Air journal part b shiyu li 692182 by Zeng Vermouth

AJ IR OUNAL

HIYU LI 692182 TUDIO 08 SONYA

PH: Lorem ipsum / Edited: Lopsum / Written: Lorem ipsum

CONTENT 01

A1. DESIGN FUTURE

A2. DESIGN COMPUTATION

A3. COMPOSITION & GENERATION

A4. CONCLUSION

A5. LEARNING OUTCOME

A6. APPENDIX

SELF INTRODUCTION My name is Shiyu Li. I’m currently a third year student major in architecture at University of Melbourne. Since I was a little child, art and architecture has always been my passion. I was very fond of watching furnituring TV shows, catelogues and dreaming about to put one of those furniture I love the most into my own dream house. So, to be an interior architectural designer used to be my dream work when I was Younger. During this two years studying in Architecture at Melbourne Uni ,my passion of architecture has gradually been explored and maximized. Although it’s very challenging for me, I still quite enjoy the great sense of satisfaction I get every time when I finish doing a designing projet during the studio class. After doing subject like Reshaping Evironments, I started to be very interested in architecture showing the connection between human and nature in a harmonious and sustainable way. Thus, concept like this was put into my design project during the water studio to give people a balanced feeling with natural and artificial effect collaborating in the architecture. As for the digital design, I’ve had expirience of using Rhino, AutoCad, Indesign and Sketchup in the following two semester for Earth and water studio. I’m also progressively improving my skill of using the grasshopper plug-in, which I found is challenging for me. But I’m lokking forward to make a great progress after doing air studio this semester. However, Studio Air is challenging for me, I still hope to take the experience and what I learn in this suject applying with my future design approaches to innovate more creative andimpressive outcomes.

DESIGN FUTURING Wendy Pavilion Wendy’s job and contribution

endy pavilion designed by HWKN can be a representative example of design which inspires us while help us to live in a sustainable way. Wendy, with emotion and genuineness, just like a person, was not just playing the normal architectural trick of ecological apology and sustainability. 3 Instead, Wendy takes action to purify the pollutants to make our city a better living space. Composed by nylon fabric, Wendy maximizes her surface area to expose as much titanium-nanoparticle- coated skin to the environment as possible in order to serve for the habitat.4 To be more specific, her spiky arms all spreading out with micro-programs could actually work for cool air, water cannons and mists in order to create social zones at the site it serves. 5

Change and inspiration led by Wendy

he existence of Wendy changed people’s way of thinking that architecture can be “alive”. Instead of just accelerating the defuturing condition as consumables and thinking about how to reduce the pollutants, architecture can actually contribute to the sustainability of environment. Not like most of the architecture just focusing on the technical aspect which is also invisible to approach the sustainability, Wendy has visualized and convinced people to see things in a different way and to look at sustainability with emotions going in.6 How can we not love Wendy? She ‘s blue and spiky, she serves for us, she has a name and personality. She inspired us while helping the environment in a sustainable way. She helped the environment in a sustainable way while

FIGURE 1. WENDY PAVILION

iving in an accelerating developing world, it is never a easy job to insure the supply of resources. In order to manage the rest of our resources reasonably, the word“sustainability”which means saving humanity by saving the resources we rely on had existed.1However, as the result of our huamn centredness, “ we are now at a point when it can no longer be assumed that we, en masse, have a future”.2 Thus, it’s time for us to take action against the defuturing condition of unsustainability - improving our design.

new age of architecture is coming - one where expect our architecture evolve far more than just shelter. We are expecting architecture delight our sense while serving for the needs of communities architecture inspire us while contributing to the sustainability of the environment ; buildings made both new technology and material possible at the same time.

FIGURE 2. WENDY PAVILION

DESIGN FUTURING Metropol Parasol Function and contribution

Change and inspiration

ocated at Plaza de la Encarnacion, Metropol Parasol is the place of identification and to articulate Seville’s role as one of the most fascinating cultural destination in the world. 7 As a redevelopment project, it was designed to protect the ruins and provide functional space for shopping, cafes, and a great public space for this dynamic city.8 It is intended to be an infusion of life and culture of the city center, contributing to the transfomative potential of architecture.9 During the process of designing Metropol Parasol, the team was surprised by Roman ruins beneath the surface.10 In order to protect the historical heritage and create the functional space at the same time, the architect made this six mushroom-like wooden structure shadings to provide a new space and achieve an ‘atmosphere cover’ social space for new happenings, which also made it the largest wooden structure in the world.11

FIGURE 3. METROL PARASOL

ot only serving for the social needs from communities, this building also has gave us the inspiration of showing respect on the old cultural things and innovate the new form of building at the same time. Moreover, it is not difficult to find that it’s in completely different style with the surrounded buildings. However, it is just its difference of form made it the iconic spot in the city. To inspire the city as a new energy from the future, but still keep the historical treasure to not only develop and make change to the city, but also emphasize the importance of history. When people are in a small number of group with limited technologies and resources, the action they take towards the defuturing condition might be subtle. But now, as we are living in the 21st century, we have material processing technologies of huge capacity, what we can do is far more we can expected.12

FIGURE 4 &5 . STUCTURE DETAIL

BIBLIOGRAPHY 1.Fry, Tony (2008).Design Futuring: Sustainability, Ethics and New Practice(Oxford: Berg),pp.1-16 2.Fry, Tony (2008).Design Futuring : Sustainability, Ethics and New Practice(Oxford: Berg),pp.1-16 3.WendyPavilion,DezeenMagazine.Retrievedfrom:http://www.dezeen.com/2012/06/29/ wendy-by-hwkn-2/ 4.Wendy Pavilion. Retrieved from: http://momaps1.org/yap/view/15 5.WendyPavilion,DezeenMagazine.Retrievedfrom:http://www.dezeen.com/2012/06/29/ wendy-by-hwkn-2/ 6.Wendy Pavilion. Retrieved from: http://w ww.greenprophet.com/2013/01/hwkn-wendy-abroad-abu-dhabi/ 7.Metropol Parasol. Retrieved from: https://www.yatzer.com/Metropol-Parasol-TheWorld-s-Largest-Wooden-Structure-J-MAYER-H-Architects 8.Metropol Parasol. Retrieved from: https://www.yatzer.com/Metropol-Parasol-TheWorld-s-Largest-Wooden-Structure-J-MAYER-H-Architects 9. J.MAYER.H Architect. Retrieved from: http://www.jmayerh.de/19-0-Metropol-Parasol. html

FIGURE 6. SERPENTINE GALLERY PAVILION 2013

DESIGN COMPUTATION PH: Lorem ipsum / Edited: Lorem ipsum / Written: Lorem ipsum

aken the biological influence by inventive scientific moment of the second decade, Natural design as a response to environmental context was gradually embedded in many architectural design. More than just simulate the appearance of the organic, natural design followedthenaturalprinciplesbringoutformintheway of responding to conditions of the environmental context.1SerpentineGalleryPavilion2013designedbySou Fujimoto can be a representative example of showing howdesigncomputationhelpedthedesignertoachieve thecravedoutcomeandhowthenaturalprinciplesembedded in the architectural design.

In respond to the naturalness of the site, Sou Fujimoto described his design of Serpentine Gallery Pavilion asâ&#x20AC;&#x153; something melting into the greenâ&#x20AC;?. 2By using polycarbonate, although as an artificial structure, the transparency of the pavilion, which would reflect the climate and green makes it blended with the natural environmentsperfectlyjustlikepartofsite.3Asforthedesigningprocess,therepetitivegridlike complex structure was developed by Rhino which made scripts and used to transferthegeometryfromSciaEngineer.4Forbettervisuallizationofthestructure and the process of computer aided manufacturing, the 3D model was delivered totheplaceoferectionandthenstructuredinRevittofinalizethegeometry.5Thus, obviously,thecomputationaldesignwasembeddeddeeplyinsidetheprojectand had played a important role during the design process.

DESIGN COMPUTATION T

FIGURE7. ABU DHABI PERFORMING ARTS CENTER

hroughtheengagementofcomputation,digital architecture as a new typology of architectural design emerged in the first decade of the new millennium. 6 Different from computerization which is thedigitalizationofpre-conceptualizeddata,often likeComputer-AidedDesignandComputer-Aided Manufscturing,7 computation is aimed to generate theformbyinputtingdata,especiallyforparametric design.Asanewtypologyofdesignlogic,theexistof parametric design enable the variation of parameters to take place in order to achieve manipulating goalsofformswithoutcompromisingthestructure. Inotherwords,ifcomputerizationcontributestothe accuracyandspiritofdesign,thencompositionjust takes the role of variation and creativity for the form of building .

s a new form of design logic, parametric systems allow the existence of writing of rules, algorithmic

procedure to enable the creation of variations. In this way, people are able to create unimaginable forms by parametricmodelingandworkoutthestructureandperformancebeforetheconstruction.AbuDhabiPerforming Arts Center designed by Zaha Hadid can be a representativeexampleofshowinghowthecomputationenable creation and innovation in the form of geometries and the expanding range of achievable geometries. Sitting on a linear intersection of pedestrian paths in the cultural district, its sculptural, organic and dynamic forms with soft curve lines makes it an eye-catching and advanced architecture.9Likeagrowingorganismtowardsthewater spreadingoutwithasetsofbranches,thebuildingtwines with the site perfectly with it fine softness which derived

s use of computation gradually accepted by architectural industry, changes has also been taken in different aspect of designing process. According to Kalay, there are 4 steps during the design process,problemanalysis,solutionsynthesis,evaluationandcommunication8.Mostofthesestepscould takebenefitsfromcomputation.Oncetheproblems have been identified together with the goals to be achieved,thesuperbsearchingabilityofcomputers willmakeagreatcontributiontosolutionsynthesis, which also enable evolve humanâ&#x20AC;&#x2122;s contribution to creativityandidealityinordertosolvetheproblems.

FIGURE 8. INSIDE OF ABU DHABI PERFORMING ARTS CENTER FIGURE 9. ABU DHABI PERFORMING ARTS CENTER

BIBLIOGRAPHY 1.Oxman, Rivka and Robert Oxman, eds(2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10 2.Branko Kolarevic, (2003). Architecture in the Digital Age: Design and Manufacturing 3.Kalay, Yehuda E.(2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design( Cambridge, MA: MIT Press), pp.5-25 4.Zaha Hadid Architects. (2014). Abu Dhabi Performing Arts Center. Retrived from: http:// www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/ 5.Oxman, Rivka and Robert Oxman, eds(2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10 6.“Serpentine Gallery Pavilion 2013.” Dezeen Magazine. Retrieved from: http://www.dezeen.com/2013/06/04/serpentine-gallery-pavilion-2013-by-sou-fujimoto/ 7.“Serpentine Gallery Pavilion 2013.” Dezeen Magazine. Retrieved from: http://www.dezeen.com/2013/06/04/serpentine-gallery-pavilion-2013-by-sou-fujimoto/ 8.“Serpentine Gallery Pavilion 2013.”Retrieved from: https://en.wikiarquitectura.com/index.php/Serpentine_Gallery_Pavilion_2013

GENERATION & COMPOSITION A

rchitecture nowadays is experiencing the process of shifting away from the drawings to algorithm as themethodofgainingandcommunicatingdesigns.1Asaresult,thecomputationaldesignisredefining the practice and designing process of architecture. It not only extends designerâ&#x20AC;&#x2122;s abilities to deal with complexsituations,butalsopotentiallyprovidesinspirationandtranscendstheunderstandingofthedesigner,throughthegenerartionofunexpectedresults.2Thus,inordertogetfurtheroptionsanddevelopment in the parametric design, a code is needed for the continuum. In this way, people need to rely on algorithmic thinking which means when we use computational softwares like Grasshopper, we need to understandtheresultofthegeneratingcodeandhowtomodifythemalgorithmicallytoexplorethenew options, and conjecture on the further development.3 Manyarchitectsarecurrentlytryingtosimulatebuildingperformancewithcomputationtocreatemoreresponsibledesigns,4whichenablearchitectstoexplorenewdesignoptionsandtoclarifyarchitecturaldecisionsduringthedesignprocess.5ICD/ITKEResearchPavilion2010canbearepresentativeexampleshowing howthecomputationembeddedinthedesignprocessandworktogetherwithsimulation.Itwasdesigned andconstructedasatemporaryresearchpavilion,withainnovativestructuredemonstratesitsapproach ofmaterial-orientedcomputationaldesign,simulationandproductionprocessesinarchitecture.6Inorder totestthecompatibilitybetweendesigncomputationandmaterialization,thecomputationaldesignmodel and the structural analysis model were built up respectively.7 The pavilion was based on a FEM (Finite ElementMethod)simulation,whichinordertosimulatethecomplexequilibriumoflocallystoredenergy led by the bending of each element. 8As a result, the combination of the generative design computation and materialization successfully worked together with an achievable proposition.8

FIGURE 12. INSIDE OF ICD/ITKE RESEARCH PAVILION 2010 FIGURE 10 & 11. DETAIL OF STRUCTURE ANALYZING

GENERATION & COMPOSITION FIGURE12. OLYMPIC AQUATIC CENTER

owever, the use of computational generation brings a lot benefits and convenience to the architectural industry, unavoidably, there is still some drawback existed. Olympic Aquatic Center and Maxxi Gallery designed by Zaha Hadid can be examples showing the compromise of function and lack of means of achieving. Despite the spectacular fluid geometry, Aquatic Center built for the 2012 actually got some undeniable shortcoming surfaced during the Olympic game. The first thing is the roof structure with10 times as much steel as that of the velodrome, which was contrary to sustainability. 10 Another things are the need for thousand of additional seats and sightlines hindered by the diving board from upper tiers. 11As for the Maxxi Gallery in Rome, due to its sloping walls and cavernous spaces hindered by obtrusive ramps, it is very difficult if people may want to display

there. 12 Thus, it is not difficult to see that in order to meet Hadidâ&#x20AC;&#x2122;s approaches, buildings are always more difficult and expensive to build, and compromise of function. Her project used a lot of curves, ambitious cantilevers, wide span and frameless glass , which are all budget boosters. It seems to be like the form of her design always come s the first, while followed by the means of achieving he generation led by contribution has both positive and negative effect for the architectural design. Although it helped us with the efficiency and variation of creativity, it still may lead to functional issues if the designer is more likely to focus on the form of building. Thus, a combination of both should be considered by the architect to insure the creative generation of form and function at the same time to make the building work efficiently and completely.

FIGURE13. INSIDE OF OLYMPIC AQUATIC CENTER

FIGURE14. MAXXI GALLERY 20

BIBLIOGRAPHY 1. Peters, Brady. (2013) ‘Computation works: The building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 2. Peters, Brady. (2013) ‘Computation works: The building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 3. Peters, Brady. (2013) ‘Computation works: The building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 4. Branko, Ali. (2004) Performative Architecture: Beyond Instrumentality, Routledge (New York) 5.Peters, Brady. (2013) ‘Computation works: The building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 6.“ICD Research Pavilion 2010.”University of Stuttgart. Retrieved from: http://icd.uni-stuttgart.de/?p=4458 7.“ICD Research Pavilion 2010.” Retrieved from: http://www.evolo.us/architecture/computational-design-research-pavilion-icd-itke/ 8.“ICD Research Pavilion 2010.”University of Stuttgart. Retrieved from: http://icd.uni-stuttgart.de/?p=4458 9.“ICD Research Pavilion 2010.”University of Stuttgart. Retrieved from: http://icd.uni-stuttgart.de/?p=4458 10. Rowan Moore. “Zaha Hadid: A visionary whose ideas don’t always meke sense”. Retrieved from: http://www.theguardian.com/artanddesign/2015/sep/27/zaha-hadid-profile11. Rowan Moore. “Zaha Hadid: A visionary whose ideas don’t always meke sense”. Retrieved from: http://www.theguardian.com/artanddesign/2015/sep/27/zaha-hadid-profile12. Rowan Moore. “Zaha Hadid: A visionary whose ideas don’t always meke sense”. Retrieved from: http://www.theguardian.com/artanddesign/2015/sep/27/zaha-hadid-profile-

CONCLUSION T

hrough the learning of part A, I’ve learnt about the incoming and ongoing changes of design nowadays,whichcouldbeaffectedbypeople’schangeofneeds,useofcomputationandsustainabilityofenvironment.Ashumanarefacingalotofchallengestowardsresources,howtotake action to make sure the sustainability may be a continuum topic in the future. As for computationaldesign,asa new designapproach, it will definitely give the future design more possibilities andopportunitiesinordertogetunexpectedoutcomestoenrichtherangeofdesign.Thesethree sectionhelpedmetovisualizetherevolutionarychangesinthefutureofarchitecturalindustryand helped me to understand how things actually work and differentiate from each other. In terms of the brief, at the very beginning, I found it very difficult to think of my brief. But after visiting the site and doing the journal each week, I found it is becoming clearer considering with the condition of the site. So basically, my project is going to have a educational approach in order to contribute to the sustainability of the site.

LEARNING OUTCOME T

hrough the learning of part A, I’ve learnt about the incoming and ongoing changes of design nowadays,whichcouldbeaffectedbypeople’schangeofneeds,useofcomputationandsustainabilityofenvironment.Ashumanarefacingalotofchallengestowardsresources,howtotake action to make sure the sustainability may be a continuum topic in the future. As for computational design, as a new design approach, it will definitely give the future designmorepossibilities andopportunitiesinordertogetunexpectedoutcomestoenrichtherangeofdesign.Thesethree sectionhelpedmetovisualizetherevolutionarychangesinthefutureofarchitecturalindustryand helped me to understand how things actually work and differentiate from each other. In terms of the brief, at the very beginning, I found it very difficult to think of my brief. But after visiting the site and doing the journal each week, I found it is becoming clearer considering with the condition of the site. So basically, my project is going to have a educational approach in order to contribute to the sustainability of the site.

APPENDIX

CASE STUDY 1.0

STRIPS AND FOLDING

B 1. RESEARCH FIELD

STRIPS AND FOLDING

As one of the most common algorithmic techniques used i parametric design, strips and folding could be set up based on individual lines and surface in order to generate variables with continuity. Design resulted from strips and folding could achieve integrated outcomes of shelter space with both aesthetic qualities and structural and material performance. Based on techniques of strips and folding, the volume could be created both internally and externally. Besides, the variety strips and folding brings provides oppotunities for both the aesthetic and structural values of the building. STRIPS Strips elements normally is emphacized by overlapping, bent and twisted longsheets crossing and wrapping together in order to fold into a volume of space in architecture. Maetrial performance and its relation with the surrounding environments could play significant roles in a strip design in order to achieve the structural stability. FOLDING By doubling layers upon itself, ideas of folding always provides the constitution of continuous discontinuity to the design, and generate inherent structual elements for extraordinary volume of space. According to the book The Fold: Leibniz and The Baroque by Deleuze, he mentioned about the significance of folding techniques which applied on Baroque architecture and emphacizes that folding is an endless producing operative 1 .

HIGHLIGHT GOES OVER HERE Peris, us pris factatiendem furnumulissa res vid mo henerit. Voliis, defae concupion no. Scie mendam prorsuppl.

B 2. CASE STUDY 1.0

BIOTHING - SEROUSSI PAVILION The Seroussi Pavilion is a project organized and developed by art collector Nathalie Seroussi. It is a pavillion project located in Meudon, near Paris2. The structure of Seroussi Pavilion by Biothing is described as grown self-modifying patterns of vectors based on Electromagnetic Fields.3 It was initially done in plan by computation and then lifted via microarching sections trough frequencies of the sine function. In order to allow for local adaption to site conditions, additional features were added to the generating script.4 The design of this project was inspired by the sculptures habitacles on site, and was mainly described as a maze to be integrate in the pavilion structure in order to achieve the aim of organizing the spatial pattern and fabric.5 Within each cell of the structure, lighting/shading and programming of views was achieved by the Biothing team by â&#x20AC;&#x153;sine-waveâ&#x20AC;? functions driving parametric differentation of angle, orientation and the size of the aperture, relationship of metal and glass components within each cell.6 The computational design method allos the designer to createthe complexity in its various facets, which makes this pavilion a good example of generation in computational design. The reason why I am interesting in this project is due to its complexity i nits facets and how it perfectly cooperate with the computational program. What attracts me the most in this project is the programming method of electro-magnetic field which freshed my perspective of computational design. It allows the patterns to become self- modified and provide greater possibility of both the form and structure of design PH: Lorem ipsum / Edited: Lorem ipsum / Written: Lorem ipsum

ITERATION MATRIX

SPECIES 1

SPECIES 2

RADIUS + SAMPLE + GRAPH MAPPER + Z FACTOR

GRAPH MAPPER + Z FACTOR

ITERATION MATRIX

SPECIES 3

SPECIES 4

GRID + GRAPH MAPPER + Z FACTOR + RADIUS

SPIN FORCE + RADIUS + DECAY + NUMBER OF POINTS

ITERATION MATRIX

SPECIES 5

SPECIES 6

CURVES + GRAPH MAPPER + SAMPLE + NUMBER OF POINTS

PIPE + CURVE + GRAPH MAPPER + RADIUS + Z FACTOR + SPIN FORCE

SELECTION OF ITERATIONS

I like the flower-like shape from the top view of this iteration. By using multiple hexagram with different orientation, the pattern it generate is totally out of what I expected. Each field line units also provide great shelter spaces with a high-density field line structure.

This one was formed base on a voronoi grid structure. I like its radical structure towards the central grid and how these little field line units gather together, which gives me a sense of vitality.

This iteration was formed by spinforce and pipe, which gives it a sense of gradation and great proportion of above and below space. The higher part of it creats a great shading and shelter space, and the lower part of it could sit on the ground with great opening i the center of it.

The outcome of this iteration is out of what I expected. By applying pipe around the field lines, the radial and open structure was visualized. I especislly like its streamline wave and the gradiation of it, which create great space between each level and give the field line structure a sense of substatialization.

B3. CASE STUDY 2.0

DOUBLE AGENT WHITE

GENETATION & FBRICATION Double Agent White designed by Marc Fornes is a continuous surface composed of an intersection of a set of unique spheres, which achieved a maximum degree of morphological freedom with a minimum amount of components. Although it is a prototype piece, it is perfect for my Case Study 2.0, due to its abstract and fun form and interesting way of connection. By intersecting spheres, Doube Agent White naturally created a shelter space for customers. 7 As for the fabrication , this project is the first of a new series of fabricated projects which investigates a double agent system based on two parallel but divergent sets of distributed agents describe the surface condition. The first thing is a controlled marcro which generates the overall geometry with the minimum number of elements able to be cut within specified flat sheets of aluminum. 8While the second involved a much more expressive set of higher resolution and morphologies that crafts aperture as ornament. Then, these two sets then inform each other simultaneously, together with the logic of assembly mobility. A s a result, the structure adheres to myriad of formal and technical constrains that provide a dynamic structure of spacial nuance.9 In order to achieve the structural continuity, the developable parts of surfaces were firstly oriented in order to provide a strong rigidity of the project. Then, it was resolved to be formed by numbers of fouble curved surface to achieve the structural continuity, visual interplay and logical efficiency.10 PH: Lorem ipsum / Edited: Lorem ipsum / Written: Lorem ipsum

REVERSE ENGINEERING PROCESS

SPECIES 1

POP 2D IMAGE SAMPLER

VORONOI

REMAP

AREA

EXPLODE

SCALE EXPLODE

FLATTEN

POP 2D

GRAFT

VORONOI

GRAFT

MERGE LOFT SPHERE

EXTRUDE BOX MORPH

SPECIES 2

SCALE

LOFT

RANDOM POINTS MESH SPHERES UNION MESH TRIANGULATE SMOOTH FACE BOUNDARY CULL PATTERN

PROCESS DESCRIPTION By doing research online, I found that the bubble-like form of Double Agent white was composed by multiple meshed spheres connecting with each other. In order to reverse engineering Double Agent White, the first way I start with was to firstly construct the facade or spheres and then use Box Morph to put the patterns on. To achieve the irregular hollow pattern in the original project, I used Voronoi component together with an Image Sampler to make the patterns irregular and show the geometrical sense of the facade. However, when I tried to use box Morph to put the patterns on , I found it was impossible to do this on a meshed sphere. So as a result, I used a normal sphere as the base to put the pattern on in Species 1, which made the final result was not what I expected. After that, in order to achieve the meshed surface, I randomly create some meshed sphere and triangulate them to achieve the original sense of geometry. Then, I welded them as a union and smoothed the connection between each sphere to make it looks more integral and fluent. At last, to achieve the sense of irregularity, I used Cull Pattern to randomly delete triangles and remeshed them toget the final result of Species 2. However, it is not totally the same with the original one, it has shown the sense of geometry and irregularity. So I decided to choose Species two as my final reverse engineering result.

RE-MESH 46

REVERSE ENGINEERING - FINAL OUTCOME

STEP 6 Randomly cull the patterns and Remeshing the spheres to get the final outcome.

StTEP 1 Randomly drawing some points which will later be the center of spheres. 48

STEP 2 Creating spheres based on the points and STEP 3 Making union of each sphere and STEP 4 Welding all the meshed spheres together then arrange the points to proper locationfor the triangulaing the surgace of them for the following and smoothing them to a satisfying extend. spherecombination. steps

STEP 5 Picking up the edges from the triangulating outcome. 49

ITERATION MATRIX

SPECIES 1

SPECIES 2

POLYGONS + BOX MORPH

CULL PATTERN+ PIPE

ITERATION MATRIX

SPECIES 3

SPECIES 4

CULL PATTERN + BOX MORPH + CHANGE OF INPUT GEOMETRIES

TRIANGULATE MESH+ WEAVEBIRD COMPONENTS

ITERATION MATRIX SPECIES 6 POLYGONS+ BOUNDARY SURFACE+ BOX MOROH + PIPES

SPECIES 5 KANGAROO + SPRING + PULL TO SURFACE

ITERATION MATRIX

SPECIES 7

SPECIES 8

MESH TRIANGULATE + MESH SMOOTH

SMOOTH STRENGTH + MESH TRIANGULATE+ WAVEBIRD COMPONENTS

ITERATION MATRIX

SPECIES 9 MESH SPHERE + PIPE + WAVEBIRD COMPONENTS

SELECTION OF ITERATION

The outcome of this iteration was totally out of what I can expect. By changing the u, v value, the shape of sphere totally changed to rhombus structure, with the change of polygons to give the iteration great transparency and unique volume of space.

By pushing the smooth strength to an extreme value, the shape of sphere was totally changed together with combination with wavebird components to give the iteration a debris-like form.

This iteration inspired my with my design proposal, due to its great transparency , unique continuous volume of space and fluctuation between levels. It is perfect for my design of underwater walkway.

This iteration is also totally out of my expection. By putting the smooth strength to an extreme value, it becomes sharp and geometrical from very soft and smooth shape.

B5. TECHNIQUE: PROTOTYPES

CASE 2.0 PROTOTYPES PROTOTYPE 1

For this prototype, I used pins as connections to connect each triangle together. And by slicing the bottom of triangles with a certain angle to create the bending effect when I combine them all together

PROTOTYPE 2

In order to connect all the triangles togather, I used a mesh structure to create the bending of spheres. By using iron wire to go through each triangle to make sure the stablity from both 90 degree. However, because of the softness of iron wire, it is very difficult to lift the model up.And the structure is not as even as the others

PROTOTYPE 3

For this prototype, I used hexangonal connections to connect each of the triangle. However, it failed to bend this time. But the structure is quite even and stable.

CASE 2.0 PROTOTYPES PROTOTYPE 4

For this prototype, I was trying to restore the connections between each sphere. By cuting the corner of each triangle to make themselves as connections to bond all together and also to achieve the randomness of the hollow patterns on the surface of sphere. Overall, this is a quite even and stable structure.

CASE 2.0 PROTOTYPES PROTOTYPE 5

For this prototype, I used 3D printing to restore the original project to the biggest extend. By creating off set and holes on sides of the panels, theis prototype shows a even and stable structure with a bending effect.

CASE 2.0 PROTOTYPES

PROTOTYPE 6

For this prototype, I used rubber band to connect all the triangles. It is a quite stable and even structure, which performs paticularly in stretching force. Also, it achieved the bending of surface and was able to create a volume of space underneath it.

B 6. LOCATION PLAN

SITE ANALYSIS

A s a branch of Yarra River, Merri Creek flows through the northern suburbs of Melbourne. It begins near Wallan north of Melbourne and flows south unitil it joints the Yarra River at Dights Fall. By observing the site, I found that the water condition of Merri Creek is very concerned in some of the area. Water quality monitoring by Melbourne Water last year found a number of heavy metals, including lead, in Merri Creek, at levels relatively high when compared with other Melbourne waterways. In particular, toxic chemicals from small industrial sites in suburbs such as Preston, Coburg, Campbellfield and Thomastown have been evident in testing of Merri Creekâ&#x20AC;&#x2122;s stormwater drains. As a result, the water condition of Merri Creek became even worse than Yarra River. 11Although the water quality of Yarra River is not good as most of people in Melbourne may know, it is still under an acceptable level with a PH Level of 7.8. While when it comest to Merri Creek, it Becomes to be 9.0, which means the water quality is very poor. 12So in order to make a contrast of water condition between them , and make people aware of the concerned water condition of Merri creek for an educational purpose, our site would be the intersection between Merri Creek

A large range of Algae was found on the surface of Merri Creek, which is also a indicator of poor water quality.

DESIGN PROPOSAL

DESIGN PROPOSAL - WALKING IN THE WATER

My design proposal is to create a place to make people aware of the poor water quality of Merri Creek for an educational purpose. So in order to engage people into the water, I designed this partially under-water walkway. It is designed to be in a bubble shape floating on the surface which indicates the poor water quality of Merri Creek , with its great transparency for people to experience this by their own eyes. The Entrance and exist iis designed to be wide and open, while as it goes deeper, the space also becomes narrower for people to feel the depth and change of environment.

LEARNING OUTCOME AND OBJECTIVES I

n the study of Part B, I get more familiar with Grasshopperand find that the design possibility could be incrediblly extended by using Grasshopper. During the process of creating iterations, I always got unexpected outcomes by pushing the value to an extreme extend. The computational toll not only could visualize the idea of designers, but also enhance the design by creating more design possibility, which is also what I enjoy the most during the learning process of Grasshopper. However, it still requires designers to have a clear idea of destination and goal, then Grasshopper could be a powerful tool to achieve it. I also found that the process of reversing engineering helps me a lot with figuring out of how to solve the difficulties in a computational project like this. Although I didn’t totally restore the original project, I still gained a lot form explorarions of Grasshopper technique. In terms of making prototype model, it helps me a lot with thinking about the Case 2 project in a more structural way and how to fabricate it in real life in a visual and physical way. At the begining, I found this process was very difficult to me, but aftera plenty of times trying, I still got the result I’m happy with. And, by layering my journal for part B, I also have improved a lot for my InDesign technique.

fter the interim presentation, I got some new ideas for both of my protype and my design proposal. By learning from how other people thinking about their project and prototype, I found that there’s still many aspects I need to improve. Like the design we did for Part C, me and my partner mostly just focused on the form of our design. But it actually didn’t fit to the site and refer to our design proposal. But after that I’ve got my new idea of ‘Walking in The Water’. So hopefully, I could keep improving my project and skills better in the following semester.

BIBLIOGRAPHY 1. Deleuze, G.1993. “ The Fold: Leibniz and The Baroque ”: 1-6 2. BIothing. Retrieved From: http://www.biothing.org/ 3. Seroussi Pavilion. Retrieved From: http://www.arch2o.com/seroussi-pavilion-biothing/ 4. Seroussi Pavilion. Retrieved From: http://www.arch2o.com/seroussi-pavilion-biothing/ 5. BIothing. Retrieved From: http://www.biothing.org/ 6. BIothing. Retrieved From: http://www.biothing.org/ 7. Double Agent White. Retrieved from: http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/ 8. Double Agent White. Retrieved from: http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/ 9. Double Agent White. Retrieved from: https://theverymany.com/12-ateliercalder/ 10. Double Agent White. Retrieved from: https://theverymany.com/12-ateliercalder/ 11. Merri Creek. Reetrieved from: http://www.smh.com.au/environment/water-issues/not-so-merri-reputation-for-creek-20111120-1npef.html 12. Merri Creek. Reetrieved from: http://www.smh.com.au/environment/wa-

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