. Create two boards and make two 3mm diameter holes to connect each part by using screw.
However,
we
Haven’t
considered the distance between each hole. When we use screw to cross the hole and fixed, two screws cannot fit in at the same time because of the distance is too close. So we tested another laser cut with large distance between each hole and fixed by screw.
134
CONCEPTUALISATION
CONCEPTUALISATION 135
PROTOTYPE 6
Representaiton
136
CONCEPTUALISATION
This prototype is the most successful in representation final model selection. Because there are some strips not touching anything, we add supports between each strip. And dig holes at each support, use wire rope cross the holes to fixed them. Then we used Grasshopper to dig the holes accurately. We also make the bases as there are three parts touch the ground, dig the hole on base form and on each strip, use wire to pass the hole on the ground and strip, make sure it is fixed.
CONCEPTUALISATION 137
C. 3
F INAL DETAIL MODEL
For final modelling, we used our last prototype testing to process the final physical model. We used 1:50 scale with 4mm thickness hardwood. As hardwood is more stable than 3mm plywood, but the laser cut out hardwood looks not friendly and nature as plywood. So, we think to use pigment to paint which the color is close to the wood color. After we finished 2 layers, we faced a problem when we intersected two layer together. Due to the model is too big, it is very difficult to intersect and cross strip by strip. It took us so long to finish.
138
CONCEPTUALISATION
CONCEPTUALISATION 139
FINAL MODEL PROCESS
4MM THICKNESS HARDWOOD
3MM THICKNESS PLYWOOD
DONE WITH ONE LAYER
USE CANSON FOILBOARD AS MIRROR MATERIAL STICK ONE MIRROR LAYER ON EXACT LOCATION
140
CONCEPTUALISATION
USE PIGMENT TO PAINT
ON STRIP
INTERSECT TWO LAYER TOGETHER CONCEPTUALISATION 141
FINAL MODEL
142
CONCEPTUALISATION
CONCEPTUALISATION 143
144
CONCEPTUALISATION
CONCEPTUALISATION 145
146
CONCEPTUALISATION
CONCEPTUALISATION 147
148
CONCEPTUALISATION
CONCEPTUALISATION 149
C. 4
LEARNING OBJECTIVES AND OUTCOMES course of this subject, my understanding and Oskillsverinthealgorithmic thinking and parametric modelling
have improved immensely. I was able to experiment with a variation of Grasshopper’s components and plugins, such as Kangaroo Physicals, Fire-fly, Weave bird, projections and recursive subdivision. Through the exploration of the iterations in part B and C, I came to appreciate the role of computation in the design process and it;s potentiality in reshaping the architectural discourse. It has the ability to generate surprising and complex form that would no doubt be impossible to do by hand. Some iterations even exceed my imagination and expectation, reaffirming the many literatures studied in Part A that digital technology can enhance the creativity of the design outcomes. Furthermore, Fire-Fly can also enable the interaction between humans and the structures, facilitating a form of engagement and participation never before seen in architecture. The interesting thing I found is Part C. We form in a group to do a project together, we helped each other as a team. I also gained the knowledge from other group member during the process. Even though, we faced lots of problem in Part C, we tried so hard to figure out. When we achieved our final physical model, we were so proud and appreciatory.
150
CONCEPTUALISATION
Furthermore, by changing and tweaking the parameters, the outcomes can efficiently be adjusted and optimised to generate the best possible solutions. As such, it has allowed me to push the traditional boundaries and limits of conceptual thinking and practical design. Additionally, through digital fabrication, We were able to actualise our digital model in part C, something which I would have thought to be beyond my ability prior to this subject. I came to realise how the digital realm unique and explorative designs. Furthermore, digital technology can also enable new and innovative means of using everyday materials, as evident in my final outcome.
CONCEPTUALISATION 151
Bibliography ‘magpie’, Wikipedia, last modified on June 5, 2016, https://en.wikipedia.org/wiki/Magpie ‘ Australian Magpie’, Birdlife, last modified on 2015, http:// birdlife.org.au/bird-profile/australian-magpie Google map 2016 https://www.google.com.au/maps/ place/%E6%A2%85%E9%87%8C%E6%B2%B3/@-37.7049645,144.8404244,11z/ data=!3m1!4b1!4m5!3m4!1s0x6ad645405fe2931b:0x2a0456754 b38dc50!8m2!3d-37.7050473!4d144.9805097?hl=zh-CN
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CONCEPTUALISATION 153