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ARCHITECTURE DESIGN STUDIO 3

“AIR” DESIGN JOURNAL 2012


140 - Personal experience about parametric learning process

96 - Final Presentation

75 - Gateway project design process

38 - EOI

22 - Cut Case Study 2.0

17 - -Scripting Advantages

14 - Morphogenesis

5 - Architectural Discourse

Further Development about final project - 138

Applying tensegrity system to the project - 87

Improvment - 70

Design Matrix - 29

Cut Case Study 1.0 - 19

Parametric Modelling - 15

Conputational Design In architecture - 12

Personal Information - 2

Contents


About Me

Hello everyone, my name is Bin, but you can call me Ben! I am from China and I am a mad fly fisher! I really enjoy the moment when I am standing on the bank of creek in forest as I personally feel that I become part of the nature. and I am interested at applying or strengthening the dynamic aspect of a building while maintaining the building to be considered as part of the back ground context. I have used CAD to establish my design plans and then use Sketchup for modelling since couple of years ago. I really like the way CAD presents tidy precise and clear plans. This is my first time engaging with Rhino3D, everything is new.


personal Work: The Boathouse ADS2 Project - Yarra Bend Boathouse

The intension of the design of the Boathouse is to simulate a jet boat which relates to the Yarra River next to it. The 3 stores are made from large concrete slabs which emphasis the size of the building and make the building look more magnificent in terms of its size. On the other hand, a jet boat shape is not only giving dynamic feeling to the building but also reflecting to the flowing water next to it. Moreover, those long span bridges connecting to the road on the uphill and car park utilize the technique from Mies’ Bricks Country House. It creates the endless feeling and visually enrages the building. A big building is always more eye-catching than a small building. Apart from that, those bridges also simulate the Yarra River next to it. Overall, this design strongly reflects to the background context and utilizes the geographical aspect of the site. This design is suitable for the motorway Project as the project sites are long but relatively narrow lands which can be utilized to place any long span wall/objects to create the endless feeling so that the project becomes more eye-catching. As the design intension is to make the building become coherent within the background context, it creates smooth and logical connection between the highway and inland roads.


ADS2 Project - Yarra Bend Boathouse

Conclusion: Any architecture must be analyzed with the background context or as a whole. Anything that standing there without showing respect to the surroundings will be no senses. An individual building is not architecture however it is just part of the architecture. To this end, architecture must be seen as a whole. Utilizing the background environments is very important. The background environment will be beneficial to the object only if the object shows some respect to it. Especially for the Motorway project, people are most likely to have a glance of the project when they are driving on the highway. Therefore if the background contexts emphasize and support the project, it will be more like a landmark instead of a “boring project�.


“Both in architecture and in an object, there should be a similar level of coherence and mutual reinforcement as there is between the detail and the whole.� -Jean Nouvel, Ateliers

Agbar Tower Bercelona Spain Ateliers Jean Nouvel, Fermin Vazquez/b720 Arquitectos, 2004


As Barcelona is a port city, the design of Agbar tower simulates a jet of water with stable pressure to create a feeling of geyser surging from the earth to the sky in order to reflect the nearby blue water. Therefore the Agbar tower reveals the geographical traits of the city. On the other hand, the tower is also in relation to the background context which includes the legacy of the Guadi’s famous Sagrada Familia (Alex Sanchez Vidiella, 2007). The tower is served as the main tower of Sagrada Familia. It reveals the importance of how building integrates within the background context (Alex Sanchez Vidiella, 2007). This building design can be utilized for the Motorway project as it has strongly internal relationship with the background context as it reflects to the nearby blue water and Sagrada Familia. It will impress drivers by showing the traits of the background context and make them become interested at exploring the surrounding environment.


“Architecture is part of the natural” -Frank Lloyd Wright

Falling Water, PA, USA, Frank Lloyd Wright, 1935


As Wright’s theory of architecture “Architecture is part of the natural” (Hoffmann Donald, 1993), he provided and examined his ideology by making the unique architecture “Falling Water” as part of the natural. This building is built right on top of the existing falling water. Instead of modifying the natural to become suitable for the building, Wright actually decided to let the water go through/under the building. This design maximally maintains the background environments. The materials also reveal the design intension. Stone, brick and timber are all natural materials which can be seen within the background context. How to make the Motorway Project become coherent with the background context is very important. A sudden change of style of upset the background context by creating some incoherent and inconsistent feeling and view. The Motorway project is producing a sign or a landmark and therefore it must contain the traits of the surrounding environment. Those unique traits will then attract and impress people/drivers by drawing their curiosity.


To this end, I have sought to create a new architecture for a time that would reflect an understanding of history, a new understanding of museums, and a new realization of the relationship between program and architectural space. Therefore, this museum is not only a response to a particular program, but an emblem of hope. -Daniel Libeskind

Extension to the Denver Art Museum, Denver, Co, USA, Studio Daniel Libeskind, 2006


The design of extension to Denver art museum is showing how architecture reflects background context by showing the progress of a growing city (Alex Sanchez Vidiella, 2007). The pitched roof blocks represent the Rocky Mountains rock crystals as well show the development of the surrounding city by forming relatively abstract objects projecting all different directions. This also shows the dynamic aspect of a growing city. Moreover, in order to get more connection with the background context. Studio Daniel Libeskind utilized varied materials to emphasis the differences between tradition and modernity so that there is a strong contrast between the “old city” and the “new city”, which on the other hand also relates to the background context by emphasizing the process of development. On the other hand, as a modern design of this century, utilizing of computer software is essential to develop the design and construct the object. This design is suitable for the Motorway project not only because of eye-catching facade, but also showing the dynamic development of the background context.


Reference: 1.Hoffmann Donald(1993), “Frank Lloyd Wright’s Falling Water: The house and history” (USA, Dover Publications) 2.Alex Sanchez Vidiella(2007), “The Sourcebook of Contemporary Architecture” (Spain, An Imprint of HarperCollins Publishers) 3. Daniel Libeskind(2001), “The Space of Encounter”(USA, Universe Publishers)


Computational Design in Architecture Guggenheim Museum, Bibao, Frank Gehry, 1997

“Frank Gehry’s Guggenheim Museum in Bilbao is the best known example that captures the zeitgeist of the digital information revolution, whose consequences for the building industry are likely to be on scale similar to those of industrial revolution: the Information Age, which is “challenging not only how we design buildings, but also, manufacture and construct them.” – Kolarevic, “Architecture in the Digital Age” According to Vanity Fair’s survey of 52 experts, including 11 Pritzker Prize winners, Frank Gehry’s Guggenheim Museum in Bilbao becomes the most important masterpiece of architecture built since 1980. “The building blazed new trails and became an extraordinary phenomenon. It was one of those rare moments when critics, academics, and general public were all completely united about something.” – Paul Goldberger


Parametric/Computational Design concept model

What makes Gehry’s Guggenheim Museum such a success is the adoption of computational design in this masterpiece. It will not stand there without the computational innovation in architectural design, not to mention generating a new era for architecture. Kolarevic also stated in the reading “Digital technologies are changing architectural practices in ways that few able to anticipate just a decade ago. In the conceptual realm, computational, digital architectures of topological, non-Euclidean geometric space, kinetic and dynamic systems, and genetic algorithms, are supplanting technological architectures.” Computational design has a significant effect on contemporary architectural design. Computational design become more and more important for architectural design because its modelling generating can accurately generate virtual models of design and surrounding environments. Architects therefore can analyse, test and review the results which are very close to reality. Moreover, computational design can easily achieve today’s focusing such as sustainability, safety, resistance against natural disasters etc. we can make modifications in the digital drawings rather than redo whole sets of hand drawing. In other words, Computational design method has enhanced efficiency of architects. Furthermore, computational design helps architects corporate with other related professions. Computation based modelling method is capable for analyse the constructability of the design and therefore engineers can easily work out the loads.


Morphogenesis A concept diagram of morphogenesis

Generative design method is the one of unique innovation of computer based design method. Kolarevic gave a definition to it: “In a radical departure from centuries-old traditions and norms of architectural design, digitally-generated forms are not designed or drawn as the conventional understanding of these terms would have it, but they are calculated by the chosen generative computational method. Instead of modelling an external form, designer articulate an internal generative logic, which then produces, in an automatic fashion, a range of possibilities from which the designer could choose an appropriated formal proposition for further development.” We can test out more interesting shapes by morphing the original forms in a generative logical way. A particular important property of NURBS objects is that “they are defined within a “local” parametric space, situated in the 3D Cartesian geometric space within which the objects are represented.” In parametric design, t is the parameters of a particular design that are declared, not its shape. By assigning different values to the parameters, different objects or configurations can be created. Parameters are the direction and constraints that we set to create the geometries suit to our need and design concept.


Parametric Modelling

International Terminal of Waterloo Station, London, UK, Nicholas Grimshaw and Partners, 1994


The roof structure consists of a series of 36 dimensionally different but identically configured three-pin bowstring arches, because of the asymmetrical geometry of the platforms, Instead of modelling each arch separately, a generic parametric model was created based on the size of the span and curvatures of individual arches were related. This is an innovative improvement for design. Parametric design highly upgraded the digital modelling speed for complex non-Euclidean geometry. It also transformed role of architects in the design processes of buildings. “For the first time, architects are designing not the specific shape but a set of principles encoded as a sequence of parametric equations by which specific instances of the design can be generated nd varied in time as needed.” – Kolarevic, “Architecture in the Digital Age” Architects are therefore using parametric method to seek out infinite potential design solutions.


Scripting Advantages

Load Distribution Diagram, ICD, ITKE research pavilion

Scripting affords “a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time.” - Burry, Scripting Cultures Along with extending design experimentation, scripting can also be “the antidote to standardisation forced by an ambition to lower production costs, rather than any more sophisticated motivation: the previously elusive opportunities for multiple versioning and bespoke production can now be considered more seriously through the use of scripting.” - Bury, Scripting Cultures It “affords the designer opportunities to escape the strictures inherent in any software” - Burry, Scripting Cultures


ICD, ITKE research pavilion, Germany, ICD, ITKE University of Stuttgart, 2011

The Institute for Computational Design (ICD) and the Institute of Building Structures and Structure Design (ITKE), together with students at the University of Stuttgart have made this temporary pavilion. The project’s aims are to integrating the performative capacity of biological structures into architectural design and to test the resulting spatial and structural material-systems in full scale. Their focus was set on the development of a modular system which allows a high degree of adaptability and performance due to the geometric differentiation of its plate components and robotically fabricated finger joints. This project is an example of computational parametric design which allows architects to script all potential solutions and choose the most appropriate one to have the further development.


Cut Case Study 1.0

Group Argument: We are interested in patterns that create an experience of movement through triggering the visual perception and engaging the viewer with their surrounding environment.

By far the parametric design impresses me by the way of connecting different components and how it can be easily varied in order to counter any constrains. Parametric design methods which includes panalisation, geometry, structural, kinetic, pattern, biomimicry, attractors and responsive can be utilised to achieve different design intentions. Furthermore, computational design gives better efficiency to architects as they can simply modify the component they want and the computer will automotive generate the result it causes very close to reality. The contemporary technologies can also make the parametric component easy to be manufactured. In conclusion, parametric design will become the style of architecture in the Information Age. As we have been assigned into group to investigate how pattern works in parametric design, we found that pattern is suitable for creating symbols, shadows, data variations and optical illusions. In order to impress the city council, the design of instalment needs to be eye-catching, storytelling and have the capacity of being the landmark.


McCormick Tribune Campus Center, Illinois, OMA, 2003

The faรงade of McCormick Tribune Campus Centre is a great example of parametric design driven by image (data). OMA uses different symbols to form an image of Mies Ven der Rohe. The arrangement of symbols is selected based on the brightness of the image sampler. They eventually produce a picture of Mies Ven der Rohe as a whole. The key thing we have learnt from this is to use different symbols or small patterns to produce a large image.


Remaking the Facade of McCormick Tribune Campuse Centre with a Koala Image as the image sampler

Remaking the Facade of McCormick Tribune Campus Centre with a Koala Image as the image sampler and add extrusion component to the end of grasshopper to let the symbols extrude based on the brightness of the image sampler, the effect is not as clear as the one without extrusion. Therefore I think for the output for pattern design should not be extruded.


Cut Case Study 2.0

John Lewis Department Store, Leicester, Foreign Office Architects, 2008

The reason why we choose John Lewis Department store is because of its double skin. The images printed on the panels are different, but no matter how panels are joined, they always form a continuous image. Therefore the important parts are the image joins at the edges of each panel. They must be identical so that no matter how the panels assembled (rotation, flipping), the image will always perfectly flows to other panels. In the other hand, the double layer also gives the moirĂŠ effect, which makes the pattern move visually. The double layer design also acts as a filter. The patterns have different transparency according to the functions of different internal spaces. Private spaces will have lower transparent pattern to prevent being seen from outside.


Frame of John Lewis Pattern

First, we need to figure out the connecting points at the edges of the panel. We draw a square surface and reference it into Grasshopper, then using the Divide Surface Component to subdivide the surface to have 3 columns and 3 rows. We then got several points in on the surface. Connect the output of Divide Surface to Point List, and flatten Divide Surface component, we then have numbered points. We can then use item list to choose what points we need in order to draw connecting points with same width.


Frame of John Lewis Pattern - Locating Eade Points

Then we can select the points at the edges which can be used to identify the coordinators of the connecting points. We make these edge points become the centre of circles with radius of 0.125. Then use Curve-Curve Intersection Component to find out the intersections points created by the circle and side lines of the surface. The distance between two close points are 0.25, which is the fixed width for the connecting curves.


Frame of John Lewis Pattern - Individual Pattern

Tried to use Bezier component to draw the curves, but it is very complicate and the direction of Bezier curves are hard to control as they sometimes fly out of the panel. We decided to draw the pattern by hand using picture frame and trace over the curves. The connecting points on the edge of this parten has been considered to have same width so they will join up no matter how the panel been rotated or flipped.


Frame of John Lewis Pattern - Overlapping Pattern

Instead of drawing another pattern, we simply rotated, flipped, mirrored the original pattern, and assembled them in a random order by using the data (image) running definition similar to the OMA one. The edges are perfectly connected and formed a fluent image.


Frame of John Lewis Pattern - Overlapping and rotating Pattern

By repeating the first 2 steps with a different image sampler, we form the other layer, then place it on top of the first layer we created before. it shows a fluent image no mater how we pu the panels together, and also shows the moire effect.


Morph Box Method

There is another way of arrange this pattern: Morph Box Component in Grasshopper. This is more useful for parametric design as it can fit any brep or solid in to any loft surfaces created by curves. This is extremely useful when the panel is not flat. We can make our original pattern as the brep and put in any surface we want by using this component.


Design Matrix


(Sin(x))^y

Sin(x*y)*Cos(y*z)

Cos(x)*Cos(y)

Sin(x)+y

Sin(x)+Sin(y)


Circle

Hexagon

Square

Rectangle

Triangle


Input: Overlapping Pattern Association: Multiple Math Function Sin(x*y)*Cos(x*y) Output: Circle and Rotation

We finally decide to use this definition because we believe it has the strongest feeling of motion. This image can be referred as the effect of the wind which is one the most important element when travelling alone Freeway. This 2D pattern also creates a 3D perception. The whole pattern looks like a pair of paper towels are blown up to the air by wind. That reflects back to the situation when people driving pass something like ash or paper towel in Freeway. So this installation is trying to recall people’s driving experience by creating a simulating effect that close to drivers. Moreover, the holes can also provide a strong moirÊ effect. When people driving towards the installation, their viewing angle changes, which means the hole on the first panel will always relate to a new hole on the rear panel. It gives different perceptions to the drivers. This kind of dynamic experience will attract drivers’ curiosity which draws their attention to the land behind the installation that is the Wyndham City.


Eastlink Office, Ringwood, Wood Marsh, 2009

One of our aims is to create a land mark for the Wyndham City. We need to make our installation have the function of become a signage of Wyndham city. Therefore we choose Eastlink office in Ringwood designed by Wood Marsh, it is a example of how a free way art can be seen as a signage. As the cars driving fast, the colours are better to be bold in order to be eye-catching.


Green

Red

Blue

Brown

Triangle


Foil Reflective Card

As we trying to enhance the sensibility of the signage, we believe red colour is strong and very easy to draw people’s attention. In order to find a way to integrate the signage into our installation, we were thinking about not make the sign so “obvious”. Thus we were thinking about paint the signage at the rear panel/internal panel to hide from drivers. However, the question is then how to let drivers “see” the sigh on the internal panel? We eventually came with an idea that is to use a reflective material on the back of first/outer panel to reflect the signage painted on the face of internal panel. When people driving pass the installation, they are able to see the image be reflected through holes.


Original design without signage/reflective material

The original design without signage/reflective material shows a really moiré effect. It is also cable of creating different illusions according to the view points. Therefore drivers in the highway will see different illusions and sense the moiré effect the pattern creates when they driving pass the installation.

Final model

The effect of final model doesn’t show much about our intentions. We think it maybe cause by the material, if we can get some kind of real reflective materials like mirror. It will give a better result. Moreover, the circle may need to be adjusted, maybe increase the density of circles at the left side so that more light can go through and shows more parts of signage at the back.


Improvement

Surface Flow

Surface Attraction

The feedback about our design is mainly about the design is too simple, it is not sophisticated. In order to make our design become more complicated, we are trying to find out some pattern to represent the path of the wind. We found SPM Vector is a very good component to display the path of the wind. We can create an object that blocks the path of the wind and the wind will be either attracted to the surface of the blocking object or just simply blow pass it. SPM Vector will simulate the path of the wind and present them by vector lines. We can use those paths to create some more sophisticated patterns for our incomming design project.


Wind Path indicator

We can then use panels to find the intersections between wind paths represent curves and panels. Use circles to represent the path of the wind, The disadvantage of this design is too abstract and hard to identify the meaning behind holes.


Using Sine cuve to represnt the path of wind

We use Grasshopper to draw an interval of a sine curve which we found out is very similar to a wind path curve, and use it as the attractor curve to control the size of circles on the panel. It has better visual connection with drivers and easy to understand the meaning behind the pattern.


The Gateway Project First Inspiration: FPS


Data: FIRST 289.6 METRES 13.85 m x 5 (2FPS) 5.54 m x 12 (5FPS) 3.95 m x 17 (7FPS) 1.84 m x 20 (15FPS) SECOND 579.2 METRES 0.79 m x 733 (35 FPS) SECOND 289.6 METRES 1.84 m x 20 (15FPS) 3.95 m x 17 (7FPS) 5.54 m x 12 (5FPS) 13.85 m x 7 (2FPS) Our initial design idea is to think about a way of using the method we analysed during the first half semester which is to have several panels lifted along the highway. Based on the length of the site which is around 1000 meters, we think of utilizing the speed of the car and the distance of the site to create some interesting effect. First of all, we think about creating an animation effect according to the distances between panels along the side of highway so that when a car drives beside the panels with a constant speed of 100km/h, driver will experience different FPS. It will also make the driver experience the car is moving in a inconstant speed however in fact the car is constantly travelling at 100km/h. In order to achieve this parametrically, firstly we reference a curve along the road and then we divide the curve into 4 equal segments. In the first segment, we divide the curve into 7 equal segments and then we divide the total length of the first 3 segment into 5 segments so that the distance between panels will be 13.85 meters which gives a 2FPS at speed of 100km/h. we divide the total length of the next two segments to 12 segments so that the distance between panels will be 5.54 meters which gives a 5FPS at speed of 100km/h. Then we divide the total length of the next two segments to 17 segments so that the distance between panels will be 3.95 meters which gives a 7FPS at speed of 100km/h. We divide the final segment into 20 segments so that the distance between panels will be 1.82 meters which gives a 15FPS at speed of 100km/h. In the second and third segment, we divide the total length of them into 733 segments so that the distance between panels will be 0.79 meters which gives a 35FPS at speed of 100km/h. In the fourth segment, we divide the curve into 7 equal segments and then we divide the total length of the first 3 segment into 5 segments so that the distance between panels will be 13.85 meters which gives a 2FPS at speed of 100km/h. we divide the total length of the next two segments to 12 segments so that the distance between panels will be 5.54 meters which gives a 5FPS at speed of 100km/h. Then we divide the total length of the next two segments to 17 segments so that the distance between panels will be 3.95 meters which gives a 7FPS at speed of 100km/h. We divide the final segment into 20 segments so that the distance between panels will be 1.82 meters which gives a 15FPS at speed of 100km/h.


5-side polygon as the geometry


5-side polygon as the geometry - Changing Radius


5-side polygon as the geometry - Changing Radius - Rotating


5-side polygon as the geometry - Changing Radius - Rotating Cars go through

Instead of put the installation beside the road, we also think about letting cars go through the installation. In order to make it become more parametric, we put circles whose sizes are controlled by attraction curves running through the whole installing on top of the panels. But the problem is that the radius of installation will become at least 30 meters as the road is 15 meters wide and therefore the spinning effect will be reduced.


5-side polygon as the geometry - Changing Radius - Rotating Further development

The geometry looks a bit boring, as they are repetitive geometry. In order to make the installation more interesting, I put my effect on modifying the geometry parametrically. We try to control the length of side(s) of our polygon in order to test out if it will give an interesting result. To achieve this, we move the control/edge point of polygon along its side, so it will become a triangle if the distance becomes 0.


Customised Geometry- Changing Radius - Rotating Customised Panels

As all of previous tests don’t really give a good result, we try to apply some customised geometry to our grasshopper definition to see if it will give a result we want. When I think about John Lewis Department store, I want to test out if I can create some similar effect by overlapping customised panels.


The path curve is now flying over the road and so cars are sometimes driving under it. This is to make the installation become more dynamic. The result of this design is quite surprising. Even though we still using same pattern, the effect is that all the patterns are connected as a whole bunch of vein growing along the road and sometimes goes over the road. Furthermore, as the panels got scaled and rotated, visually it is not longer repetitive patterns. Each panel becomes dedicated. More importantly, the entire effect hides each individual panel. It becomes a continuous surface instead of panelised patterns. Personally, I quite like the effect. However, it is not really supporting our argument as our argument is about movement. For this design, the argument is more about growing and filtering the landscape and scenery just like John Lewis Department Store. And also, the structure system for this design will be hard. One way of making it stand up is using the Tensegrity Structure.


Customised Geometry- Changing Radius - Rotating Customised Panels Structural System

As one of our intension is to hide the structural system from our panels so that the installation will look like floating in the air, we are thinking about using some light framed structural system. We then find that tensegrity system may fulfil our needs. It is light-frame, rigid and balanced system. This system only contains two categories of components, the compression member and the tension member. The tension member is usually wires which can have less visibility. Therefore it is ideal for our design installation in order to make panels float in the air.


Tensegrity - Precedent

Kenneth Snelson’s Tensegrity Sculpture illustrates the way of utilising tensegrity structure in our installation. The aim of tensegrity is to balance the object or design in the position we want. The contrast between its compression member which is normally a metal tube and its tension member which is normally steel wire will reduce the visibility of the tension member. Therefore the entire object will seem to only have compression member which are also not physically connected. It is emphasizing floating effect of the object.


Customised Panel based on Tensegrity Structural System

In order to utilise tensegrity system in our design, we need to make our panels capable of assembling together by the compression and tension member in tensegrity system. To do that, we need to have 3 points on our customised panels to connect to the tensegrity members. Based on this, we think about using a triangular panel shape due to its rigidity at 3 vertices. On other hand, in order to make the installation relate to the side, we have an idea of stimulating sea-gull. The Wyndham city is partially surrounded by the sea therefore we expect there is a lot of sea-gull in the city. Combining previous two ideas we decide to use “boomerang” like panel shape to emphasizing the birds. To make to more interesting, we decide make wings of “boomerang” flip so that it becomes similar to flocks of birds who got frightened by cars and fly away.


Apply Tensegrity structure to the Gateway Project

How to apply the tensegrity structure to panels is a tough task. We need to think about structural rigidity while maintain the structural system. The panels in between tensegrity frames cannot be structural joint. It means the panels must be hung in the structural system. The panels cannot transport loads. Otherwise the whole thing is not tensegrity structure anymore. To achieve that we need to make sure the panel is not a structural joint. We think about using a long string goes through holes in the compression member then to the holes in panel to the next tensegrity structure. During the model making process, I found that the material is not strong enough. For tensegrity system, all of the tension member must be tightened up but when I am doing that, some metal tube deformed as they can bear the tension from the fishing lines. And also because we are using the perspex as our panel material, long span tensegrity frame work cannot really bear the weight of them. So it is very hard to have the panel flown in the air by the structure itself. We need to use columns to hang the entire concept model.


Tensegrity – Control height and direction

It is also possible to change the direction of the installation by modifying the tensegrity structural system. To achieve this, we can just extend or shorten the lengths of certain compression member in order to form directional triangles which will affect the angle and direction of connection panels. Therefore the tensegrity system is very suitable for our design intension which will have panels flown in the air. In the other hand, as our installation is flying over the road, it will certainly create an arc shape which has 2 support points at each end. It will allow the structural to have about 70 meters span. On the other hand, according to the FPS arrangement, some distance between panels are quite large. So we decide to have more than one tensegrity system before it connects to panels. It will efficiently reduce the load bearing capacity of the compression member as the loads are distributed into several compression members. In other words, it reduces the strength of compression member, less weight, less cost.


Photographing Process

We bring our model to Umer’s friend’s house to take some photo. His friend is really an expert in photography. As our model is white, we ask him to set up a black background for the model in order to create some contrast. We take several photos in different angles. They all look brilliant. We also put couple of LED behind the panel to create some sort of night vision of the panel.


Photos of the model


Night effect photos


Further Development Path curve determination

Initially we want to create some natural curve that drives the panels. We used the SPM component in grasshopper to create some sort of surface flow curves. The produced curves are smooth and natural like a line of air flows over a ball. The curve path is more close to a flock of birds. However some of the lines are flying on top of the road without any support so we compromised with the path curve. We decide to use the previous one which goes over the road a few times and creates s few arcs to support the panels that fly in the air. We got the feedback in the presentation that about building up supports lie columns along the road in order to provide support for the panels flying in the air. We tried that found out that when we install any kind of support along the road will disturb the effect of the installation. The supports are too visible and contrast to the installation. The entire floating effect will then disappear. Their effect will eventually become something like electrical poles.


Columns supporting Panels VS Original Panel Personally, I like the Original


Experience about parametric design What i have learnt? From

To


Mid-semester EOI Feedback At the beginning of the semester, I have known nothing about parametric. During the preparation of mid-semester EOI presentation I have gradually learnt the knowledge about parametric. Especially in utilising grasshopper in the parametric design process. We have not yet deeply explored that addon in our EOI as we were stuck in a few things like finding the equation for the wind, panelization etc. In the end we came up with a single idea which just overlaps two identical panels with holes on them to create the moirĂŠ effect. We also tested the materials to find out the best reflective material. As the limitation of using laser cutter, we could not really use a good reflective material to represent our idea. More importantly, our design for the EOI was not sophisticated, we need to think widely and keen to test something that is hard to achieve. The physical modem in the presentation was too cheap and it was properly standing up. In order to achieve this, we can bridge two panels so that they will have a better structural system. We indeed need to develop our grasshopper skill for our final gateway project.

Final presentation feedback In order to create a sophisticated design for the final gateway project, we tried to make our design more parametric. The setup many variables such as number of sides, rotation angles, radius, sizes and path curve. But we found out that too many variables sometime are not good. They will disturb the initial design concept which was to create a frame per second animation. Moreover, we found out that structural system is very important for the design as it may affect the design. We did a few researches about the tensegrity system. There are not many texts about it as it is very conceptual and complicate. But there are already many amazing designs projects structurally driven by tensegrity system. The tensegrity system is all about to create a balanced status by only using compression and tension member. Human beings are also an example of tensegrity system. This structural system is very good for design intension that about making things float as its structural system is less visible than others. I am sure I am going to step further into the field of tensegrity. In conclusion, during the semester I have learnt the parametric design and I quite enjoy it because it is capable of producing amazing design. The knowledge of grasshopper I have learnt during the semester will be extremely useful for my future architecture career.


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