STUDIO AIR PART B
Jingheng Qian 813066
Part B. CRITERIA DESIGN
B.1 Research Field
Geometry—what is it? This seems to be an overly obvious question. Geometry is the mathematics that works with the properties of virtually all objects in the space, from points, lines to complex forms. The shape and form of these objects that are defined mathematically are geometries themselves. In other words, everything that present or can present in the 3D world can be defined as a geometry. Before Descartes, mathematics and geometry felt like two separate practices to some extent, since the translation between them can hardly be done systematically. However, since the introduction of the coordinate system, this is no longer a problem. It became a bridge between mathematics, algebra in particular, and geometry. A system that involves mathematics, algebra, geometry, and coordinate ‌ This looks like quite an accurate description of grasshopper. In fact, this is almost exactly how grasshopper works. So really, anything that has been created in rhino can be geometries. In the LMS sources, features of geometry are listed as: ruled surfaces, paraboloids, minimal surfaces, geodesics, relaxation and general form finding, booleans, etc. Of course, this list contains the most typical features of geometry, but this should by no means be the limits of the design. For example, the Green Void used tessellation techniques to some extent, the Volt Dom involves some patterning, the Grid Shell can be considered as an example for structure, etc. As for what is expected in Part B, the course requirements made it unlikely for the final design outcome to remain faithful to the original research field – which is fine. Design should not have any boundaries. Since whatever that comes out from the other end of the grasshopper definition would be a geometry to some degree, why limit myself to a few styles? In the following practices, I will only use the base geometry as a start point and will not attempt to achieve the elements listed on LMS.
B.1 Research Field
Conceptual design implications, opportunities and fabrication concerns Conceptual design can have significant impacts, even if most of them will never be built or remain as prototypes eternally. They are the pioneers --- they may die horribly, but they will show the path for the future generations. Most people still remember Columbus, Magellan and Vasco da Gama, but how many people still know who Prince Henry the Navigator is? Conceptual design is just like him. Limits cannot be pushed if people are not interested in doing so at all. Meanwhile, limits cannot be pushed far if people are not capable of doing so. Luckily, for contemporary architecture, we have both the mean and the technique to move forward. People have grown tired of the old forms and demand innovations, while computer aided design made it possible for designer to produce previously unimaginable outcomes. This opportunity is brought by digital design tools such as rhino and grasshopper and has not been available for long. With their help, conceptual design can be carried out much more efficiently. I am not worried a bit about fabrication. Design tools are evolving, great, and so are fabrication tools. 3D printing is one of the new technologies that has great potential. In many cases, it is made for digital design. It is still quite premature, but the potential is huge. Soon, this fabrication technology or even better, newer ones will surely take care of the designers’ problems.
B.1 Research Field
Now, think again, what is geometry? Geometry is possibility. Embrace it.
Algorithmic Sketchbook Week 5
The key concept behind this design is “the differentiation between two elements�. This is represented in the outcome by the contrast between the boxes and the cylinders. Firstly, the boxes are located on the top and the bottom part of the composition, while the cylinders are in between. Secondly, to the people in this space, the boxes appear to be hollow while the cylinders look solid. Thirdly, the cylinders are actually hollow as well, so the contrast between the appearance and the nature of the cylinders is another differentiation. Fourthly, the overall organic form and the flat composition contrasts with each other. The experience of this structure is mostly shaped by the scale. The cylinders are quite dense and short, and help with forming a compressing atmosphere. They have some similarities with ancient Egypt columns and would also make the interior darker. The composition could potentially allow free roam, as it is open from all the sides.
Perspective View 1
Top View
Perspective View 2
B.2 Case Study 1.0
Skylar Tibbits - VoltaDom In case study 1.0, the VoltaDom created by Skylar Tibbits is the target project. The nature of this project is somewhat hard to define, as it is somewhere between a piece of architecture and a sculpture. On the one hand, it is a functional dome which allows pedestrians to walk beneath. On the other hand, the way it is presented, especially from the exterior, is no different from presenting a piece of sculptural artwork. To some degree this can even be considered as a piece of ornament. However, the form of it is a lot simpler. It has a bit of craziness in it, but is very much restrained – it is literally restrained by an illuminated glass box. It consists of a series of geometries that are similar in nature, which are roughly sections of cones. This is provided in the project base file and will serve as a start point of further development.
B.2 Case Study 1.0 Iterations
1
2
3
Species 1 2 3 4 5 6
4
5
6
B.2 Case Study 1.0
N=5
N=
N=50
N=1
Species 1 - The Cell Technique: Populate Geometry - Facet Dome Input altered: N
=10
N=20
100
N=200
Form Analysis This process created two types of interesting outcomes. When N gets smaller, the original cone structure is completely gone. Instead, the composition became a set of deformed geometry. When N gets larger, the outcomes’ shape become more faithful to the original structure, but their surface become biomimic, as they become similar to cells under a microscope.
B.2 Case Study 1.0
N=20
N=
N=50
N=1
Species 2 - The Mesh Technique: Populate Geometry - Surface from Points - Sum Surface Input altered: N
=30
N=40
100
N=200
Form Analysis This set of outcomes mostly look like pile of meshes. However, the truth is there is no mesh here at all, and they are actually a series of folded surfaces. The complexity achieved here is significant and is clearly beyond the capability of manual design. If the scale is large enough, the gaps between the surfaces, or rather, between each folded surface itself, can form some very interesting space.
B.2 Case Study 1.0
U=1, V=1
U=2,
U=20, V=1
U=20
Species 3 - Fish Scale Technique: Surface Divide - Circle - Loft Input altered: U, V
, V=1
U=3, V=1
0, V=5
U=5, V=5
Form Analysis This species started as quite a rough composition, but gradually evolved into on united entity, as each portion of the design started merging together on the surface. It is interesting that as the composition gets more complex, the surface of it becomes simpler, or at least looks simpler.
B.2 Case Study 1.0
R=0.5, L=1
R=1,
R=0.5, L=2
R=0.1
Species 4 - Estates General Technique: Merge Edges - Divide - Cone Input altered: R, L
, L=1
R=1, L=2
1, L=2
R=1.5, L=2
Form Analysis The influence of the original domes is clearly present in this species. However, the hierarchy of the three layers is something entirely new. For some reason, this form keeps reminding me of the Estates General during the French Old Regime, which was assembled the three estates of the society.
B.2 Case Study 1.0
C=3
C=
C=20
C=
Species 5 - Borobudur Technique: Surface Divide - Project - Linear Array - Line - Cone Input altered: C
=5
C=10
=50
C=200
Form Analysis This set of outcomes is very much patterning. By repeating and rotating the same element, they achieved a final outcome that can be spiritual and monumental. The later iterations can be seen as centralised patterns and reminds me of Buddhism architectures, especially the Borobudur.
B.2 Case Study 1.0
C=3, R=0.5
C=10, R
C=3, R=5
C=6,
Species 6 - Oleander Technique: Surface Divide - Project - Linear Array - Line - Cone Input altered: C, R
R= 0.5
C=3, R=1.5
, R=3
C=4, R=0.2
Form Analysis This set is completely going nuts. Many of the iterations are so different that they can totally be seen as a new species. Some iterations in this set look like bamboos, while some others look like flowers. As a result, this species is named as oleander, which has both the feature of bamboo and of flower.
Algorithmic Sketchbook Week 6
This structure has two clear parts and emphasises on the connection between them. At the bottom is a plate that is flat and solid. The upper structure, however, is explosive with many pieces floating in the air. There are also the pipes that go through the space between the plates and is connecting the bottom and the upper structure. The potential client for this project could be NASA. It can be used as an observatory, while the square plates can allow people to go up and observe the sky from up there. As for the floating objects in the design, they can be pushed away from the main structure by magnets and are able to flow around it when there is wind.
Top View
Front Section View
Perspective View
B.2 Case Study 1.0 Selection Criteria
Looks good, can be good. As mentioned before, there is not any particular desired elements in the outcome. As a result, the only two criteria are visual effect and application potential. If a composition is not visually pleasant, then there is no point further developing it, since no one would willingly build an ugly structure if that has been deemed as the case in the early stages of design. If a composition has no application potential, then it might not be a good idea to carry it forward either. Since there is a site and a potential client for this design task, the selected outcomes need to be somewhat practical to say the least.
B.2 Case Study 1.0 Highlighted Outcomes
Perspective View
Highlight 1 Potentially, this form can become a series of dome-like structures, which allows people to walk under it. The fragmented structure can be seen as a frame and can potentially have insertions such as coloured glass panels in between. By inserting elements of different nature into the frame, it is possible to have a significant impact on the internal atmosphere. In addition, it is also possible to create certain desired movement pattern or traffic flow in the structure by manually deciding which intersecting part to keep and which to cut.
Top View
Front View
B.2 Case Study 1.0
Perspective View
Highlight 2 This composition has quite a dynamic form and has a lot of potentials. It is right in the middle of the iteration process and has the features of both ends of the species. On the one hand, half of the composition remains rough, with elements repeating along a few directions. On the other hand, another half of the composition has already been smoothened, and a new indicative surface is forming. When applied to architecture, the gaps between the repeating elements in the right view and the back view can be capped by glass and serve as a light source for the interior. Or rather, they can be left open and function as entrances. The hole shown in the front view can potentially become the main entrance. The elements inside it is shading the interior, made it impossible to see straight in. It is possible to create an effect that is similar to the Bruder Klaus Chapel.
Top View
Left View
Right View
Front View
Back View
B.2 Case Study 1.0
Perspective View
Highlight 3 The hierarchy is demonstrated thoroughly in this composition. The sharp, pointy columns in the middle arranged in circles, which are surrounded by another set of columns that are shorter and more in number, which formed a larger circle. Outside of that is another set of columns that are even shorter, and even more in number, and are arranged in the same form as well. This is almost a literal representation of human society. Architecturally, by cutting through the structure at different locations, it can become a maze-like structure. Though the interior is not shaded, the openings are so narrow that it is not likely to be very bright at ground floor. Also, it might be better to have no gaps in between the columns, so light would not come through the top openings. As a result, the pointy shape of the columns would have a significant effect on the interior atmosphere, as the gap between then widens as they go up.
Top View
Front View
B.2 Case Study 1.0
Perspective View
Highlight 4
Judging by its form, this one is a pure geometry pattern that is both symmetric and central symmetric. The first thing that came to me was the Borobudur. This structure shares a lot of similarities with that Buddhist temple in Indonesia in terms of their form, only this one is entirely flat and is not elevated in the centre. However, it is entirely to do so in future development of this project. This design is almost naturally monumental – so is most of the centralised architectural projects that one can think of. This can be good and bad: on the one hand, the use of this structure can be quite limited as the centre point is overwhelmingly dominating. On the other hand, the use of it is clear enough so there would be no confusions. Potentially, people can walk on it and naturally move toward the centre point, no matter elevated or not – only in the end, there really is not anything special waiting for you at the finish line. The same goes to all the religions.
Top View
Front View
Algorithmic Sketchbook Week 7
In this design, there are linear elements projecting down from the flat top plate and further formed the structure. However, these linear elements are not all the same. Some of them would be made of timber and is connected to the ground, supporting the whole structure. Some others are strings hanging down from the top plate. This composition is located over the river and the strings can be used to swing over it. Potentially, this structure can be used by the teenagers who are always energetic. Though there are already two bridges on the site, they are too far away from the river and is not really interacting with it. As a result, this design was made to fill this gap. Supposedly, people would cross the river slower, but would be closer to it and can spend more time here. This design can also create a chance for some exercise.
Top View
Perspective View
Section View
VCCC Colonnade
B.3 Case Study 2.0
Gridshell Digital Tectonics - SG2012 Gridshell The composition analysed in case study 2.0 is the SG2012 Gridshell by Gridshell Digital Tectonics. It was built in Troy, NY in 2012, and aimed to minimize material waste while architectural presence in the space. As curvy as it is, it was built with only bent straight wood members. The final outcome is a relaxed surface with a grid structure. With the achieved form, the design target can be seen as fulfilled. The composition does perform as desired with the two sides cantilevered out, giving the whole structure a lightweight quality. Overall, a simple but effective structure. Also, this project is very much experimental, as it is more of a prototype than an actual piece of architecture. Nevertheless, this a good exploration of ideas and techniques.
B.3 Case Study 2.0 Reverse-engineer
Possible Design Process Curve
Divide
Explode Tree
Arc
Loft Shift
Geodesic
Stage 1: Create three curves
Stage 1: Divide curves and create points
Stage 1: Create arcs through the points
Stage 1: Loft the arcs
Stage 1: Create a surface geodesic
Stage 1: Shift the surface geodesic
B.3 Case Study 2.0
View 1 Original
View 2 Original
View 1 Reverse-engineered
View 2 Reverse-engineered
B.3 Case Study 2.0
View 3 Original
View 4 Original
View 3 Reverse-engineered
View 4 Reverse-engineered
B.3 Case Study 2.0 Reverse-engineer Analysis
Overall, a success The reverse-engineered outcome is not 100% recreation of the original project, but the essence of the SG 2012 Gridshell is well captured. Most significantly, the cantilever hanging out from the centre is accurately captured, as shown in view 2. However, there are some differences as well. In the top view, the hole in the middle is more like a circle in the original project, while it looks like a rounded rectangle in the reverse-engineered project. Side view is a bit more different because the number of divide points on the curves is not accurate enough. In order to further develop this project, the first thing that needs to be done is getting rid of the limits in the mind, as it would hold a person back much more than limits in the physical world. As stated in B1, this project will be carried forward generatively with no set goals nor desired outcomes.
So here we go.
B.4 Technique: Development Species
Iterations
1
2
3
4
1 2 3 4 5 6 7
4
5
6
7
8
B.4 Technique: Development
R=0.1
R=0.3
R=1
R=3
Species 1 - Horseshoe Crab Technique: Pipe Input altered: R
R=0.5
R=0.7
R=5
R=10
Form Analysis This species is a basic variation from the original composition. Only one extra command was used and the change is insignificant at first. However, as the index varies, the form started to move away from the original one. In the end, the iterations has become totally unrecognisable and a new form is produced.
B.4 Technique: Development
N=10
N=20
N=50
N=60
Species 2 - Taco Technique: Populate Geometry - Surface Grid Input altered: N
N=30
N=40
N=80
N=100
Form Analysis At first it was a platform. Then it became a structure. In the end, it became a structure with multiple platforms projecting out of it. This species is forever evolving and it seems it can do it on its own. The interesting part about this is the form changes rapidly at the beginning, but it start to converge as it further develops.
B.4 Technique: Development
U=4
U=6
U=20
U=50
Species 3 - The Bat (In Mogan Freeman’s Voice) Technique: Surface Frames - Plane Surface - Extrude Input altered: U
U=8
U=10
U=100
U=200
Form Analysis This species consists of a series of rectilinear geometries that evolves around the centre, and resembles the Bat from Dark Knight Rises at the beginning. This centre came directly from the reverse engineered composition and has a clear effect on the design outcomes, although their forms are totally moving away from the original one. One thing interesting about this species is as U gets larger, the geometries started merging and end up with a continuous indicative surface.
B.4 Technique: Development
X=0, Y=5, Z=5
X=0, Y=5, Z=10
X=0, Y=15, Z=5
X=5, Y=5, Z=5
Species 4 - Crystal Technique: Surface Frames - Plane Surface - Extrude Input altered: X, Y, Z
X=0, Y=10, Z=5
X=0, Y=5, Z=15
X=5, Y=10, Z=10
X=5, Y=10, Z=5
Form Analysis This species consists of a series of rectilinear geometries that evolves around the centre, and resembles the Bat from Dark Knight Rises to some degree. This centre came directly from the reverse engineered composition and has a clear effect on the design outcomes, although their forms are totally moving away from the original one. One thing interesting about this species is as U gets larger, the geometries started merging and end up with a continuous indicative surface. Also, this species is actually based on the same set of codings as the previous one, and the only difference is the input altered.
B.4 Technique: Development
U=8, V=4
U=16, V=4
U=160, V=4
U=16, V=16
Species 5 - Jackfruit Technique: Surface Frames - Cone Input altered: U, V
U=24, V=4
U=80, V=4
U=16, V=80
U=16, V=160
Form Analysis This series consists of cones, but they are mostly invisible, or rather unrecognisable besides in a few early iterations. In the later ones, the repeating elements that arranged along a few base curves started to form a indicative surface, similar to species 3. The later outcomes' surface has become reasonably smooth and look like jackfruits. There is a interesting difference between iteration 4 and iteration 7. Although they both have a smooth surface, since the cause of this outcome is different, the texture is different as well.
B.4 Technique: Development
N=5
N=7
N=20
N=30
Species 6 - Folding Strip Technique: Populate Geometry - Line - Rebuild - Loft Input altered: N
N=10
N=15
N=50
N=100
Form Analysis In each of the iterations in this series, there is only one piece of structure -- a folding strip. The more time it folds, the more complex it gets. In this process, numerous spaces were created, as it formed holes in the structure. Overall, this species is quite lightweight and is mostly an open form, which allows light to go through freely. This would have a significant impact on the internal atmosphere -- or rather, there is not necessarily an interior in this species.
B.4 Technique: Development
N1=1, N2=20
N1=1, N2=50
N1=10, N2=20
N1=10, N2=50
Species 7 - Eagle Technique: Populate Geometry - Line - Rebuild - Loft Input altered: N1, N2
N1=1, N2=100
N1=10, N2=20
N1=20, N2=50
N1=50, N2=100
Form Analysis Some of the iterations in this species are symmetric and has the essence of a eagle's wings. Some others look like the olecranon of an eagle. They all have the rising spirit on the sides, which comes from the original form. They also have the skeleton-like structure similar to the original form, but the way their structure arranged is entirely different. It is also worth mentioning that some of the iterations have part of the structure uncovered, which can be visually pleasant as well as potential accesses to the internal space.
B.4 Technique: Development Highlighted Outcomes
Perspective View
Highlight 1 This outcome is very much biomimic and can be related to a horseshoe crab. The texture shown in the top view is formed by a series of intersecting pipes, but it looks like a singular surface. Beneath this structure is a series of strip like spaces that are narrow and compressed, which can potentially be turned into walkways in future application. The bottom view is also quite interesting. The whole composition is divided into smaller spaces of different size, with a major hall in the centre. This can potentially be the focus of the structure, and the flow can be all directed into this space.
Top View
Front View
Left View
Bottom View
B.4 Technique: Development
Perspective View
Highlight 2 Technically, this outcome consists of only one surface. Though it is folding, twisting and rotating, it is still one singular geometry. However, in the process of its transformation, it intersected with itself and divided the space. From the top view, it can clearly be seen that a few spaces of different size, shape and elevation were formed. Architecturally, this composition can be taken forward by using the rising platform in the perspective view. It can serve as the starting point of the experience and a rotating journey can be created.
Top View
Left View
Front View
B.4 Technique: Development
Perspective View
Highlight 3 This outcome is selected as the starting point of the first prototype. It is right in the middle of its species' iteration process: the rectilinear components that formed the whole composition are still visible, while the indicative surface is starting to form. Also, it is central symmetric and has a hole in the middle. The outline of this structure still somewhat limited by the original form, but the actual composition is entirely different and could potentially lead to unrecognisable outcome.
Top View
Front View
Bottom View
Left View
B.4 Technique: Development
Perspective View
Highlight 4 This composition is typical in its species. It feels bulky and heavy, and the way it has been supported provides a sense of anti-gravity. This structure consists of four “arms” that is projecting out, hanging in the thin air, and is only supported by two thin foots on the ground. It is also worth noticing that each “arm” is formed by four individual pieces, so light can go through them in certain angles. Of course, there is also the larger gaps between the four arms which allow light to come through almost freely. Potentially, this difference in lighting effect can be used to alter the atmosphere and experience of the composition.
Top View
Left View
Front View
B.4 Technique: Development
Perspective View
Highlight 5 This composition has some similarities with the later iterations in species 3. The outline of it consists of indicative lines that are formed by a series of geometries. However, the difference is this one’s outline is not moving toward a smooth surface, i.e. the surface would always be a grid. As a result, the ceiling of this structure will never be capped. In this composition, grid is already quite dense. Lighting effect has been one of my focus points in the previous highlighted investigations, and this one is no different. Imagine light pouring into the interior through this dense grid. It would be gorgeous.
Top View
Bottom View
Front View
Left View
B.4 Technique: Development
Perspective View
Highlight 6 This one is also a rather balanced iteration within its species. The previous ones are not dynamic enough, while the later ones were getting too complex and the spaces created were unusable. This iteration is just on the right spot. The spaces created by the folding strip can be usable spaces without getting to a crazy scale. Also, just like the others in this species, it is quite an open structure and can be used accordingly.
Top View
Bottom View
Front View
Left View
B.4 Technique: Development
Perspective View
Highlight 7 The most interesting part about this composition might be the half-capped structure – though in fact, this composition is technically not capped at all, since the top canopy is merely formed by studs. Another thing is the semi-enclosed space within the whole structure’s interior. It is to some degree a space within a space and can potentially be of some spiritual significance. In addition, there are two skeletal “arms” projecting out, as shown in the top view. They are based on the overall form of the composition and can have some impact on internal movement by hinting and subtly suggesting potential routes.
Top View
Front View
Left View
Algorithmic Sketchbook Week 8
The idea of this design comes from small kingfisher, which is a small Australian bird. In front of its actual eyes are two white spots, which can be easily mistaken for their eyes if viewed from a distance. As a result, it would be perceived larger than it is by predators. Its white belly is doing a similar thing to its potential prays in the water. As a result, the key idea is deceptive. In this composition, the idea is carried out by the cones on its surface, its shape and its material. Firstly, the cones’ openings are smaller on the inside and larger on the outside, which has a significant impact on the amount of light in the interior. Secondly, the outline of this design looks dynamic and curvy, but it consists of direct lines and planar surfaces. Thirdly, it looks like it is made of marble, but it is actually made of lightweight material with surface rendering. It is a bridge between two bridges and is hanging over the site with a few cables connected to the two bridges. People can use the same cables to get into the interior. Since the openings on the two sides of the structure are of different size, the experience of going from this side to that and the reverse journey would be different. Also, the holes on the ground of the structure can be capped with glass so people can play skateboard in it. Rock climbing is another potential use of this structure.
External Perspective View
Top View
Internal Perspective View
Section View
B.5 Technique: Prototypes
Prototypes In the previous highlight section, the 56 iterations have been narrowed down to 7. In the following section, two of them will be selected and brought into prototype making. The models will be handmade instead of laser cut or 3D print in order to form a personal bond to the projects as well as to have a better understanding of their structure. Since they are handmade and algorithmic design outcomes tend to be quite complex, they would not be very accurate. However, the most important task is to capture the spirit of the design outcomes and have a better understanding of their forms. This task will be done properly with the following exploration.
B.5 Technique: Prototypes Prototype 1
The Architecture
Architecturally, this composition might look like a typical pavilion, but there are many aspects of it that can be explored and further developed. Firstly, the use of light can be interesting. Since the basic plate components are not entirely merged, light can come through the gaps between them. With some mechanical components, this can even become a dynamic structure and each piece of the structure can move in a certain pattern. By moving the plates around, the perception would also be different. When light pours in, they will become seemly smaller as they would occupy a smaller portion of people's vision. This can help with creating a seemly lightweight structure. On the other hand, this composition on its own can be quite solid as well and can generate a sense of heaviness. Access is another major concern. The most natural approach towards this composition is let people go through the structure from beneath if it is roughly 6 metres high, and can be placed over one of the roads of the Merri Creek Trail. However, if the composition is blown up and is of a much larger scale, it can hang over one of the bridges present on site.
1
2
3
4
5
6
B.5 Technique: Prototypes
Fabrication
In terms of fabrication, it might be easier than it seems. The plates that consisted the whole structure are of the same size, though some of them are intersecting and overlapping. This made modular manufacture possible to some degree. The central symmetric shape of the structure can push the modular production further, as one half of the structure is exactly the same as the other. Timber might be a good choice of material for both the production of the model and the production of the potential actual composition. It is generally not too heavy, and can be perceived as either heavy or light depending on the way it is used. This made sure the production process would not create too many problems for the engineers and fits the architectural vision. In terms of structural support, the two curvy wing-like structures can theoretically hold up the whole structure, while the two sides will cantilever out.
B.5 Technique: Prototypes
The Outcome
These ideas are tested with the prototype. When applying light to it, the desired effect is showing, though not very clear. Light is coming through the gaps into the interior of the structure, as expected. However, the potential movable panels are not made in the prototype, so the effect is quite limited and the actual project is expected much better. Also, the merging effect of the project composition was not accurately captured in the prototype and has a minor negative impact on the outcome.
B.5 Technique: Prototypes Prototype 2
The Architecture
Architecturally, this composition might have a bigger potential if rotated along z axis. After the rotation, the holes would become horizontal, as shown in the last two photos of the prototype. Flow would be the key concept in this design. This would not be limited to the flow of people, but would include the flow of wind and water alike. The whole composition would be rather vertical and the bottom hole can be beneath water surface of the river on site. Since the structure is quite open, wind can go freely through it, which can be clearly felt by people using the higher part of the structure. It is also possible to control the flow of people by connecting the structurally divided spaces in a desired manner. In terms of scale, the whole composition should be roughly three-storey high so people can easily fit into each of the separate “rooms�.
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2
3
4
5
6
B.5 Technique: Prototypes
Fabrication
In terms of fabrication, the prototype and the actual building can be quite different. This design consists of one single piece of material, but it does not have to be the case when being built. Instead, thin reinforced concrete can be used. Different parts of the structure can be produced separately and assembled on site. With current technology, a smooth surface can be easily achieved and the whole composition would still have the essence of the design. Also, the whole composition is supported by the walls of the bottom “room�, which could be demanding. As for the prototype, there is no better material to use than paper. By connecting a series of thin paper strips with PVA glue, this design can be faithfully recreated.
B.5 Technique: Prototypes
The Outcome
The produced prototype is satisfying. It is quite accurate, both in terms of its form and its spirit. This prototype provided an idea of how this composition would feel like after the rotation, and the effect is just like expected. However, the relation between the design and water could not be further explored as it is not a good idea to put paper in water.
B.6 Technique: Proposal
The Breath
Prototypes In the previous highlight section, the 56 iterations have been narrowed down to 7. In the following section, two of them will be selected and brought into prototype making. The models will be handmade instead of laser cut or 3D print in order to form a personal bond to the projects as well as to have a better understanding of their structure. Since they are handmade and algorithmic design outcomes tend to be quite complex, they would not be very accurate. However, the most important task is to capture the spirit of the design outcomes and have a better understanding of their forms. This task will be done properly with the following exploration.
Top View
B.6 Technique: Proposal
At last, one of the two prototypes were chosen to be further developed into the final proposal. The first prototype had this honour. The final proposal is based on previous analysis and explored the design potentials. The structure is placed over one of the roads on the site, so people can walk beneath it and go through the structure. Its surrounding is rather open so it is possible to appreciate its form from different angles in or around the site. As discussed before, this composition would be built with timber, which is integrated with the key concept of the design: breath. The most significant feature of this structure is it is literally dynamic: the timber plates that formed it are connected to a steel frame with mechanical equipment and can switch the angle they are positioned. The whole structure would slowly change from state A and state B constantly, so it is literally different every second. However, this movement is supposed to be subtle enough so it would not be noticed by people on site if without constant observation. It is supposed to feel natural instead of mechanical, just like breathing. The preferred effect is people would find it different every time they visit the site. As the panels shift, the amount of light allowed in the structure would be different. This would happen alongside the change of sun angle, making the final lighting effect more unpredictable, more vibrant and more variable. I do not believe there are a lot of other designs that can achieve the effect described above, so this is definitely THE pavilion to be built.
Perspective View
B.6 Technique: Proposal
Side View State A
B.6 Technique: Proposal
Side View State B
B.7 Learning Objectives and Outcomes
There is a lot of work in this assignment. That is perhaps my most direct impression of part B. It seems it is especially the case in our tutorial. Two things are going on at the same time, other assignments in other subjects are pressing, etc. It was not easy. It never will be easy in architecture. I was quite behind in the first few weeks due to other subjects, but I managed to catch up soon enough. the process has been enjoyable, though a bit stressful. I added much more text and enlarged the pictures as an adjustment to the feedbacks for Part A. The mark I received is shameful and unacceptable and I intend to improve on that. The graphic style is quite restrained. Most pages are in black and white, and colour is only applied when necessary. Surprisingly, this is the first time I actually enjoyed group work in university. Before this studio, all of my previous group members were unmotivated and did not have a high enough standard for themselves. However, this studio is different. Both Lester and Nathaniel are highly motivated, energetic and full of splendid ideas. For the first time, I am not carrying the whole group forward. Their personalities are also great, and we had a lot of fun preparing for the sketchbook presentation each week. After working together with them for four weeks, I can say that I do not only gained two good groupmates but also two friends. I also learnt a great deal about architecture in this assignment. When producing the iterations, I truly tasted the feeling of generative design. The outcomes produced by grasshopper is constantly out of control. I have lost count how many times my beefy new Alienware broke down. Some of the outcomes could hardly fit into the pages, especially during case study 1.0. Usually when I finish an assignment, I just want to throw everything about it away – the readings, the essays, the photos that I have to cite, etc. however, awkward enough, after this, I want to have some more. Perhaps what I said at the beginning of the assignment was not entirely accurate. Geometry is not THE possibility. Architecture is. I love what I do. Bring Part C on. I cannot wait.