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ADS 3: AIR JOURNAL W Y N D H A M G A T E W A Y P R O J E C T A L E X W O O H Y U K C H O I


CONTENTS

EXPRESSION OF INTEREST CASE FOR INNOVATION ARCHITECTURE AS A DISCOURSE COMPUTING IN ARCHITECTURE PARAMETRIC MODELLING CASE FOR INNOVATION CONCLUSION

RESEARCH PROJECT SCOPE OF POSSIBILITIES RE-ENGINEERING PROJECT

DESIGN PROPOSAL EXPRESSION OF INTEREST

PROJECT PROPOSAL RE-THINKING OF DESIGN OVERCOMING LIMITATION FINALIZING DESIGN

LEARNING OBJECTIVES AND OUTCOMES

PARAMETRIC DESIGN CAN BE FOUND EVERYWHERE ESPECIALLY IN NATURE FORMS OF NATURE ARE DECIDED ACCORDING TO PERFORMANCE AND ADAPTABILITY THE GRAIN SIZE OF SAND ON THE BEACH ARE DERIVED FROM ADAPTABILITY FROM SEA WAVE PATTERN ON THE SAND IS DERIVED FROM GRAIN SIZE AND WIND SPEED AND DIRECTION


CASE FOR INNOVATION ARCHITECTURAL DISCOURSE VIRTUAL ENVIRONMENTS TANAKA AUTO DOOR ORIGAMI ARCHITECTURE AND PROGRAMS CONCLUSION


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RCHITECTURE AS A DI S C OU R S E

THE FIRST COMPUTATIONAL DESIGN THAT I HAVE EXPERIENCED WAS ‘VIRTUAL ENVIRONMENTS’ WHICH WAS A SUBJECT IN SEMESTER 1, 2010. IT PROVIDED ME AN OPPORTUNITY TO EXPERIENCE THAT THE FORM IN VIRTUAL COMPUTER SCREEN, WHICH HAD BEEN MODIFIED IN NUMEROUS ATTEMPTS, CAN BE REALIZED AT ONCE IN REAL WORLD WITH DIGITAL FABRICATING. THE FORMS ARE SEGMENTED INTO HUNDREDS OF TRIANGLES WHICH IS BASIC GEOMETRICAL SHAPE TO COMPOSE THE 3D FORM AND TO BE PRINTED ON THE PLANAR PAPER SURFACE. IT WAS ASSEMBLED AFTER PRINTED OUT AND EACH 2D TRIANGLE BECAME THE 3D FORM WHICH WAS EXACTLY SAME WITH THAT OF COMPUTER SCREEN. WHEN COMPUTER IS APPLIED ON THE DESIGNING, IT ENABLES THE NEW POSSIBILITIES OF NEW FORMS BY EXPERIMENTS WITH DIFFERENT TOOLS OF PROGRAMS. I FOUND IT IS SOMETIMES NOT ONLY BRINGING THE DESIGN FROM HEAD TO COMPUTER SCREEN, FURTHERMORE, ALSO GIVING NEW INSPIRING IDEAS, WEATHER IT IS MADE INTENTIONALLY OR ACCIDENTLY, WHICH CAN BE DEVELOPED AS BETTER DESIGN.

VIRTUAL ENVIRONMENTS


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TANAKA AUTO DOOR

The Tanaka Auto Door opens automatically when you stand in front of it. Even better, it only opens just enough to let the individual person come in. IT IS COMPUTERIZED TO MEASURE THE SIZE AND SHAPE OF THE PERSON COMING IN AND TO OPERATE BY SENSORS. TO DO SO, IT OPENS EVERY DIFFERENT SHAPES OF OPENING ACCORDING TO THE OBJECT COMING IN. THE ADVANTAGE OF THIS IS ON REDUCING THE AIR FLOW OUTWARD, MINIMISING THE AMOUNT OF AIR CHANGE IN TERMS OF HEAT, DUST AND POLLUTIONS. FOR THE ENVIRONMENTAL ARCHITECTURE DESIGN, IT ADVANCED THE EFFICIENCY OF HEATING OR AIR PURIFYING SYSTEM IN THE SPACE, FURTHERMORE IT SHOWS THE POSSIBILITIES HOW COMPUTERIZED TECHNOLOGIES CAN ADVANCE THE ARCHITECTURE AS IT BRINGS A PRACTICAL RESULT, WHICH IS REDUCING THE COST OF HEATING OR AIR PURIFYING. IT IS SIMILAR WITH PARAMETRIC DESIGN IN SOMEWHAT SENSE, THAT IT PARAMETERIZES THE ACTION OF HUMAN BEHAVIOUR AND APPLIES ON THE DESIGN. IN GRASSHOPPER, THE NUMBER OF PEOPLE AND THEIR MOVEMENT CAN BE PARAMETERIZED AND APPLIED ON THE DESIGN. HOWEVER, WHILE ‘TANAKA AUTO-DOOR’ BRINGS PRACTICAL APPLYING, WHAT GRASSHOPPER CAN DO ON THE DESIGN MORE THAN GEOMETRICAL PATTERNS AND INSPIRING SHAPE? THE SIZE OF OPENING AND SPACE COULD BE PARAMETERIZED, THE SCALE OF EACH MODULE OF FACADE COULD BE PARAMETERIZED. THE EXTERNAL FACTORS SUCH AS WIND PRESSURE AND DIRECTION OF SUNLIGHT CAN BE PARAMETERIZED. I THINK GRASSHOPPER CAN FURTHER GO TO ANOTHER DIMENSION WHEN IT BRINGS SOME PRACTICAL FACTORS, NOT MERELY REPRESENTING INTERESTING FORMS OR SHAPES.


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origami architecture & software

Origamic Architecture begun with Professor Masahiro Chatani's experiments with greeting card became new-way of architecture in terms of getting inspiration and developing design. There are a number of type of Origamic Architecture. In one style, a folded paper is cut in a way of making form that will be revealed when paper is opened in a 90 degree. Moreover, shape and forms are expressed not by the pop-up paper but also shadows made by paper floating. As well as the paper is cut through thoroughly consideration of the form to express, also, Origamic Architecture is used in a way of making unexpected pattern by cutting a multiplefolded paper with scissor. Professor Chatani thought this three-dimensional pattern created could be a good way of teaching architectural design and appreciation of architecture and, also, inspiring interest in mathematics and arts.

In terms of creating new way of architectural thinking, it sounds similar with Parametric Architecture that I am getting to involve. As Jerome said in tutorial, as long as we can think parametical design in our brain, we do not need the parametical program such as grasshopper and rhino. Applying this into Origamic Architecture, as long as we can imagine and describe the repetition of different pattern paper cutting, we do not need the paper and scissor. As can be seen when Frank Gehry got inspiration of guggenheim museum, he just crumpled a piece of paper and threw it on the desk to get new form which can hardly be designed by human brain.

Perhaps, I think that those ways of architecture is a kind of breaking through of human brain which already get used to the regular shape of design. Some said that people feel most comfortable in rectangle space rather than triangle or organic shape. However, if that is because our brain just get used to rectangular shape, we have to condider again about what the best design is. In a position of a student starting parametric design, I hope I could find ideal alternative design in parametric architecture.


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ORIGAMI ARCHITECTURE & SOFTWARE

‘TREE MAKER’ IS A PROGRAM WHICH EMULATES ORIGAMI IN COMPUTER SCREEN SO THAT USER CAN EXPERIMENT ORIGAMI STRUCTURE WITHOUT FOLDING PAPERS BY HAND AND WASTING PAPERS FOR EXPERIMENTS. COMPUTERIZING MAKES THINGS ABLE IN TERMS OF MULTIPLE POSSIBILITIES. SAME AS THE GRASSHOPPER WHICH BROADENED THE POSSIBILITIES OF FORMS BY CHANGING ACCORDING TO PARAMETER, THE TOOL ‘TREE MAKER’ PROVIDES ORIGAMI ANOTHER DIMENSION OF DESIGNING BY ENABLING THEM TO BE SHOWN WITH IMMEDIATE RESULT AND FAULT. INITIALLY, ORIGAMI IS THE WAY OF DESIGNING, CREATED FOR THE ANOTHER INSPIRING ALTERNATIVE WAY, SUCH AS UNEXPECTED RANDOM SURFACES CUT BY MULTIPLE SCISSORING OR PATTERNS FOLDED BY REPEATED GEOMETRIC LINES. HOWEVER, THE ‘TREE MAKER’ JUMPS THAT AND, FURTHERMORE, EVERY RESULT CAN BE SEEN IMMEDIATELY, FOLLOWED BY EVERY ACTION TAKEN ON THE PAPER. IS IT PROGRESS OF ORIGAMI OR REGRESSION OF ORIGAMI? WITH IMMEDIATE RESULT SHOWN ON THE SCREEN, IT SEEMS ORIGAMI LOSES ITS TASTE OF RANDOM AND INSPIRING. IF EVERY ACTION CAN BE EXPECTED FOR THE RESULT, IT MIGHT BECOME MERE KIDS’ BRAIN TRAINING GAME. ON THE OTHER HAND, WITH THE POSSIBILITIES OF IMMEDIATE RESULTS, THERE MUST BE NO MORE WASTING OF TIME LOOKING FOR INSPIRING OR FASCINATING RESULTS. MOREOVER IT REDUCES THE AMOUNT OF PAPERS DISCARDED AFTER EXPERIMENTS. THE RESULT WILL BE PRINTED WITH DOTTED LINES ON THE PAPER WHICH WILL REALIZING THE FORMS ON THE VIRTUAL COMPUTER SCREEN. IT IS A WAY MUCH SIMILAR WITH ‘GRASSHOPPER’ TOOL IN THE RHINO. IT ENABLES THE RESULTS TO BE SHOWN IMMEDIATELY, ACCORDING TO SOME PARAMETERS. THE RESULT HARDLY INCLUDES ARCHITECTURAL STRUCTURE IN THE FORM, IT MORE DELIVERS THE FORMS OF INSPIRING, WHICH MUST BE DEVELOPED IN STRUCTURAL MANNERS TO BE REALIZED IN REAL WORLD. HOWEVER, IT REDUCES THE TIME OF MODELLING, NOT BY REPEATING MEANINGLESS CLICKING ON THE RHINO, AND THE PRODUCED GEOMETRY CAN BE DISCARDED OR FURTHER DEVELOPED BY LOGICAL TOOLS IN GRASSHOPPER. AGAIN, IT LEAVES ANOTHER QUESTION IF THE GRASSHOPPER IS PROGRESS OF ARCHITECTURAL WAY OR JUST INSPIRING WAY. IT CONQUERED THE FIELDS OF GEOMETRIC, RANDOM AND INSPIRING FORMS IN LOGICAL AND MATHEMATICAL MANNER. HOWEVER, IN TERMS OF REALIZATION IN REAL WORLD, IT STILL NEEDS TO BE FURTHER DEVELOPED AND BE AIDED REGARDING TO STRUCTURAL AND FABRICATING WAYS. THIS IS THE REASON WHY THERE IS NOT MANY EXAMPLES OF PARAMETRIC ARCHITECTURE, WHEN COMPARING TO ITS DRAWING ATTENTION.


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CONCLUSION

THERE ARE NUMEROUS WAYS OF INSPIRATION. THE PARAMETRIC DESIGNING BRINGS US IMMEDIATE FASCINATING DESIGNING FORM WHEN MATHEMATICAL LOGIC IS APPLIED. IT COULD BE DEVELOPED AS WONDERFUL RESULTS. GEOMETRICAL PATTERN IS GOOD. PARAMETRICAL FORMS IS ALSO GOOD. HOWEVER WHEN THINKING BACK ABOUT WHAT THE ARCHITECTURE IS, IT MUST BE WITH CONSIDERATION OF PRACTICAL REASON, WHICH IS BEYOND MERE A FORM OF DESIGN, IN TERMS OF EXPERIENCE OF PEOPLE IN THE SPACE AND ACCOMMODATING THEM. ARCHITECTURE IS DESIGNING EXTREMELY PRACTICAL OBJECT, WHICH WILL BE SPACE OF LIVING AND EXPERIENCE IN HUMAN SCALE. THE TANAKA AUTO DOOR REPRESENTS GOOD EXAMPLE OF HOW COMPUTER IS APPLIED ON THE ARCHITECTURE. IT GIVES THE DESIGNER A SPECIFIC REASON WHY HE OR SHE SHOULD INSTALL IT IN THE SPACE. ON THE OTHER HAND, ‘TREE MAKER’ MAKES THE BOUNDARIES OF DESIGNING WAYS IN ORIGAMI OBSCURE, SINCE ORIGAMI IS JUST USED AS INSPIRING TOOLS FOR INTERESTING DESIGN, WHEN IT IS NOT WITH PRACTICAL REASON. THEREFORE, MY APPROACH ON GRASSHOPPER WILL BE ON THIS PRACTICAL REASON, CONSIDERING THE EXPERIENCE OF THE SPACE IN HUMAN SCALE. THERE MUST BE A WAY OF ONLY COMPUTERIZED DESIGN CAN REALIZE, BEYOND MERE ABSTRACT FORMS DEVELOPED FROM ABSTRACT CONCEPTS.


CASE FOR INNOVATION WEEK 2 : COMPUTING IN ARCHITECTURE SHELKH LOTE ALLAG MOSQUE MEDIA CENTRE TECHNOLICAL UNIVERSITY COTTBUS INFRARED: MADREN 5340


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OMPUTING IN A R C HI T E C T U R E

Parametric Architecture forced me to not only look forward but look back some precedents such as some patterns in Mosque. We became able to play and elaborate patterns with Grasshopper tool, which wa also tried on the historical patterns which are mainly upon planar wall. If parametric architecture needed to be said as new architectural step, it should be something beyond this mere patterns, which can be designed some mathematical knowledge and sketches,toward whole new stage by elaborating these patterns onto three dimensional concepts, satisfying functional manners as well.


SHEIKH LOTF ALLAG MOSQUE

Mosque Pattern made in Grasshopper by Caglar Yazici -http://nfoldgeometry.blogspot.com.au/2012/03/onion-shaped-pattern.html

AS ASSERTED IN HISTORICAL GOTHIC ARCHITECTURAL STYLE, I FIRMLY AGREE WITH THE IDEA THAT EVERY COMPONENTS HAVE TO HAVE THEIR OWN FUNCTIONAL MANNER. LIKE WE SEEN IN ‘ORNAMENTS AND CRIME’ WRITTEN BY ADOLF LOOS, THE COMPONENTS WHICH IS NOT IN AT LEAST ONE OF THE FUNCTIONAL CATEGORY CAN BE USELESS ORNAMENTS MERELY PLEASING THE EYES. THEREFORE, I AM LOOKING FOR SOME CRITICAL IMPLICATIONS THAT ONLY PARAMETRIC ARCHITECTURE CAN BRING, EXPLOIT AND PIONEER. IT MUST NOT BE ABOUT ONLY NEW WAY OF ENTERTAINING OUR VISUAL PLEASURE, SINCE ARCHITECTURE IS NOT A MERE ART WORK, IT MUST BE SOMETHING SUBLIME, AT THE SAME TIME, BRINGING THE PRACTICAL PURPOSE. WHAT IS THE PRACTICAL ISSUE ONLY PARAMETRIC ARCHITECTURE CAN DO? WHEN IT IS COMPILED WITH THOSE FACTORS, THEN IT COULD BE CALLED AS NEW CHAPTER OF ARCHITECTURE IN THE TRUE SENSE OF THE TERM, APART FROM MODERNISM OR POST-MODERNISM.


The amoeba-like ground plan seems to spread and flow into the surrounding landscape. But is it a purely accidental shape as the result of spontaneous artistic inspiration and an expression of the architects’ personal feelings? Although indeed appearing, at first sight, to be a purely accidental shape, it proves on closer inspection to be a purposeful configuration of many different flows of movement. We made models to work out the sequences of movement and to test their quality, specifically their ability to reorganize and restructure urban space. - Herzog & de Meuron, 2005


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MEDIA CENTRE TECHNICAL UNIVERSITY COTTBUS

The shape of this media centre building would seem like a building which just follow the organic form only for eye pleasure. However, the curved shape has been designed according to the movement around the building including consideration not only of campus scales, but the urban scales. The initial idea started from suggesting two rectangular building placed toward west campus and main lecture building respectively, however, with the consideration of movements which must not be able to be linear pattern but fluid curve by computer aided calculation, it ended up with this final design. The size of entrance and spaces has been decided according to specific data by calculating them with computer. Moreover, the pattern, which seems randomly made, also printed and placed with consideration of data on passive design such as sun direction, brightness, internal temperature and functionality, for example, less light for the reading room or more light for lounge. Although it can be seen as modern building merely mimicking new organic form, the external and internal forms were decided exactly measured by computer aided calculation of data with variety scales and variety performances.


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Madren 5340 is a temporary installation designed and fabricated by infrared in the context of the platforms 1 exhibition, organized by ArqLab and the Art|House gallery bar. The theme of the exhibition was asking for proposals that would investigate the concept of private or personal space, like that of one’s own bedroom. Infrared focused on the idea of a filter the regulates what comes in and what stays out from such a personal space. The idea of the filter was represented in space by a patterned surface. That surface/filter is regulating the amount of light that passes through it. The surface was made in its entirety out of paper tubes, creating this way a perforated ‘facade’ that played with the light and the visibility (or their absence). The surface was generated algorithmically through an interpolation between several sine curves of different wave length and amplitude. The difference in the wave length resulted in a doubly curved surface that maximized, through its curvature and its footprint, the stability of the structure. The surface was then populated by the paper tubes that were positioned perpendicularly to its vertical direction. The solution was afterwards optimized for fabrication reasons. In effect, each paper-tube is becoming something between a voxel and a pixel: it is positioned in space trying to represent a thin volume that reads as a surface - the properties of the volex - while at the same time displays a certain intensity of light - the properties of the pixel. The aggregation of the tubes is approximating the curvature of the initial surface.


INFRARED: MADREN 5340

This can be called as ‘Innovative architectural design’ which satisfying esthetical manners and functional manners at the same time. Scientific figures imported onto computer and computer realized combining them with design. Dividing area into numerous points and giving each different properties according to light and shadow is not something can be done easily with human brain. But as long as we have some idea, as computer is just tool not creating intelligence, we can realize it with computer which has least error and mistake, not like human brain, as kalay said on the book, ‘Architectures New Media.’


CASE FOR INNOVATION PARAMETRIC MODELLING VORONOI PATTERN NATIONAL PERFORMING ARTS CENTRE TULUM MUSEUM NET. LAB


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A R A M E T R I C M O D E L L I N G

VORONOI PATTERN

In mathematics, a Voronoi diagram is a special kind of decomposition of a given space, e.g., a metric space, determined by distances to a specified family of objects in the space. These objects are usually called the sites or the generators and to each such object one associates a corresponding Voronoi cell, namely the set of all points in the given space whose distance to the given object is not greater than their distance to the other objects. Voronoi diagrams can be found in a large number of fields in science and technology, even in art, and they have found numerous practical and theoretical applications. It is the technique that enables the division of such multi-dimensional spaces into sub-spaces.

Voronoi pattern is exploited on various field such as geometry, medicine and even semi-conductor technology. Furthermore, as Voronoi pattern started from spacial geometry, it became much related with architectural design. Voronoi pattern pursue the space itself and, furthermore, its systemical relationship with adjacent space.

This algorithm has been able to realize by computer aided parametric design and elaborate and redefine space in terms of relationships of surroundings, for instance, geometry, movement, commercial approach, urban development and etc.


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NATIONAL PERFORMING ARTS CENTRE ZAHA HADID

The voronoi pattern has been applied on the master plan of whole site. Regarding to its geometry, entrance decision and movement, Zaha Hadid allocated the space according to its spacial needs and relationship with adjacent space. Moreover, the cell shape of voronoi pattern has decided the facade, canopy and roof of buildings itself, ending up with fluid orgarnic architectural forms.


TULUM MUSEUM ANDREW KUDLESS

In Tulum Museum designed by Andrew Kudless, the voronoi pattern has been applied on the facade and walls for interior. Those hollow cells makes the structure lighter so that structural wall can bear load, at the same time, it changes the notion of structural wall from blocking sight to looking through.


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NET. LAB G NOME

The Net. Lab project launched by suggestion of design team ‘G-Nome� in AA school is the research project conducted for 16 months about the effect of voronoi algorism toward social system, scale and spacial demands by parametric modeling.


RESEARCH PROJECT SCOPE OF POSSIBILITIES DEFINITION MATRIX 90 DEFINITIONS SELECTED COMBINATION OF DEFINITION SITE CONTEXT


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OUTput

DATA DRIVEN COMPONENTS

DATA DRIVEN EXTRUSION

DATA DRIVEN ROTATION

PATTERNING

CURV


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EXPLICIT GRIDS

OVERLAPPING PATTERNS

SURFACE GRIDS USING

SURFACE NORMALS


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SELECTED COMBINATION OF CUT DEFINITION: ATTRACTOR POINT

+ ROTATION

+ multiple function

+ boolean pattern Attractor points affects on whole pattern according to its location and intensity. Therefore, it can be manipulated in architectural ways such as location of columns of facade, location of windows and size of outside view to be revealed.


SELECTED COMBINATION OF CUT DEFINITION: IMAGE SAMPLER

Image sampler is another powerful tool to manipulate surface according to contrast and brightness of the image. Through this, pattern can be expressed on surface in a way of concave and convex. For instance, when the picture of outside view entered, the pattern on facade can reveal outside according to its variation of colour.

In terms of Kalay’s reading, as we are dealing with computational design and applying it onto architectural object, we have to be able to manipulate it along with some parameters. In site, there are always some factors confronting us, not like ideal design produced on virtual space. Therefore some factors should be evaluated and applied onto the parametric design by being able to manipulate design along with several factors.


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WYNDHAM GATEWAY PROJECT

As driving through highway, drivers hardly care about the something beside of the road when the passengers do. Drivers just focusing on the road, catching a hurried glimpse of sculpture. As considering the drivers’ sight and passengers’ sight at the same time, we found some connection of design principle from the Banq restaurant. Drivers scarcely turn their head around to see the objects beside of the road, they just see the objects in the angle when driving and approaching. On the other hand, the passengers on the back sear see the object in a right angle from their seat. They lower the window of back seat and turn their head to look around.


OUTCOME OF THIS WEEK

As an object beside highway, it has to be dealt with two different angle, as can be seen left, for drivers and passengers. with extrude definition, we can elevate the pattern up, which can be played with two different angle, one from above, the other from side. however, further research for grasshopper definition is needed to manipulate it with diverse angle and point of view.


RESEARCH PROJECT RE-ENGINEERING PROJECT BAN-Q RESTAURANT APPLYING ON DESIGN


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BAN-Q RESTAURANT

Located in the old Penny Savings Bank, Banq is a restaurant located at the base of the old banking hall. Divided into two segments, the front area on Washington Street is programmed as a bar, while the larger hall behind serves as the dining area. The design of the space, however, is conceptualized around another division, on the z axis, between the ceiling and the ground. If the ground needs to remain flexible as a result of fluctuating activities of the restaurant space– two seaters, fours, and sixes, among a range of other organizations related to parties and other events– then, the ceiling contains fixed programs that are part of the building’s infrastructure– the structure, drainage, mechanical equipment, sprinkler system, lighting, and other the acoustic systems. To that end, we have developed a striated wood-slatted system that conceals the view of the mechanical, plumbing, and lighting systems on the longitudinal axis, while offering a virtual canopy under which to dine. The geometry of the wood slats conform to each equipment above, but are also radiused in order to smoothen the relationship between other adjoining equipment, creating a seamless landscape.

From Archidaily


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BAN-Q RESTAURANT

IMAGE SAMPLER AS DISCUSSED IN WEEK 4, WE CHOSE ‘IMAGE SAMPLER’ IN ORDER TO MANIPULATE SURFACE ALONG WITH SOME IMAGE. I FOUND OUT THAT THE IMAGE DOES NOT HAVE TO BE THE PATTERN. ACCORDING TO, IN THE CASE OF BANQ, THE ARCHITECTURAL PLAN REGARDING TO SOME FACILITIES ON THE CEILING, IT WAS ABLE TO MANIPULATE THE BRIGHTNESS/CONTRAST VALUE IN PHOTOSHOP. FOR INSTANCE, THE IMAGE ON THE RIGHT IS THE IMAGE THAT I MADE, WHICH HAS BEEN EXPRESSED IN THE CEILING EXPERIMENT ABOVE. IT WAS MUCH MORE POWERFUL TOOL THAN ATTRACTOR POINT AS WE CAN PLAY AROUND WITH DIVERSE DATA ON THE PLANAR SURFACE. HOWEVER, IN CASE OF LINEAR PATTERN OR ORGANIC ARCHITECTURAL FORM, ‘ATTRACTOR CURVE’ OR ‘ATTRACTOR POINT’ MIGHT BE MORE SUITABLE.

INTERPOLATE CURVE AND OFFSET TO DUPLICATE THE CURVED WHICH HAS PATTERN TOWARD Z-AXIS IN ORDER TO MAKE IT SURFACE, I USED ‘INTERPOLATE CURVE’ TO DRAW LINES THROUGH ELEVATED POINTS AND ‘OFFSET’ TO MAKE ANOTHER LINE TO BE CONNECTED AS SURFACE. THEN FOUR ‘EDGE SURFACE’ WERE USED AND THOSE ARE JOINED. IN MY OPINION, AS LONG AS WE CUT THE MATERIAL THROUGH THE LINE, IT DEPENDS ON THE THICKNESS OF MATERIAL, NOT ON THE HOW MUCH IT IS OFFSET. THEREFORE, THE THINKNESS OF MATERIAL HAS TO BE CONSIDERED THROUGHFULLY WHEN GIVING INTERVALS OF EACH PANELS.


DEVELOPING IDEA FROM BAN-Q RESTAURANT

In Banq restaurant built at base of old bank, which had been left for years, parametric modeling has been used as a solution to create a fancy restaurant out from abandoned place. A striated wood-slatted system pattern hides and reveals surrounding at the same time. It hides the system of ceiling from sight, but it does not interrupt any air circulation to duct which is essential for the restaurant. According to the depth of each timber piece, the angle where we can see the system on a ceiling increases or decreases. Therefore, they thickened the depth of timber on ceiling in order to hide the systems, but on the wall, they reduced the depth of timber piece where the views where they intend to show are. We choose this design method in terms of site context of highway, which has to be played with angle. As driving through highway, drivers hardly care about the something beside of the road when the passengers do. Drivers just focusing on the road, catching a hurried glimpse of sculpture. As considering the drivers’ sight and passengers’ sight at the same time, we found some connection of design principle from the Banq restaurant. Drivers scarcely turn their head around to see the objects beside of the road, they just see the objects in the angle when driving and approaching. On the other hand, the passengers on the back sear see the object in a right angle from their seat. They lower the window of back seat and turn their head to look around. Therefore, in this two different driving experience in different angle, the striated slatted system can be suggested as a solution in terms of sight angle of observers. With variation of depths of panel, driver can see some patterns on the wall, at the same time, the passengers are still able to see the landscape beside highway with looking through the striped wall panels.


BAN-Q RESTAURANT

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APPLYING ON OUR DESIGN

For the city of Wyndham, we want to design a gateway that is not only eye catching from the outside, but also from the inside. We have come up with this idea after considering both the driver and the passengers. Our logic is that the driver can only see what is ahead of them, whereas passengers are more drawn towards the sides of the vehicle. Keeping this in mind, we coincided with the idea that we can design a parametric model that is specially aimed at the driver who looks ahead, and in doing so, sees a visual pattern that. The passengers on the other hand, will be able to see through the slits as the car passes travels through the gateway and see the surrounding landscape and other interesting displays caused by the patterns in the parametric model. Essentially, what we want to do is to create an experience for both the driver and the passengers. As it is evident, we have played around with, in one respect, endless possibilities in parameters and matrices. Our experimentation with matrices along with support by strong precedents and unique ideas will ensure that the proposal for the gateway will bring success to Wyndham City. In the end we are not only designing something exciting and eye-catching, we are also focusing on the context of the gateway in terms of the social and cultural growth of Wyndham city.


DESIGN PROPOSAL WYNDHAM GATEWAY PROJECT


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WYNDHAM GATEWAY PROJECT

Based on research and interest of Parametric design, our design proposal has been produced. As mentioned before, it is mainly focused on angles, especially, from sight of driver and passenger. As a driver approaching to the object, he or she will take a bit of glimpse of the object, keeping focusing on the road mainly. However, from the passengers sitting on the seat, they only can see the pattern from a right angle from pattern. We can develop this design further by playing with some different pattern which can be seen in different angles. As Jerome said in presentation, it can be played with two different advertisement for different ages, such as, advertisement for 30-40s for driver and that for 0-10s for passenger. By the way, as we are to deliver and express ‘growing Wyndham City’ symbolically, tree has been expressed on physical model temporally, however, it will be developed further with more diverse angle and experience.


For Driver

degree 1515DEGREE

degree 3045DEGREE

60DEGREE degree 45

DOMAIN 1.0 - 3.0 PROJECTED ALONG Domain 1.0 -3.0 VECTOR INProjected 15 DEGREE along vector 15 degree

DOMAIN 1.0 - 5.0 PROJECTED ALONG VECTOR INDomain 15 DEGREE 1.0 - 5.0 Projected along vector 45 degree

DOMAIN 1.0 - 6.5 PROJECTED ALONG Domain 0 - 6.5 VECTOR IN Projected 60 DEGREE along vector 60 degree

For Passenger

90 DEGREE

DOMAIN 1.0 - 3.0 PROJECTED ALONG VECTOR IN 15 DEGREE

DOMAIN 1.0 - 5.0 PROJECTED ALONG VECTOR IN 15 DEGREE

DOMAIN 1.0 - 6.5 PROJECTED ALONG VECTOR IN 60 DEGREE


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GRASSHOPPER DEFINITION


ANGLE EXPERIMENTS ON PHYSICAL MODELS

From 45 Degree

From 60 Degree

From 90 Degree


PROJECT PROPOSAL RE-THINKING OF DESIGN PROCESS FIRST FAULT SECOND FAULT THIRD FAULT FOURTH FAULT NEW POSSIBILITIES


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BASED ON DIFFERENT ANGLES AND DEPTH OF SLITS, THE DESIGN PROPOSAL SEEMS SUCCESSFUL AND HAVING NO PROBLEMS ON DEVELOPING FURTHER. HOWEVER, WE CONFRONTED THE LIMITATION OF OUR DESIGN. WE INTENDED TO DESIGN IT IN THE CONCEPT OF ‘OPTICAL ILLUSION’ BY SHOWING TWO DIFFERENT PATTERNS FOR ILLUSIONS ON THE TWO DIFFERENT ANGLE IN TERMS OF VIEWS OF DRIVER AND PASSENGER. ALSO, BY USING THE LOGICAL DEFINITION OF GRASSHOPPER, WE WANTED TO MAKE A DEFINITION OF ILLUSION WHICH CAN BE APPLIED ONTO EVERY DIFFERENT SURFACES. IN THE PRESENTATION, WE SAID IT AS OUR DIRECTION OF FINAL DESIGN SO CONFIDENTLY. HOWEVER, THE PROPOSED DESIGN IN THE PRESENTATION HAD CRITICAL LOGICAL ERROR.


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PROCESS HOW THE DEFINITION WORKS IS CAN BE SUMMARIZED BELOW. 1. DIVIDING ‘A’ SURFACE INTO LINES IN SAME INTERVAL. 2. PROJECTING IT ‘B’ VERTICAL SURFACE ALONG WITH THE VECTOR AT THE ANGLE OF THE DRIVER APPROACHING 3. BY THE PROJECTED LINES ONTO THE ‘B’ VERTICAL SURFACE, THE SIZE OF VERTICAL SURFACE, WHICH IS NEEDED TO HAVE THE BIG PATTERN FOR PROJECTING, CAN BE IDENTIFIED. (AS ANGLE GETS BIGGER, THE VERTICAL SIZE OF IMAGE IS STRETCHED) 4. MAKING A SET OF VERTICAL SURFACES (‘c’ SURFACE)IN SAME NUMBER OF LINES ON ‘A’ SURFACE. 5. BY IMAGE SAMPLER, MAKING THE LINES, ON THE SURFACE ‘B’, EXTRUDED ALONG WITH THE VECTOR VALUE OF IMAGE. 6, PROJECTING PATTERN OF IMAGE ON ‘B’ SURFACE TO THE ‘C’ SURFACES ALONG WITH THE REVERSE VECTOR WHICH WAS USED IN STAGE 2. 7. TURNING OF PREVIEW OF ‘C’ SURFACE AND BAKING THE LINES ON ‘C’ SURFACE AND TAKING THEM

STAGE 2

STAGE 1

STAGE 3

B

A

STAGE C


E4

FIRST & SECOND FAULT

FIRST FAULT WITH THOUGHTFUL CONSIDERATION, I FOUND OUT THAT THE DEFINITION IS SO MUCH COMPLEX. THE PROBLEM WAS ON STAGE 2,3 AND 4. THERE WAS NO NEED TO PROJECT LINES ONTO SURFACE ‘B’ TO KNOW THE SIZE OF STRETCHED IMAGE. WHEN THE ANGLE OF DRIVER GETS LOWER, THE PATTERN IS STRETCHED IN TRIANGULAR MATHEMATICS SUCH AS SIN, COS AND TAN. IF THE ANGLE OF SIGHT IS 30 DEGREE, STRETCHED IMAGE WILL BE STRETCHED DIVIDED BY TANGENT 30, WHICH IS 1.73 BIGGER. FOR 45 DEGREE, AS IT IS TANGENT 45, THE PROJECTED IMAGE SIZE IS SAME. FOR 60 DEGREE, IT IS REDUCED BY 0.578 MULTIPLY.

30

45

60 60

45

30 1.73 X WIDER

1 X WIDER

0.578 X WIDER IMAGE SHOWN IN EYE PROJECTED IMAGE

THEREFORE, THE DEFINITION CAN BE MORE SIMPLIFIED BY USING SIMPLE MATHEMATICAL FORMULAS. RATHER THAN PROJECTING LINES AND PROJECTING BACK TO THE SURFACE IS NOT PRACTICAL WAY, WHICH JUST SLOW DOWN 15 degree 45 degree 60 degree COMPUTER AND OUTCOMES Domain 1.0 -3.0 Projected along vector 15 degree

SECOND FAULT APPLYING IMAGES ALONG WITH VECTORS WORKS WELL LOGICALLY. HOWEVER, IN REAL WORLD, WHEN WE SEE THE PATTERN FROM DISTANCE, WE DO Domain 1.0 - 5.0 NOT WAIT UNTIL THE PATTERN IS ON THE EXACT ANGLE. WE JUST RECOGNISE THE Projected along vector 45 degree PATTERN WHETHER IT IS STRETCHED OR SHRUNKEN. IT MEANS THE PROJECTING ANGLE DOES NOT MATTER AT ALL. AS THEY DO NOT KNOW THE ORIGINAL IMAGE OF PATTERN, THEY JUST RECOGNIZE THE PATTERN ITSELF, NOT BASED ON THE Domain 0 - 6.5 EXACT ANGLE. Projected along vector 60 degree

STAGE 5

STAGE 6

STAGE 7


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THIRD & FOURTH ERROR

A

THIRD FAULT MAKING DEFINITIONS WHICH CAN BE APPLIED ONTO VARIOUS SURFACE SEEMS LOGICALLY RIGHT. HOWEVER, WHEN WE THOUGH IT DEEPLY, WE QUICKLY FOUND OUT THAT IT DOES NOT MEAN ANYTHING. WHATEVER THE SURFACE IS, THE PATTERN HAS TO BE SHOWN. WHILE THE SURFACE CAN BE DISTORTED OR TWISTED, PATTERN CANNOT. IN ORDER TO BE SHOWN, PATTERN SHOULD NOT BE CHANGED. IN SHORT, THE PATTERN DOES NOT AFFECTED BY WHATEVER THE SURFACE IS. SO, MAKING DEFINITIONS WHICH IS ABLE TO BE APPLIED ON ANY SURFACE MEANS FILLING UP THE DISTORTED SURFACE EVENLY AND APPLYING ONTO IT. THEREFORE IT IS LOGICALLY WRONG.

PATTERN SURFACE

FOURTH FAULT WE EXPLORED THE POSSIBILITIES OF TWO DIFFERENT OPTICAL ILLUSIONS. WHILE ONE PATTERN IS REPRESENTED BY EXTRUDED CURVES OF SURFACE, WE THOUGHT ANOTHER PATTERN WOULD BE ABLE BY PUNCHING HOLES OR COLOURING ACCORDING TO THE VECTORS. HOWEVER, AS THE PATTERN IS ALREADY EXTRUDED ALONG WITH IMAGE VECTOR, ALTHOUGH THE HOLES ARE PUNCHED OR THE COLOUR ARE PAINTED, THEY ARE JUST OVERLAPPED BY ANOTHER SLITS.

PUNCHING THE HOLES

COLOURING THE SLITS


http://blogoscoped.com/files/stripes.html

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NEW POSSIBILITIES

AS CONFRONTING THE LIMITATION OF OUR INITIAL DESIGN, WE CONSIDERED WHETHER TO GIVE UP THE INITIAL IDEA AND START NEW DESIGN. HOWEVER, WE DECIDED TO STICK ON THE TWO MAIN IDEAS, DIFFERENT EXPERIENCE WITH DIFFERENT ANGLES AND DEPTH OF SLITS, WHICH WERE DEVELOPED FROM BANQ RESTAURANT. WHILE DOING SO, WE FOUND TWO INTERESTING WAYS OF OPTICAL ILLUSION WHICH USE TWO LAYERS OF

http://www.youtube.com/watch?v=Ua7HOX32PGA


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NEW POSSIBILITIES

IN ORDER TO EXPERIMENT, WE MADE OUR OWN ANIMATION PATTERN. WHILE MAKING IT, WE COULD REALIZE THAT THE KEY POINT OF THIS ILLUSION IS DECIDED BY WIDTH OF SLITS AND THE NUMBER OF FRAMES OF ANIMATION. HOWEVER, IT COULD NOT APPLIED ON DESIGN DIRECTLY, SINCE IT IS STOPPED IMAGE NOT LIKE HIGHWAY CONTEXT WHERE CAR JUST PASSING BY AT 80 - 100 KM/H


PROJECT PROPOSAL OVERCOMING LIMITATION NEW EXPLORATION 1 FAULT NEW EXPLORATION 2 PHYSICAL EXPERIMENT ANIMATION


O

VERCOMING

L I M I TAT I O N

NEW EXPLORATION

AT FIRST, THE IDEA, INSPIRED FROM TWO OPTICAL PATTERN IN WEEK 8, STARTED FROM THE SITE CONTEXT. IN CASE OF RUNNING CAT ILLUSION, OUR EYES ARE FIXED ON MONITOR, ONLY MOUSE IS MOVING. FOR THE SWIMMING FISH ILLUSION, people moves front and back, but pattern does not move. However, THE SITE GIVEN IN WYNDHAM PROJECT IS BESIDE OF HIGHWAY WHERE CAR JUST PASSING BY. People cannot go backward and PATTERN CANNOT MOVE SINCE CAR IS RUNNING AT 100 KM/H.

SECTION OF EACH COLUMN

THEREFORE THE OBJECT HAS TO SHOW STOP IMAGES IN DIFFERENT ANGLES OF SIGHT.


THE INITIAL FORMS STARTED FROM MAKING EACH VERTICAL LINES OF ILLUSION AS COLUMN. EACH COLUMN HAS GOT DEEP SLITS INSIDE ACCORDING TO THE DIRECTION OF EYE ANGLE. AT SOME POINTS SOME OF COLUMNS ALIGNED PERFECTLY AND EACH SLIT COMPOSE AN IMAGE. EACH COLUMN HAVE GOT A COUPLE OF DIFFERENT SLITS INSIDE SO THAT DIFFERENT IMAGES CAN BE REPRESENTED IN DIFFERENT ANGLE.

FAULT

FAULT IT CANNOT BE REALIZED. WE NEEDED TO THINK MORE ABOUT THE SPEED OF CAR. A CAR DRIVING AT 100 KM/H RUNS 27 METRE PER SECONDS. TO SHOW SOMETHING THROUGH DEEP SLITS AT SOME POINTS CAN BE NEGLECTED SINCE CAR IS DRIVING AT FAST SPEED. THE IDEA, REVEALING PATTERN S THROUGH A SET OF SLITS CAN BE REALIZED WHEN PEOPLE ARE MOVING ON FOOT. WHEN THEY FIND SOME INTERESTING PATTERN AT SOME POINT, THEY CAN STOP AND RECOGNIZE IT, BUT RUNNING CAR CANNOT. ALSO, WE NEED TO THINK IT AS PERSPECTIVE VIEW. THE LOCATION OF EACH COLUMN WILL BE SITUATED IN 3-D DIMENSION. SOME COLUMNS WILL BE CLOSE, OTHERS WILL BE FAR AWAY. THEREFORE MAKING AN IMAGE IN A SET OF SLITS IN THOSE COLUMNS SEEMED IMPOSSIBLE. SIZE IS ANOTHER FACTOR. THE SITE IS 350 METRE LONG. AS THE DRIVER AND PASSENGER HARDLY LOOK BACK, THE POSITION OF IMAGES SHOULD BE FRONT OF CARS. IT WILL NEED HUNDREDS OF COLUMNS IN 350 METRE. WHICH WOULD BE UNREALISTIC.


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L I M I TAT I O N

ANGLE OF PASSENGER = 60

ANGLE OF DRIVER = 30

COMBINATION

ABANDONING PREVIOUS COLUMN IDEA, WE STEPPED BACKWARD TO INITIAL IDEA, TWO DIFFERENT ANGLES. WE THOUGHT THAT IF THE HOLES ARE PUNCHED THROUGH DIFFERENT ANGLES, IT COULD WORK IN THE PANEL WHICH HAS GOT SOME DEPTH. WHEN CONSIDERING SIGHTS OF PASSENGER AND DRIVER, BY THE DEPTH OF PANELS, EACH ILLUSION WILL NOT INTERRUPT EACH OTHER, FURTHERMORE, THEY CAN BE SITUATED IN ONE PANEL AT THE SAME TIME. THIS IS WHAT WE HAD SOUGHT. SO WE DECIDE TO EXPERIMENT IT IN THE PHYSICAL MODEL.


ANGLE OF PASSENGER

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ANGLE OF DRIVER

L I M I TAT I O N

PHYSICAL EXPERIMENT

AS AN INITIAL IDEA, RATHER THAN MAKING ACTUAL FORM, WE DESIGNED CONCEPT MODEL TO SEE HOW WELL IT WORKS. THE EXPERIMENT WAS VERY SUCCESSFUL. EACH DIRECTION OF HOLES DOES NOT INTERRUPT EACH OTHER. IF WE PLACED SOME PATTERN ON THE BACK, WE COULD REALIZE TWO DIFFERENT PATTERN ON ONE SAME SURFACE.


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ANIMATION

AS MENTIONED BEFORE, THE PATTERN SHOULD BE POSITIONED FRONT OF THE CAR. THEREFORE, WE CAME UP WITH AN IDEA OF MAKING ANIMATION BY USING THE SPEED OF CAR. WHILE RESEARCHING, WE FOUND OUT THAT ANIMATION HAS TO BE AT LEAST 13 FPS (FRAME PER SECOND) TO SHOW SMOOTH ACTIONS. AS 13 FRAMES HAVE TO BE POSITIONED IN THE DISTANCE OF ONE SECOND OF CAR SPEED, 100KM/H, IT SHOULD BE POSITIONED IN 27 METER. WE DIVIDED IT HALF FOR 13.5 FPS. THAT MEANS THE MAXIMUM WIDTH OF PANELS IS 2M. THE HEIGHT CAN BE HIGHER. BUT AS LONG AS CAR DOES NOT SPEED MORE THAN 100KM/H, THE SIZE OF PANEL IS LIMITED.

1 SECOND

2M

13.5 FPS 27M

100KM/H = 1.7kM/M = 27M/S


PROJECT PROPOSAL FINALIZING DESIGN MAKING ANIMATION TREE ANIMATION BOOMERANG ANIMATION MAKING DEFINITIONS FAILING MODIFYING ERRORS MAKING ANIMATION FORMS MUSICAL NOTES PHYSICAL MODEL


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I N A L I S I N G D E S I G N

MAKING ANIMATION

THE MODEL WILL BE SITUATED ON THE SITE B. SINCE THE DRIVEWAY BESIDE OF SITE ‘A’ DOES NOT CONNECT TO THE WYNDHAM CITY. AS WE ARE TO DELIVER IMPRESSIVE EXPERIENCE TO VISITORS TO WYNDHAM CITY, SITE ‘B’ IS CHOSEN FOR THE LOCATION OF MODEL. THE LENGTH OF THE SITE ‘B’ IS AROUND 350METRE, WHICH MEANS WE CAN PLAY 12 SECONDS OF ANIMATION. ALSO, AS EVERY SECOND NEED 13.5 FRAME OF IMAGES, AROUND 150 SHOTS ARE NEEDED. THEREFORE, WE DECIDED TO MAKE TWO ANIMATIONS IN 150 FRAME PER EACH. EACH ANIMATION SHOULD DELIVER SOME MESSAGES AND CONTEXT OF WYNDHAM CITY. ONE IS DECIDED AS GROWING TREE, REPRESENTING THE DEVELOPMENT OF GROWTH OF WYNDHAM CITY. AS ‘SEED OF CHANGE’ REPRESENTS THE POTENTIAL OF CITY, WE WANTED TO DEVELOP IT AS ONE STORY. THE OTHER IS BOOMERANG ANIMATION. NOT ONLY FOCUSING DEVELOPMENT OF CITY, SOMETIMES WE NEED TO LOOK BACK THE HISTORY AND CULTURAL CONTEXT. BOOMERANG REPRESENTS THE CULTURAL ROOTS OF WYNDHAM CITY AS HISTORICAL ABORIGINE’S AREA.


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TREE ANIMATION


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I N A L I S I N G D E S I G N

BOOMERANG ANIMATION

PRODUCING ANIMATION DID TAKE MUCH MORE TIME THAN EXPECTED. WE NEEDED 150 SHOTS ANYWAY, BUT, DID NOT KNOW HOW TO EXTRACT THE FRAME FROM ANY MOVIES OR ANIMATION. WE DID ALL OF WORKS EACH BY EACH MANUALLY, IMAGINING THE SPEED AND HOW IT WILL BE SHOWN.


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MAKING DEFINITIONS

THE MECHANISM OF DEFINITION CAN BE SUMMARIZED AS BELOW. 1. DIVIDING SURFACE INTO SQUARE GRID. 2. APPLYING IMAGE SAMPLER ONTO GRIDS. 3. BY USING CULL DEFINITION, TAKING ONLY THE SQUARE GRIDS THAT IMAGE APPLIED 4. PROJECTING IT ONTO THE ANOTHER SURFACE ALONG WITH THE SPECIFIC ANGLES. 5. EXTRUDING THAT PROJECTED SQUARE GRIDS INTO THE projected SURFACE and using ‘boolean difference’ to punch the hole along with vector 6. Repeating this for 150 times per animation


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I N A L I S I N G D E S I G N

FAIL....

THE DEFINITION HAS GOT SOME ERRORS. THE IMAGE ABOVE IS PROJECTED PATTERN. HOWEVER, AS THERE IS NO SPACE BETWEEN SQUARE GRIDS, WHEN IT IS CUT BY LASER, THERE WOULD BE NO GRID BUT BIG HOLES.

MOREOVER, DUE TO BIG SCALE, WHEN IT IS MANUFACTURED AS 2 METRE BY 2 METRE, EYE ONLY CAN SEE A FEW OF HOLES THROUGH BUT THE HOLES AT THE SIDES CAN NOT BE SEEN THROUGH.


MODIFYING ERRORS AGAIN

I CHANGED THE PATTERN INTO CIRCLE RATHER THAN SQUARE. THEREFORE THE SPACES BETWEEN CIRCLES CAN KEEP THE GRID AFTER DIGITAL FABRICATION.

RATHER THAN PROJECTING PATTERNS ALONG WITH SINGLE VECTORS, I MEASURED EVERY VECTOR DIRECTIONS FROM EYE (WHICH WAS ASSUMED AS 1 METRE ABOVE GROUND AND 30 DEGREE OR 60 DEGREE AWAY) TO EVERY CORNER OF GRIDS ON THE SURFACE. SO, IT BECAME ABLE TO SHOW THE IMAGE, NO MATTER WHAT THE SIZE IS, FROM SPECIFIC POINT OF VIEW


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I N A L I S I N G D E S I G N

FINALIZING DEFINITIONS

1. DIVIDING ‘A’ SURFACE INTO POINTS 2. EACH POINTS BECOMING CIRCLES 3. THE RADIUS OF CIRCLE IS DECIDED BY IMAGE SAMPLER. 4. ROTATING THE CIRCLE PATTERN TO BE LOCATED AT THE ANGLE OF PROJECTING 5. PROJECTING IT ONTO THE SURFACE ‘B’ AND ‘C’ 6. EXTRUDING THAT PROJECTED CIRCLE PATTERN INTO ‘B’ SURFACE and using ‘boolean difference’ to punch the hole IN ‘B’ SURFACE, along with vectors (WHICH ARE MEASURED FROM EYE LEVEL TO EVERY GRID OF THE SURFACE. 7. Repeating this for 150 times per animation

C

A

B STAGE 1

STAGE 2 & 3

STAGE 4

STAGE 5


APPLYING 150 SHOTS INTO DEFINITIONS AND MAKING ANIMATION

WE APPLIED, IN TOTAL, 300 ANIMATION FRAMES INTO DEFINITION, BAKED THEM AND SAVED IN DIFFERENT 300 FILES. THAT IS BECAUSE, IF WE APPLIED IT INTO ONE FILE, THE COMPUTER CANNOT STAND AND GETS FROZEN. IT TOOK MUCH MORE TIME THAN PRODUCING EACH ANIMATION IMAGE. WE CALLED IT ‘FACTORY WORK’ BECAUSE WE FELT OURSELVES AS WORKERS IN FACTORY WHO ARE DOING SAME WORK REPEATEDLY.

AFTER FINISHING ALL 300 FILES, WE PUT THEM TOGETHER INTO ONE FILE. BY USING ANIMATION TOOLS IN RHINO WE MADE ANIMATIONS. ANIMATIONS ARE ALSO UPLOADED IN WIKI PAGE.


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I N A L I S I N G D E S I G N

FORMS

IN TERMS OF TECHNICAL AND PRACTICAL ASPECTS, OUR DESIGN PROPOSAL SATISFY BOTH. HOWEVER, SINCE ITS SHAPE IS RECTANGULAR DOUBLE LAYER PANELS WHICH IS 350 METRE LONG, IT DOES NOT SATISFY AESTHETIC MANNER. THEREFORE WE TRIED TO ADD SOME ESTHETICAL VALUE ONTO THE DESIGN. IT MUST NOT INTERRUPT THE PATTERNS, SHOULD BE SOMETHING LOCATED BELOW AND ABOVE THE SURFACE. THEREFORE WE CONCLUDE TO APPLY VORONOI PATTERN ON TO THE TOP AND BOTTOM.

WHY VORONOI? I LINKED IT BACK TO RESEARCH IN WEEK 3. VORONOI PATTERN WHICH IS ORGANIZED BY DISTANCE BETWEEN RANDOM POINTS IS SUITABLE TO BREAK MONOTONOUS ATMOSPHERE OF DOUBLE LAYER PANELS. MOREOVER, AS VORONOI REPRESENTS THE STRUCTURE OF CELLS, BY PUTTING ANIMATION OF GROWING TREE IN THE MIDDLE OF VORONOI PATTERN, IT REPRESENTS EVERY INDIVIDUAL OF WYNDHAM, WHO ARE MAKING CHANGE AND DEVELOPMENTS.


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I N A L I S I N G D E S I G N

MUSICAL NOTES

WHILE MAKING ANIMATION, I WANTED TO EMULATE SOUND AS WELL, WHICH WILL BE PERFECT COMBINATION OF VISUAL AND SOUND. I HAVE GOT AN IDEA FROM THE HIGHWAY. THERE ARE SOME PAVEMENT WHICH ARE A BIT EXTRUDED WITH DIFFERENT PAVING MATERIAL TO WARN DRIVERS TO REDUCE THE SPEED. I FIRSTLY THOUGHT ABOUT MAKING MUSIC INTO FORMULA. IF THE MUSIC CAN BE TRANSLATED INTO MATHEMATICAL FORMULA, IT WOULD BE ABLE TO ALLOCATING THE PAVEMENT ALONG WITH THE BEAT. HOWEVER, MAKING MUSIC INTO MATHEMATICS WAS NOT THAT SIMPLE. IT NEEDS MUSICAL KNOWLEDGE AND UNDERSTANDING. WHILE I WAS ALMOST GIVING UP THE IDEA, I HAVE GOT AN IDEAS FROM IMAGE SAMPLER. IF THE MUSICAL SCORE IS APPLIED IN IMAGE SAMPLER, IT CAN BE APPLIED ONTO THE SURFACE AS WELL. THEREFORE, I COLOURED EVERY NOTES IN THE MUSICAL SCORE AND APPLIED IT ONTO SURFACE.

BY CALCULATION. IN 350 METRE LONG DISTANCE, WE CAN PLAY 12 SECOND OF MUSIC WHEN CAR IS RUNNING AT 100KM/H. ONE SCORE IS 8 SECONDS, SO IT IS APPLIED ONTO SURFACE OF 216 METER WHICH IS 8 SECONDS MULTIPLIED WITH 27M/S.

THE ANIMATION WITH THIS BEAT SOUND WAS UPLOADED IN LMS


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I N A L I S I N G D E S I G N

WE CONFRONTED THE LIMITATION OF LASER CUTTER, WHICH IS NOT ABLE TO CUT HOLES IN ANGLES. IT ONLY CUTS THINGS PERPENDICULAR SO WE COULD NOT SEE HOW WELL IT WORKS IN PHYSICAL MODEL. THEREFORE WE RECORDED AN ANIMATION OF HOW THE TRICK WORKS.

IT IS UPLOADED IN LMS


PHYSICAL MODELS

boomerang animation from 30 degree

tree animation from 60 degree


LEARNING OBJECTIVES AND OUTCOMES Following the Handbook, Studio Air aims to develop students’ competencies in: “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies; developing “an ability to generate a variety of design possibilities for a given situation” by introducing parametric modelling with its intrinsic capacities for versioning; developing “skills in various three-dimensional media” and specifically in dynamic 3D modelling, digital fabrication, dynamic diagramming and so on; developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models; developing “the ability to make a case for proposals” by engaging students in the controversies and contradiction of contemporary architectural discourse on digital architectural design.

In addition, Studio Air will enable students to: begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application; develop the foundational understanding of computational principles behind digital geometry, data structures and programming; develop capabilities for conceptual, technical and design analysis capable of positioning students’ creative work in comparison with the flagship professional projects.


THROUGH THIS SEMESTER, I EXPERIENCED ANOTHER POSSIBILITIES OF DESIGN, SOCALLED PARAMETRIC DESIGN. ACTUALLY IT WAS NOT JUST ABOUT ARCHITECTURE, IT WAS MORE CLOSED TO MODELLING. I HAD HEARD PARAMETRIC MODELLING, THE WORD WHICH IS NOT EVEN IN THE DICTIONARY, IS BEING SAID AS TREND OF CURRENT ARCHITECTURE NOW. I HAD BEEN VERY CURIOUS ABOUT WHAT THE PARAMETRIC ARCHITECTURE IS, HOWEVER, THE COMPLEXITY OF SCRIPTING INTERFACE SCARED ME AND MADE ME DARE NOT THINK OF LEARNING IT. HOWEVER, I COULD GET AN OPPORTUNITY TO DESIGN SOMETHING IN PARAMETRICAL WAY BY THIS SUBJECT ‘AIR’ IN FIRST A FEW WEEKS, EVERYTHING WAS CHALLENGING. THERE WAS NOTHING ABOUT ‘ARCHITECTURE’ BUT SOME SCRIPTING WORDS WHICH FELT LIKE LEARNING MERE PROGRAMMING SKILL. HOWEVER, WHILE RESEARCHING THE PRECEDENTS OF PARAMETRIC MODELLING, I COULD FOUND THE POSSIBILITIES OF PARAMETRIC MODELING, WHICH WAS MUCH BEYOND MY EXPECTATION. FIRSTLY, BY PARAMETERIZING EVERY FACTORS AND APPLYING THEM INTO DESIGN, THE TRUE MEANING OF PRACTICAL DESIGN CAN BE ACHIEVED. FOR INSTANCE, THE EXTERNAL FACTORS SUCH AS SUNLIGHT AND WIND PRESSURE CAN BE PARAMETERIZED. ALSO INTERNAL FACTORS, MOVEMENTS AND THE NUMBER OF PEOPLE CAN BE APPLIED ONTO DESIGN. SECONDLY, IT REDUCES THE DISTANCE BETWEEN ARCHITECTS AND ENGINEERS. NORMALLY, ARCHITECTS JUST BRING IDEAS AND CONSULT WITH ENGINEERS TO CHECK WHETHER THE IDEAS CAN BE REALIZED. HOWEVER, WITH FABRICATION TOOLS, ARCHITECTS CAN GET THE RESULT BY THEMSELVES AND CHECK THE AVAILABILITY OF THEIR IDEA BY EXPERIMENTING IT IN SMALL SCALE. THIRDLY, IN LOGICAL MANNER, IT CAN PRODUCE SOME FASCINATING GEOMETRIC FORMS WHICH IS SOMEWHAT GOOD INSPIRING. LIKE FRANK GEHRY GOT THE IDEA OF GUGENHEIM MUSEUM FROM CRUMPLED PAPER OR CHATANI DOES FROM ORIGAMIC ARCHITECTURE, IT IS GOOD ALTERNATIVE WAY OF INSPIRING. AFTER GETTING USED TO GRASSHOPPER, I BECAME ABLE TO REALIZE MY IDEA INTO GRASSHOPPER. SINCE GRASSHOPPER IS BASED ON LOGICAL SCRIPTING, AS LONG AS MY IDEA IS LOGICAL, I COULD MAKE ANY FORMS BY GRASSHOPPER. IT WAS DRAMATIC ADVANCE OF MY DESIGN TECHNIQUE, WHICH HAD BEEN MERELY RELIED ON PAPER AND PENCILS.


I WANTED TO EXPERIMENT HOW MUCH PRACTICAL THE GRASSHOPPER CAN BE. I HAVE BEEN SEEKING DIFFERENT BETWEEN ARCHITECT AND DESIGNER. SO I DECIDE TO EXPLORE PARAMETRIC ARCHITECTURE NOT ABOUT FASCINATING INSPIRING SHAPE BUT SOMETHING GIVES IMPRESSION AND PROVIDES SPECIAL EXPERIENCE TO THE USERS OF SPACE. DURING WYNDHAM GATEWAY PROJECT, I CONFRONTED SOME ISSUES AND LIMITATIONS OF MY DESIGN. THE CONTEXT OF HIGHWAY WAS COMPLETELY DIFFERENT WITH TYPICAL ARCHITECTURAL CONCEPT. I HAD TO IMAGINE AS BEING A DRIVER AND PASSENGER. I KEPT THE DIFFERENT EXPERIENCES OF DRIVER AND PASSENGER, USING IT AS START OF MY DESIGN. THANKS TO RE-ENGINEERING PROJECTS ‘BAN-Q RESTAURANT’, I SAW THE POSSIBILITIES, USING THE ANGLE OF SIGHT AND DEPTH OF SLITS. AS THEY WERE USED FOR HIDING FACILITIES ON THE CEILING AND REVEALING OUTSIDE LANDSCAPE, THESE TWO CONCEPTS SEEMED VERY USEFUL TO DEVELOP OUR DESIGN. AT FIRST, I DEVELOPED LOGICS FIRST. AS GRASSHOPPER IS QUITE LOGICAL SCRIPT PROGRAM, WITHOUT FIRM LOGICAL PROCESS, I COULD NOT REALIZE ANYTHING. HOWEVER, AFTER ESTABLISHING FIRM LOGICAL DESIGNING PROCESS, THERE WERE ALWAYS UNEXPECTED PROBLEMS CONFRONTING ME. THE DESIGN PRESENTED FOR EOI WAS LOGICALLY PERFECT. HOWEVER, WHEN IT IS CONSIDERED AS PHYSICAL OBJECTS, IT REVEALED ITS ERRORS ON THE DESIGN. WITHOUT THOROUGHLY UNDERSTANDING ABOUT SITE CONTEXT, THERE WAS ALWAYS ANOTHER ISSUES HINDERING MY DESIGN IDEA. THEREFORE, AFTER EOI, I DECIDED TO EXPERIMENT AS MUCH AS I COULD, BY MAKING PHYSICAL MODELS AND EXPERIMENTING OPTICAL ILLUSION IN VARIOUS SCALES AND PERSPECTIVES. IN TERMS OF EXPERIMENTS, GRASSHOPPER WAS PERFECT TOOLS TO TURN MY LOGICAL IDEA INTO A FORM. SOMETIMES WHEN THERE WERE ERRORS FOUND IN GRASSHOPPER, MOST OF THEM WAS BECAUSE OF LACK OF UNDERSTANDING OF DATA STRUCTURE. HOWEVER, BY USING ‘DATA PARAM’ AND ‘PANEL’ DEFINITIONS, I COULD UNDERSTAND DEEPLY THE FLOW OF INPUT AND OUTPUT AND FUNCTIONS OF EACH DEFINITIONS. AFTER FINALISE MY DESIGN, DURING DIGITAL FABRICATION, THERE WAS ALSO ANOTHER PROBLEM WHICH LOGIC CANNOT BE SOLVED. LASER CUTTER CANNOT CUT THE THINGS IN ANGLES. SO I HAD TO LEARN ANOTHER DIGITAL TOOLS OF MAKING ANIMATION. FORTUNATELY WE SAW OUR DESIGN WORKS WELL IN THE PERSPECTIVE VIEW AND COULD VIRTUALLY EXPERIENCE IT AS THE DRIVERS AND PASSENGERS.


FOR THE ONE SEMESTER, IT WAS GREAT CHALLENGING FOR ME TO DEVELOP THE ARCHITECTURAL STRATEGIES IN PARAMETRIC WAY. EVEN THOUGH THE TOOL IS WONDERFUL, AFTER ALL, SOLVING ALL PROBLEMS AND DEVELOPING DESIGN WERE FROM LOGIC OF HUMAN. HOWEVER, I EXPERIENCED THAT THE LOGIC OF HUMAN CAN BE EXPRESSED INTO FORMS FREELY, THROUGH GRASSHOPPER TOOLS. NOW I FIRMLY BELIEVE THAT PARAMETRIC MODELLING IS NOT TEMPORARY TREND. IT ENABLES OUR IDEA INTO VISUAL FORMS WITH EXACT CALCULATED RESULT. MOREOVER AS AN OPEN SCRIPT PROGRAM, THERE ARE NUMEROUS ANOTHER PLUGIN FOR GRASSHOPPER WHICH ADVANCE IT TO THE ANOTHER POSSIBILITIES. GRASSHOPPER CAN ACCOMMODATE PRACTICALITY AND ATHEISTICAL SENSE AT THE SAME TIME. I THINK I FOUND A GOOD WAY OF DIFFERENTIATING ARCHITECTURE IN GRASSHOPPER FROM MERE DESIGN, BY LOGICAL MANNER AND PRACTICALITY.

OUTCOME - ACHIEVING ANOTHER WAY OF EXPRESSING IDEA IN parametric MANNER - REALIZING POSSIBILITIES OF PARAMETRIC ARCHITECTURE - SOLVING PROBLEMS LOGICALLY AND CONSIDERING IT HOLISTICALLY - PRODUCING PHYSICAL MODEL EASILY AND EXPERIMENTING IT - Being persist through problems and SEEKING CONTINUOUSLY BETTER ways to SOLVE IT - THINKING OBJECTIVE IN 3-D AND CONSIDERING THE EXPERIENCE OF USERS


360881 ALEX WOOHYUK CHOI


FINAL JOURNAL