Ziyi liu parta by Ziyi Liu

AIR

studio

2015, SEMESTER 1 BY ZIYI LIU

A.0.

Introduction

A.1.

Design Futuring

A.2.

Composition/Generation

A.4.

Conclusion

A.5.

09 13 19

Learning Outcome

A.6.

03 05

Design Computation

A.3.

Part A

Appendix

20 21

Part B B.1.

Research Field

B.2.

Case Study 1.0

B.3.

Case Study 2.0

B.4.

Technique Development

Technique Prototype

B.5.

B.6.

B.7.

B.8.

Technique Proposal

Learning outcome

Appendix

Part B C.1.

Design Concept

C.2.

Tectonic elements

& protptypes C.3.

Final model

C.4. C.5.

Learning outcome Appendix

67 79 85 89 91

Table of Contents

Part A

A.0 Introduction

Hi, my name is Ziyi Liu. I am currently studying Bachelor of Environment and major in Architecture. This is my third year of study in University of Melbourne. It has been a great experience to explore the discipline of Architecture through my previous courses. The study does not only involve art and creativity; but beyond that, we also learnt to integrate multi--discipline studies to work toward a more sustainable future through the designs.

‘’The basic premise that ‘the people’ should have much greater power in deciding the form of the environments in which they wish to live, and that this way of life should enhance the environment in general is the connecting thread. ‘’ ——Tony Fry [1]

I have taken Visual Communication and Design in high school; and I was especially interested in drawing buildings and designing space at that stage. My enthusiasm in Architecture commences before studying official courses in university. My experience in computation design is quite limited as I only explored Rhino in Virtual Environment from Year 1 study. Some basic skills in Rhino were useful in my following design subjects. It save a great amount of time to generate a dynamic design on the computer rather than hand-drawing. I also learnt to use CAD for my internship in 2014. It is efficient to use for drafting. In terms of my goals for this studio, I really wish to develop my computation skill further. Parametric and digital designs are widely applied in the filed nowadays. Architecture as a study could lead people to live sustainably with careful evaluated designs which involve a wide range of considerations. Working with the technology that we have developed, it became easier for humans to foresee more predicable possibilities. Apart from sustainability, it appeals to me that functions and the level of comfort are the most vital concerns to a building design. Computation designs allow a greater range of structure to be tested before they are in-built. An efficient way of design and testing saves a great amount of effort and time. As a result, there are more possibilities provided with better experiences to serve the users.

1 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

A.1 Design Futuring

Figure 1 interior of Banq by john honer http://www.archdaily.com/42581/banq-office-da/

BanQ

Boston, ma, usa Office dA

BenQ is a dining restaurant which involves an organic and dynamic space. It is at the base of Penny Saving Bank[2]. The sparkling interior design illustrates what computation design can achieve in terms of functions as well as aesthetics. The connections between the ceiling and the supporting columns, which are the sectioning components, blur the boundaries. Due to the materiality of plywood and the nature of sections, the dining has a unique digital fabricated appearance.

Figure 2 Section of restaurant http://www.archdaily.com/42581/banq-office-da/

As a restaurant, it requires a space open for both staff and customer to move freely without interfering each other. The columns derives from the ceiling have been evolved thinner when they meet the ground. Such design on one hand enhances the appearance of the interior, and on the other hand, it creates a fluid space for the users. The curved ceiling also allows users have a sense of changing height of the room while they walk. ‘Certain areas of the ceiling ‘drip’ and ‘slump’, acknowledging the location of to place exit signs, lighting features, and other details [3].’

Figure 3 3D modelling of restaurant http://www.archdaily.com/42581/banq-office-da/

2 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

3 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

VCA Centre of Ideas Southbank, Melbourne Minifie Nixon Architects VCA, Dodds Street

‘Not in trying to predict the future but in using design to open up all sorts of possibilities that can be discussed, debated, and used to collectively define a preferable future for a given group of people: from companies, to cities, to societies.[4]’

The facade design of VCA centre of ideas was driven by ‘Order in the space‘ [5]. External walls are built with cast concrete. This classical material has a great flexibility in creating volumatic geometries. The pattern

of the building was based on a series of hexagons which provides a sense of orderly layout. However, we could see that all the hexagons are not exactly the same. Such pattern could be generate in softwares like Rhino nowadays. It only take seconds to complete the conceptual design with technologies which had not yet developed few decades ago. It indicates the beauty of technical improvement. Increasing knowledge and skills allow architects to open up their mind

and keep investigating forms that will satisfy the functional needs of the users as well as improving the appearance of buildings. Architecutre can be deemed as ongoing culture as people are always improving. There is no single ‘best‘ or ‘most effective‘ way of designing. With the artificial intelligence of humans, designs can be easier to model and encourages greater creativity.

Figure 4 VCA centre of ideas http://www.rushwright.com/public-facilities/vca-centre-for-ideas/

Figure 7 Entry Paradise pavilion modelling http://www.archello.com/en/project/entry-paradise-pavilion

Entry Paradise Pavilion LAVA Architect TeMporary

Figure 5 Entry Paradise pavilion http://www.archello.com/en/project/entry-paradise-pavilion

A.2 Design Computation

Figure 6 Entry Paradise pavilion http://www.archello.com/en/project/entry-paradise-pavilion

Computing allows people to realize their imagination and inspiration in a more effective and convenient manner. It saves time to produce repeating drawings of one single project. A three dimensional digital model allows the architects to save effort from producing the elevations, sections and plans of a building. People can read information from the model which is created by computation ‘code’. Practices may welcome more creative designers who suffered from insufficient skills of hand-drawings since late 20th century. It may become a more preferred environment for designing and may be widely applied across the industry, as it fast and accurate. More soft and dynamic shapes and surfaces may be created in this case. It introduces new theories to architecture and started revolution in the field. Creative forms and designs are now much more achievable and makeable with the supplement of computation programming. 10

‘Microscopic cell structures served as the inspiration for the design of a pavilion that is reminiscent of irregular natural forms like foam, sponge, or coral reefs.’[4] Entry Paradise Pavilion is a light-weighted three dimensioned form that can fill in the space between ceiling, wall and the floor. Due to its lightness, this self-weighted pavilion with minimal surfaces is highly mobile. Similar to Frei Otto’s Munich Olympic Stadium, it implies the typology and structure which derived from naturally evolving systems[5]. The concept in this pavilion was well illustrated through the

4 Nikolova, Nadezhda (2012). Entry Paradise Pavilion (openbuildings.com), Access at <http://openbuildings.com/buildings/entry-paradise-pavilion-profile-42678>

digital workflow. The new way of digital design allows architect to work more efficiently. It is much quicker to realize projects in most kinds. Computation of high technology and scripting generate forms that allow creativity. Different to hand-drawing, computing programs allows designers to make fewer decisions[6]. They do not need to have full manipulation of the exact form before programing. Designer can edit the script to create a series of patterns that are not just simple repetition of the same geometry. It has a sense of randomness in the aesthetics. In this design, the feature of randomness corresponds to the property of nature itself.

5 Iwamoto, Lisa (2009). Digital Fabrications: Architectural and Material Techniques (New York; Princeton Architectural Press), pp. 78-79 6 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Endesa Pavilion

Figure7 Endesa pavilion

http://www.archdaily.com/274900/endesa-pavilion-iaac/

Barcelona,SPain Margen-Lab

Figure8 Evolution of sections

Architectural Design: Smart Living Architecture - Solar Prototypes

Computation design may not provide a perfect solution to a problem. However, it does open up the possibilities for people to explore. Since architecture design will not have one single best scenario, the range of solutions which produced by computation process are useful. Endesa Pavilion is an example that demonstrates the advantage of computation in terms of energy calculations. The pavilion is an energy saving

project which generate solar energy from sunlight. The architects and engineers test the tilt angles and surfaces for maximized access of solar energy. Softwares are now ‘preferred environment’ in terms of energy and structural calculations[7]. As a result, it has been tested and designed to generate twice as much as the consumed by itself. The pavilion’s adaptive modular system demonstrates ‘innovative

technology’ formulates ‘new 12 theories’ that includes ‘collaborative design between the architect and the engineer’ [8]. Design with computation intellegence allows architecture to integrate users and the surroudings in order to improve on its performance [9]. Computation skills allow architects ‘to produce form in response to the conditions of environmental context’ [10]

7 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

9 Markopoulou, Areti & Rubi, Rodrigo (2015). Architectural Design: Smart Living Architecture - Solar Prototypes. Elmont, N.Y. : AD Publications Expediting Services

8 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Arnhem Central - Transfer Hall 13

Figure 10 arnhem central - Transfer hall

http://www.unstudio.com/projects/arnhem-central-transfer-hall

Arnhem, NetherlandsUNStudio

Figure 9 Modelling of Transfer hall

http://www.unstudio.com/projects/arnhem-central-transfer-hall

‘‘

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. [10 ] Brady Peter

‘‘

UNStudio is a group of people who integrate computation process in their design to create unique forms.

Both Transfer Hall and Villa NM have a degree of similarities in their forms. ‘Twist’ is the main concept which is well illustrated in their projects. It is true to state that people nowadays not only using software to design, but also ‘creating software’ for their own purpose [11]. UNStudio had successfully designed such program to generate twisting spaces which differentiates their buildings to other designers. In this case, computation allowed the group to have their own features.

A.3 Composition/Generation 11 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

12 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Though Architectural Design, 83, 2, pp. 08-15

Figure 11Prototype of Villa nm

http://www.besthomedecorative.com/best-private-home-design-villa-nm-by-unstudio

15 Figure 13 exterior of Villa nm http://www.unstudio.com/projects/villa-nm

In the case of Villa NM, the architect needs to accommodate the house on a slope. Computation skills including parametric and algorithmic thinking allow people to ‘extend their abilities to deal with highly complex situations’ [12]. It helps people to realise more dynamic shapes instead of rigid surfaces. The ‘twist’ program could also be observed from other projects by UNStudio, for example, the Transfer Hall in Arhem Central, Netherland. It becomes easier for designers to create similar forms in terms of algorithmic design based on computation programming. It is to ‘understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials’ [13]. However, Computation design is based on a logical process. It may not be the best way for some of the architects to produce their work. Computer may not read human mind fully. It relies upon the information provided by the user. Designers have less control of their designs to use computer rather than by hand. Young generations are now relying a lot on the software, which means some handdrawing skills and properties of design may be lost.

Figure 12 Prototype of Villa nm http://www.unstudio.com/projects/villa-nm

UNStudio

13 SCHUMACHER, P. (1999). Rational in Retrospect, AA Files, 38. London, Architectural Association 14 TERZIDIS, K. (2006). Algorithmic architecture. Oxford, Architectural Press

Upstate New York, USA

VilLa NM

National Aquatics Centre PTW Architects

Beijing, china

‘A form-finding algorithm was used by the design team to quickly generate design options for the cable-net structure. The algorithm formed part of the parametric model that was used to develop and define the building form. They must be written in a language the computer can understand, a code.’

15 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

—— Rivka Oxman and Robert Oxman

Figure 15 SPider network - inspiration of Water cube

http://www.archdaily.com/604846/architectural-innovation-inspired-by-nature/

To further prove that parametric scripting is convenience in the design field, the story of the winning project of the Water Cube is an illustrative example. The architects come up with this idea of networking inspired solution in a fairly late stage of the competition. They only have a few days left to create a prototype and drawings. The generation of a digital model can be done by the scripting of voronoi 3D in Grasshopper (Rhino). The 3dm file works well with 3D printer to print to a desired scale. It is an advantage in time consuming scenario.

Figure 14 Water cube

http://innovativebuildings.net/2010/06/21/water-cube-national-aquatics-centre-china/

A.4 Conclusion Architecture is more than just providing shelters for human beings. It is a connection between persons and their living environment and the context. Buildings are often what people see fit in the environment whether in terms of contrasting or integrating. As a representation of human intelligence, architecture and its design processes alternate with the technology and sociology changes happened in time in both positive and negative ways. Although wars and depressions may limit the use of material and budget on architectural projects, it stimulates the formation of the simple but sparkling modern styled buildings. It is always vital to notice both benefits and flaws of an issue. Computing design allows people to work more efficiently and open up more possibilities to find a comparatively desired solution. We could easily observe the benefits brought by the advanced technology; however, it is also important to not rely on it.

A.5 Learning Outcome It is a huge learning curve for me to comprehending about and understanding architectural computing in Part A. The theory opened up my knowledge about scripting, digital design, algorithm and parametric design. It allows me to explore more possibilities about designing and realizing the design through learning. In order to realize a design which is almost impossible to do without computing, the collaboration of different disciplines including architecture design and construction details is taken into account in programming. My previous work may be opened up to more variations with the new skills that I learnt in computing. Design is no longer to draw or illustrate something that I already have in mind, but to generate something that may beyond my imagination with scripting.

A.6 Appendix

Algorithmic Sketches

w e e k 1

In Week 1, we are introduced to lofting and some basic algorithms. The final product is a table which connected to two curvy benches, which allow people to sit and lie on. The base of the table and benches was generated by octree scripting. It creates a contrast of rigid form and smooth lines.

w E e k 2

The divide curve command generates points on the arcs which creates interesting patterns. It is created to simulate drift wood.

There are four designs that I have created in week 3 combining different scripts from the tutorials. First two are grid shells that created from different approaches. The third one is created by mesh reunion. In the tutorial, it creates a 2D pattern and extrude to 3D multi-planes. Combining with other skills that we learnt from grasshopper, I have tried to create a 3D version which is similar to what we created from week 1. However, this script allows the system to generate the random form automatically, so that I do not need to delete the geometries manually.

w e e k 3

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Iwamoto, Lisa (2009). Digital Fabrications: Architectural and Material Techniques (New York; Princeton Architectural Press), pp. 78-79 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Markopoulou, Areti & Rubi, Rodrigo (2015). Architectural Design: Smart Living Architecture - Solar Prototypes. Elmont, N.Y. : AD Publications Expediting Services

Nikolova, Nadezhda (2012). Entry Paradise Pavilion (openbuildings.com), Access at <http://openbuildings.com/ buildings/entry-paradise-pavilion-profile-42678> Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 SCHUMACHER, P. (1999). Rational in Retrospect, AA Files, 38. London, Architectural Association TERZIDIS, K. (2006). Algorithmic architecture. Oxford, Architectural Press

Reference

Part B

‘’Tessellation can be seen the world over from mosaics in ancient Rome and those of the Byzantine Empire to the screen walls in Islamic architecture of the stained-glass windows in Gothic cathedrals.’’ [1] In terms of today’s architecture, tessellated surfaces are often used for aesthetic purposes and defining the architectural spaces. Tessellation can be any geometry that ‘puzzle together in tight formation’ with no gaps or overlaps [2]. The repeated series of elements were hand-crafted which requires a long time to complete a piece of design. However, the parametric techniques allow designers to develop a tessellated pattern in a short period of time; and it becomes easier

to make iterations by changing the parametric inputs. It also opens up the possibilities to create complex and curved surfaces with tessellation in parametric designs. ‘Depending on the resolution of tessellation approximated surfaces can be smooth and precise, or faceted and crude.’[3] Nonstandard units can be generated now. The alternation of the geometry can create a volume by curved surfaces. It is possible to fabricate a three dimensional object from sheet material. Many examples can be found in the architecture field nowadays. It is a good way to convert some simple elements and shapes into complex and aesthetical design through repetition.

B1. Research Field

Tessellation 1 Iwamoto, Lisa (2009) Digital Fabrications: Architecture and Material techniques, Princeton Architectural Press, pp.36-59 2 Iwamoto, Lisa (2009) Digital Fabrications: Architecture and Material techniques, Princeton Architectural Press, pp.36-59

3 Iwamoto, Lisa (2009) Digital Fabrications: Architecture and Material techniques, Princeton Architectural Press, pp.36-59

Tessellation is not restricted to flat rectangular shape, but it can be Voronoi systems or irregular patterns which are able to create various interesting forms, like dome, pyramids and random creative geometries. Tessellation as ‘surface subdivision and modulation’ can be interpreted in different manners which can be applied far and wide in architectural designs.

Tessellation as ‘surface subdivision and modulation’ can be interpreted in different manners which can be applied far and wide in architectural designs.

Figure 1. FEDERATION SQUARE, MELBOURNE

Montreal Biosphere Buckminster fuller United state

< The pipe structure on the surface of the dome forms a tessellated pattern. The triangular shapes are eual sizes.

Figure 2 Biosphere http://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller/546a754de58ece7d25000036_ ad-classics-montreal-biosphere-buckminster-fuller_rodrigo_maia-jpg/

Tessellation was used as decorative external facade. It demonstrated that tessellation does not need to be flat surface or panel. It can be linework that divides up a surface. 29

Smart Masonry ZAARCHITECTS Digital Proposal

Figure 3 Smart Masonry http://www.archdaily.com/609108/digitizedbricks-zaarchitects-develop-smart-masonry/

Voussoir cloud IwamotoScott

Figure 4 Voussoir cloud http://4.bp.blogspot.com/-FDX9AsrU3KI/ Te0_VwQJ-EI/AAAAAAAABfI/KevqLJYuSQ/s1600/1307120316-isar-vcabove-closeup02-1000x750.jpg

B2 Case Study 1.0

32 http://payload.cargocollective.com/

Voussoir Cloud is a design of tessellation which fills up and defines the space. The light structure is based on the property of springs. The surface has been divided into repeated triangular faces [4]. Each face has tabs to be pinned with each other in terms of fabrication. Kangaroo plugin allows exploration of force changes and gravity changes. Variation on the input of Kangaroo physics can be vertical forces, horizontal forces and inverse gravity force. It can generate many interesting

4 Iwamotoscott Architecture, Voussoir cloud, assessed at < http:// www.iwamotoscott.com/VOUSSOIR-CLOUD >

geometries. The repeated element can generate very different forms under the influences of the forces. The form can be alternated to something entirely different The boundary of the structure is attached to the walls in the gallery. In the algorithm, the anchor points are distributed along the boundary curves. No matter how the inner part of the structure changes, the edges of the structure still attach to the wall

Point Less

Boundary 33

Regular

Form

Depth change

B2 Case Study 1.0 Iteration

Irregular

Force change

Division Pattern Voronoi

Surface Pattern Triangular

B2 Case Study 1.0 Iteration

Geometry

Thincken surface

B2Intergrated Case Study 1.0 outcomes

One Three

Two Four

Carpenter Center Puppet theatre

B3 Case Study 2.0

The theatre was assembled by thousands of unique triangular surfaces [5]. The shapes of the surfaces are varied because of the curvature of the structure. It emphasized a vital feature of tessellation. Tessellated patterns are very dependent on the form of the structure. Although bolting [6] is an inconvenient way of constructing, it leads me to think about the possibilities of operational opening on a structure.

Figure 5 Carpenter centre puppet theatre

The use of the space is also very interesting. It is a theatre only when there is a puppet show. At other times, it is a tunnel structure which people can look through it. It provides a view frame for the users [7].

http://atelier29.blogspot.com. au/2009/10/puppet-theatre-forharvards-carpenter.html

5 Gewertz, Ken, An egg full of singing puppets, 2007, Harvard Office, access at < http://news.harvard.edu/gazette/2004/11.11/01-huyghe.html > 6 Gewertz, Ken, An egg full of singing puppets, 2007, Harvard Office, access at < http://news.harvard.edu/gazette/2004/11.11/01-huyghe.html >

7 Gewertz, Ken, An egg full of singing puppets, 2007, Harvard Office, access at < http://news.harvard.edu/gazette/2004/11.11/01-huyghe.html>

1. Curve base and guide line

2. Generation of repetitive frames

3. Form outline

Different approaches were explored to achieve the final out come. The shape and number of each triangle were determined by the curvature of the surface.

Carpenter Center Puppet theatre

B3 Reverse Engineering

4. curve adjust ment

5. Generation of tessellation

< final outcome

Technique 1:

Surface Division

B4 Tehcnique development

In Technique 1, different pattern division were explored. In Technique 2, Kangroo force factor was added to the surface. Variation on the tessellation panels were explored.

Technique 3:

Suface Variation

B4 Tehcnique development

Technique 3: Integration A B C D E

B4 Tehcnique development

E F G H 1

3 48

After interim presentation, I decided to make some variation to my technique. Instead of creating tessellation on twisted forms, the new technique focus more on the variation of the tessellated patterns base on simpler geometries. Tessellation feature is more obvious compare to the old technique which is attached in the appendix. The four selected out comes demonstated how tessellated elements can create a universal form together. Each element can be flat surface, three dimensional form or combination of the two.

B5 Tehcnique prototypes

In the process of constructing this prototype, I found some difficulties to connect the elements. It was due to the gaps generated during planarizing the surfaces. I initially attempted to create step stones by the technique. However, it creates difficulites

for people to walk on. However, it is possible to be used as chairs and tables to allow people to relax.

Prototype Development

B5 Tehcnique prototypes

The structure is supported by the vertices of the polygon panels. The shelter may have a sense of floating with minimal structure in touch with the ground. The curvature was

created by the varied sizes of the panels. Each panel was connected to others by the tabs.

Site Selection The selected site of my design proposal is the Philip reserve. It is close to the CERES community which is an enducational organisation. The site is surrounded by local residence. It is a desirable location to attract people who are interested in observing and learning the environmental context.

Functions The existing users of the site include local residents, cyclists and CERES community memebers. My design aims to provide a place for these people to observe the creek and fauna and flora on the site. It may potentially bring school students, environmentalists and visitors to the site. The design also aim to allow users have a deeper understanding about the environment.

B6 Tehcnique Proposal 1.0

Design Feature Bridge is composed with operational opennings. People can observe the creek while standing on the bridege. Ducks and other birds can be observed on the site. Information about fauna and flora can be provided on the inter face of the panels.

B6 Tehcnique proposal 1.0

Issue 1. The form is more about twisted geometry rather than tessellation without the openings. 2. Technical difficulties to create the openings. 3. Scale of the bridge is not appropriate.

B6 Tehcnique proposal 2.0

Design Aim The new proposal remains on the same site, Phillips Reserve. It provides a shelter for both pedestrains and cyclists. It provides a procastination location for the users. Although there are openings on the structure, they will be covered by ivy that grew on the site. Ivy takes less than half an year to grow and it helps to reduce the pollution in the air. A green structure will be formed to provide a nice environment for people and animals.

Opportunities and Potentials A large strucutre may attract peopleâ&#x20AC;&#x2122;s attention to the site. It may replace the original BBQ pavillion. Seats can be provided under the shelter. The forms of the seats may be developed from prototype 1. The tessellated pattern may be altered to be connected to the site. The possible outcomes may include applying the land block pattern or the Aboriginal mosaic pattern on to the shelter surface. 58

The objectives of Part B mainly focus on exploration of Grasshopper to generate a range of design possibilities. I have exprienced some failure while creating my own algorithm. It is vital to understand each parametric element in grasshopper to avoid errors. Although I have struggled in the process of creating the matrix, the exploration had become a huge learning curve for me.

There were some inspiring feedback that I got from the interim presentation. I decided to create a new matrix and proposal in responding to the feedback. With a better understanding of the purpose of technique development and expression of tessellation. It became eaiser for me to come up with the new solutions.

B7 Learning Objectives

Although some algorithm were found to be irrelevant to Part B, they still helped to understand and learn new skills of programming desired outcomes. I have written many different scripts in this part. Some of them were not working. It allowed me to do some research to resolve the problems. Even though not every problem is solved, some interesting forms were created by unexpected mistakes.

to fabricate in the reality. Connections between panels need to be considered when fabricating. It is less likely to connect surfaces by points. Edges are easier to connect. Creating tabs also helps to stablize the structure.

Also, I learnt that making physical prototypes can be very different to virtual programming. Some algorithm may not be possible

B7 Learning Outcome

In Part B, lots of grasshopper exploration was taken. Apart from each weekâ&#x20AC;&#x2122;s tutorial, many forms were generated during the process of understanding the scripts and programming.

B8 Appendix

Technique 4: Form Variation

B8 Appendix

Technique 5: Integration

Reference

Gewertz, Ken, An egg full of singing puppets, 2007, Harvard Office, access at <http://news.harvard.edu/ gazette/2004/11.11/01-huyghe.html> Iwamotoscott Architecture, Voussoir cloud, assessed at <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> Iwamoto, Lisa (2009) Digital Fabrications: Architecture and Material techniques, Princeton Architectural Press, pp.36-59

Part C

C1.0 Desgin Concept

Pavilion conceptual design

Reflecting on the interim feedback, I decided to combine the two design outcomes and redevelop. The final design concept took inspirations from the previous two. A series of structure will be distributed on the site to bring people to explore the water source of Merri Creek. Apart from the main structure, the other structures are designed to attract attention. Therefore, not all of them had a specific use.

C1.0 Desgin Concept

site map

As the telecom tower was the largest structure on the site and brought many peopleâ&#x20AC;&#x2122;s attention, my designs aim to mimic the color and structure of the tower. Other than attracting people, they also create a continuous journey for users together.

site map

C1.0 Desgin Concept 71

The main structure would be a pavilion that is over hanged on the river. There are some rocks on the river that would help people

to get onto the pavilion as the depth of water is less than 20cm at the selected site. During the flooding season, people

may not be able to get to the pavilion. However, the hanging element will still be above water to attract peopleâ&#x20AC;&#x2122;s attention.

Main pavilion render

C1.0 Desgin Concept

overall site design

access from north

C1.0 Desgin Concept

Scale&dimension

C1.0 Desgin Concept

Structure that used the same technique but in different forms and sizes are located at different places to attract pedestrian at the two main accesses.

access from south

As there is a significant height difference in topography, structure also set to lead people to discover the main pavilion.

C2.0 Technique Elments & Prototypes 79

Number vornoi size related

box Setting parametric boundary

Pop3d seed

related to curve

computation technique

Generating referencing point for voronoi modular

curve determining form

voronoi

cull

Generating voronoi units

smaller than x determining nuber of units reminded

The structure is mainly decided by the populated points. The points were determined by the input number and seed.

The seed is set by the topography of the land at where the structure will locate. As the structure get further away from

the site, the number will be smaller. So that each voronoi element is larger o attract people.

C2.0 Technique Elments & Prototypes 81

mesh

wb midpoint level determining density of lines

computation technique

Set out referencing lines

wb frame

wb thicken

depth

width Offset lines to create surfaces

Offset surfaces to create volume

C2.0 Technique Elments & Prototypes

The connection technique was taken from bamboo construction technique. Each beam is tied to each other as represented in the prototype. In the real construction, bended steel beams are used to form different voronoi unit. Each module will be tied to be connected. The string in the prototype model was not painted, because it is easier to showcase the connection by its original color. In real

prototype model

life case, the string will be sprayed with the same color as the steel. The flexible connections are capable of constructing temporary structure. It can be relocated an reconstructed to different forms at different site to allow more design possibilities. One of the design potential could be established during the flood season when it is less likely for users to access the original river bank.

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C3.0 Final Detailed Model

I initially intended to 3D print the model, however, the printer was not capable of printing such think linear structure. As my final design was rigid in its form, I used laser cutter to print each elements to fold and glue them together. As the model was made in 1:20 scale, it is much thinner and smaller than the real project. This then means that the laser cutter is not capable to create the exact pattern as some elements were too thin to cut. To maintain the effect of light penetrating and organic from, the framing of each voronoi element was adjusted to be wider instead of creating solid elements. The model was sprayed with dark gray paint to respond to the telecom tower on the site.

RHINO FILE

LASER CUT

FOLDING

GLUE

SPRAY PAINT

C3.0 Final Detailed Model

C4.0 Learning Objectives and Outcomes 89

Several issues have been pointed out during the Final Presentation. 1.The information was not delivered in the best approach In the final presentation, I have been trying to put all of the ideas that I had during the semester which resulted in too much information. Some of the ideas were not as relevant to the final product. I realised that it is important to choose what to talk about during presentations. Rather than demonstrate everything,

I should have focused on the main information that would help people to understand my design approach. In this case, it should be the idea that to bring people to the river bank. 2.Requirement to re-consider the material choice Although I have attempted to choose a more sustainable material, bamboo, for my project initially. It is problematic as it cannot represent my concept as good as steel. Ultimately, steel will be the

best material to represent and illustrate my design. 3.Digital process and parametric method was not well illustrated Due to the limitation on the presentation time, I chose to discard the digital process which was found to be important. To respond to the issue, I tried to explain my process and the determination factors in the journal.

In conclusion, I found that there is differences between expectation and real practice by studying digital design and fabrication throughout the semester. Especially with 3D printing, the form and material were quite resisted, and some parametric was found difficult to realise. Apart from the computation skills, it also had been a learning curve for me to understand how to

illustrate my ideas through presentations. Also, it seems like my design only provides a place for people to observe and study the mother nature. It is possible for me to develop a stronger concept in relation to the design brief and sustainability. However, understanding is still a very first and vital thing for people to maintain a sustainable ecology system.

C5.0 Appendix Other explorations during final weeks.