Yang fanshunze 800376 partc

STUDIO AIR JULIUS EGAN'S

CONTROL FREAK FANSHUNZE YANG 2018

CONTENTS INTRODUCTION

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Part A. CONCEPTUALISATION

Part B. CRITERIA DESIGN B.1 Research Field week 4 Algorithmic sketches

A.1 Design Futuring week 2 Algorithmic sketches

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A.2 Design Computation week 3 Algorithmic sketches

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B.2 Case Study 1.0 B.2 Four Chosen Iterations week 5 Algorithmic sketches B.3 Case Study 2.0

A.3 Composition/Generation

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A.4 Conclusion

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B.4 Technique: Development week 6 Algorithmic sketches

A.5 Learning outcomes

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B.5 Technique: Prototype B.6 Technique: Proposal

B.7 Learning Oobjectives and Out

tcomes

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Part C. DETAILED DESIGN

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C.1 Design Concept

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C.2 Tectonic Elements & Prototypes

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C.3 Final Detail Model

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C.4 Learning Objectives and Outcomes

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49 BIBLIOGRAPHY 53 57 63 67 71

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INTROD

I'm Fanshunze Yang. I have learned a lot about digital a and benefits, the communication and negotiation, and the computation as a helpful partner who generated outcom Grasshopper, which I found quite interesting during the proc

Unlike other studios, we were asked to give a new prop significant quality from a soundtrack, a video or an artwo group was given an animal and just like weeks before, dri keeping develop the concept and form for the final presen working with Grasshopper for the outcome we can hardly means to understand it, to interpret it and to experience it.

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DUCTION

architecture in this subject so far such as the challenge e combination of human and computation. I understand me with the designer. Now I’m just getting familiar with cess, and I believe I will use Grasshopper more in future.

posal each week from week 2 to week 7 by taking a ork and interpret it into our projects. From week 7, each iving a quality from it, representing it in the building and ntation. Our studio is named “Control Freak”, as we are y predict and then we take the outcome seriously, which

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As the second largest port in Europe, Antwerp Port had become a container receiving large labour input and outputting plenty of resources.1 The Port House helped transportation process while tended to provide more for future growth. Besides, the combination of new and old structure itself stated a brilliant concept for design futuring. As the old structure was required to be preserved, the new structure didn’t contend attention with the old building but emphasis the imposing figure of the old building.2 While considering the advanced design, what can’t be ignored are those history. Antwerp Port House is an amazing work that brought past ready for future.

CASE STUDY 01

A.1 DESIGN FUTURING

1. MINI Clubman, Antwerp Porthouse / Zaha Hadid Architects (2016), <https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects> [accessed 04 March 2018].

2. Clubman, Antwerp Porthouse / Zaha Hadid Architects.

Figure 1. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects/57e416dce58ec

cef8b4000510-antwerp-port-house-zaha-hadid-architects-photo

Figure 1. MINI Clubman, Antwerp Porthouse, 2016

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Figure 2. MINI Clubman, Antwerp Porthouse interior, 2016

Figure 2. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects/57e4178fe58ece Figure 3. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects/57e418a0e58ec

Figure 3. MINI Clubman, Antwerp Porthouse workplace, 2016

ebef8000c3a-antwerp-port-house-zaha-hadid-architects-photo cef8b4000512-antwerp-port-house-zaha-hadid-architects-photo

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CASE STUDY 02 What Heydar Aliyev Centre successfully contributed is the connection with regional culture and showing the possibility of diversity expansions could happen in future. The Plaza, where the building is sitting, is literally a place for everyone to have activity.3 The building does not change that feature rather provided an open interior space for people and emphasis cultural activity. In addition, the fluid appearance, large glass facade and similar textured material to plaza all lighten the contrast between outside and inside space. What had also been compared quite apparently with the building are those surrounding Soviet buildings. The Republic of Azerbaijan asked a building not in Soviet style to demonstrate and stimulate a new positive development in nation.4 This building not only provided a space for people to have more cultural activity but also looked forward to future context development.

3. ArchDaily, Heydar Aliyev Center / Zaha Hadid Architects (2013), <https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 04 March 2018].

4. ArchDaily, Heydar Aliyev Center / Zaha Hadid Architects Figure 4. Caalondon, Heydar Aliyev Center, 2013, accessed 04 March, 2018, hhttp://design-afterhours.blogspot.com.au/2013/11/heydar-aliyev-center-baku-azerbaijan.html

Figure 4. Caalondon, Heydar Aliyev Center, 2013

Figure 5. Caalondon, Heydar Aliyev Ce

Figure 6. Asif Masimov, He

Figure 5. Caalondon, Heydar Aliyev Center Figure 6. Asif Masimov, Heydar Aliyev Center, 2016, accessed 04 March, 2018, https://commons.wikimedia.org/wiki/File:Heydar_Aliyev_Center.jpg

The interior of this project is amazing, which is completely different with what had ever happened in this city before. It demonstrates a new capacity of the city that can accommodate future trends. I think this project is really successful because it could bear all the views within a quite long timeline, which exactly a project for future. Besides, those curve appearances outside connected with site quite closely, which makes the building seems really easy to grow up from the ground.

enter interior, 2013

eydar Aliyev Center, 2016

PERSPECTIVE VIEW

week 2 Algorithm Sketchbook Task 5mins Breakfast Point

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1.1

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3 Figure 7. Concept development diagram

When I went to the site, the day was quite cloudy with showering and wind. I noticed there are on groundFRONT because ELEVATIONof wind force or wilt. Then I listened the sound track on site, the first thought ca I found the sound track can be understand as a process of growing or gathering since more and later. Therefore, I connected a relationship between gathering activity and the site, which also bec my project this week. At the beginning, I was trying to create a space for people to gathering for a breakfast, the idea generated from surrounding transportation facilities. I built up 3 circular panels I tended to develop the panel by adjustments could respond to the site. And finally, I just get rid o bending beams to express wind tracing and wind force (from 1.1 to 3). The space them generate what panels created.

Figure 10. Elevation

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Figure 8. Perspective view

e some palm treesâ&#x20AC;&#x2122; leaves ame up was Harry Potter. d more instruments joined came the main scheme of a certain purpose, having s to form the space. Then, of panels and use circular ed became stronger than Figure 9. Plan

Figure 11. Elevation 2

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A.2 DESIGN COMPUTATION Computer had gradually joined related fields such as researches, form generation and communication in design process. During these processes, design can be defined as considering and generating architecture by logic algorithm. It is obvious that the engage of computer brought convenience and benefits. For instance, Parametric design system introduced a set of new terms to allow variations in designing such as writing rules or algorithm procedures. An example to demonstrate variation and forming is the Spanish Pavilion done by EMBT in 2010. Through the 3D model, using horizontal and vertical cutting to generating coordinates of structural members, which also reduced the difficulties of manufacturing.5 In addition, the team got useful feedback about size, shape and position adjustments to meet stability deformability requirements for both architectural and structural purpose from 3D model.6 Computation can be understood as an essential part of this project since it is the only efficient way to explore more about structural information by comprehensive observation.7 In complex design, computation is indispensable.

5. Julio M. Calzón & Carlos C. Jiménez, ‘Weaving Architecture Structuring the Spanish Pavilion, EXPO 2010, SHANGHAI’, Architectural Design, 80.4 (2010), 52-59 (p.59).

6. Calzón & Jiménez, p.59.

7. Calzón & Jiménez, p.59.

Figure 12. SEEL, Spanish Pavilion, 2010, accessed 11 March, 2018, http://www.mc2.es/ficha_proyecto.php?i=en&id=65&idcategoria=11 Figure 13. SEEL, Spanish Pavilion Figure 14. Channelbeta, Spanish Pavilion, 2010, accessed 11 March, 2018, https://www.flickr.com/photos/channelbeta/4619881302/in/photostream/

Figure 12. SEEI, Spanish Pavilion, 2010

Figure 13. SEEI, Spanish Pavilion construction, 2010

Figure 14. Channelbeta, Spanish Pavilion facade detail, 2010

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Computation would effectively reduce the possibility of making basic mistakes by human and increase expressing and working efficiency. Therefore, to consider the potential benefits and constrains of a solution for the design purpose became more accurate and comprehensive. The B of the Bang done by Thomas Heatherwick Studio would be a good example to demonstrate that advantage. There is a ‘core’ component in their design, where all ‘spikes’ and ‘legs’ meet up, and it is quite hard to understand the requirements, problems and working compositions just through drawings and verbal presentation. What they did is to make a digital 3D model and 3D print it. Then everything became much clearer and the design can back to the right track. In addition, to maximize accuracy of the position of each spike in design, designer used computer software to define where meets other parts by precise coordinates in 3D model.

This is also an advantage of the combination of human and computation. The 2 participants in this combination stands creativity and rational considerations respectively for achieve better outcome.

Figure 15. Thomas Heatherwick Studio, th

Figure 15. Thomas Heatherwick Studio, the Bof the Bang, https://www.raywaterhouse.co.

Figure 16. Thomas Heatherwick Studio, the Bof the Bang, concept, http://www.heatherwick.com/project/b-of-the-bang/ Figure 17. Thomas Heatherwick Studio, the Bof the Bang, 3D Print, http://www.heatherwick.com/project/b-of-the-bang/ Figure 18. Thomas Heatherwick Studio, the Bof the Bang, Construction, http://bikesandbuildings.blogspot.com.au/2012/04/welding.html Figure 19. Thomas Heatherwick Studio, the Bof the Bang, Digital model, http://www.heatherwick.com/project/b-of-the-bang/

he Bof the Bang

Figure 17. Thomas Heatherwick Studio, the Bof the Bang, 3D Print

Figure 16. Thomas Heatherwick Studio, the Bof the Bang, concept

Figure 18. Thomas Heatherwick Studio, the Bof the Bang, Construction

Figure 19. Thomas Heatherwick Studio, the Bof the Bang, Digital model

However, one possible problem could occur during the communication between human and c conscious. Stream of conscious is a kind of mind thinking activity that happened a lot in design pr not acceptable for computer since it is almost impossible for a computer to understand and even journey. What would be influential is the logic of how the idea generated. For example, the projec the circular panel at the beginning to express the feeling of enwrapped then I wanted to connect w use abstract composition and openings on the panel to show the leaves of palm trees. Finally, I g those openings to express the wind force on leaves and enwrapped people because thatâ&#x20AC;&#x2122;s what sound track and site. For a computer, it might be hard to make it understand my conscious stream si to understand specific order.

Nevertheless, computation can help people to communicate with themselves or other people by m 3D modeling rather providing reflections. They can also attract more participants into the design pr sophisticated idea.

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Figure 20. Perspective view

computer is the stream of rocess by human, but it is n reflect on your thoughts ct I did for last week, I use with the site, so I chose to get rid of the panel but fill t I could imagine from the ince it just got its program

more accurate drawings, rocess and develop more

week 3 Algo

2

1

Figure 21. Plan development

Failed development form and plan

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From Richard M inspiration and r participants insp So, we started w with scale chang protecting the sp contrast in our pr our concept, def however at nigh fight back of bra

We improve a li were tended to surface is quite h I believe maybe Figure 22. Improving frame

orithm Sketchbook Task

Mosse â&#x20AC;&#x2DC;s Enclave artwork series, my group and I chose the one that shows the strongest contrast as our reference. We summarized 3 participants included in this photo, context, enemy and soldiers. These 3 pired us the idea of defense. Then we tended to build up our design also according to those 3 participants. with a circular surrounding because of the uncertainty about where attack would from then we placed sphere ging to emphasis the attacking direction, to the centre. We placed 2 triangles at the centre to show soldiers pace. As what I mentioned before, the contrast is quite strong in the photo, so we also intended to address roject, which is the reason why triangles were chosen. What interesting is the apply of light to accommodate fense. It can be understood by feel different view at different time. During the day, surroundings are stronger ht, surrounding vanished into darkness, the light at centre would start shining, which indicates the action of ave defenders.

ittle bit about the scale of the sphere to demonstrate attack action more stressful (from one to two). And we change centre structure into irregular curvy surface, but things didnâ&#x20AC;&#x2122;t go so well about that. We found the hard to generate and form by just what we have learned on grasshopper. But Iâ&#x20AC;&#x2122;m happy that we tried, and e at the end of this semester we can form that surface successfully.

Figure 23. Elevatioin

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A well known advantage about computation is the network of sharing programs. As designer could access some website for the most effective digital tool to help them generate the structure, which done by computational designers, they could practice their proposal more efficient and explore more about the software.

A.3 COMPOSITION/GENERATION Computation can also be very beneficial in these 3 aspects: 1. Allowing users to deal with the information and interactions of essential components, which would support the changes of design form.

2. Providing a wider range of possibilities and strengthening the ability to achieve them to accomplish the concept or scheme the designer aiming for.

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Figure 24. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006

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Figure 25. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006

3. Generating even beyond estimation potential for processing information and ideas as the order can be added and developed.

Vivisection by architect Mette Ramsgard Thomas and designer Simon løvind would be a good example to show the beautiful possibility. As it is a combination of machine and textile, it brought rational defined movements and free formed materiality together. What robot part would do is generate the movement for steel connected with silk then form amazing and unknown actions together.8

8. ‘Robotic Membranes: Exploring a Textile Architecture of Behavior’, Architectural Design, 78.4 (2008), 92-95 (p.94).

Figure 25. Mette Ramsgard Thomas and Simon løvind, Vivisection, https://kadk.dk/en/case/vivisection Figure 26. https://kadk.dk/en/case/vivisection Figure 27. http://www.zelig.dk/art/vivisection/ Figure 28. http://www.zelig.dk/art/vivisection/

Figure 26. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006

Figure 27. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006 Figure 28. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006

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Moreover, a remarkable change brought by computation is that designers are able to combine related influential information with the expected outcome through computation such as testing building performance to improve efficiency. Besides, while it is simulating the performance, it also creating possible space experience already. For example, Messe Basel

by Herzog & De Meuron, they got their own digital technology group to provide wanted effective program. And they developed a program to predict the hours of sunlight that building could get to make the design process more efficiently.9 In this case, computation not only means a kind of design technology but also became a new form of logic thinking.

9. Brady Peters, â&#x20AC;&#x2DC;Realising Architectural Ideasâ&#x20AC;&#x2122;, Architectural Design, 83.2 (2013), 56-61 (p.60).

Figure 29. Herzog & De Meuron, https://www.reddit.com/r/AbstractPhotos/comments/5fkbrw/scales_messe_basel_building_by_herzog_de_meuron/

As more contemporary technical research provided more information, it is important to focus more on how to use that information on proper design phrase and possible building performance rather than collecting the information itself.

Figure 30. Messe Basel

Figure 31. Messe Basel

Figure 30. Herzog & De Meuron, Messe Basel, https://post-ism.com/2015/08/03/basel-tov/ Figure 31. Herzog & De Meuron, Messe Basel, http://zumtobel.us/inspiration/basel-exhibition-center_35/ Figure 32. https://www.modlar.com/photos/419/messe-basel-new-hall-exterior/

Figure 32. Messe Basel

A.4 CONCLUSION Part A drives attention on design with computation involved and the outcome it generated. It is basic to differentiate the difference between computerization and computation. Computerization mainly refer to make the design digital and almost all match with your need but computation more like to generate and determine the outcome by its written program that might be quite different with what you expected, which means becoming part of the creator during the design process. And with computation helping, designer could have a wider view on the whole design and more accurate analysis of detail. With wider view on the design and higher accuracy in detail, designer could create more proposal for effective problem solving while reduce the rate of failure out of mistakes made by human. In addition, this cooperation is a combination of creative abilities and rational forming because people having their conscious stream and thoughts development, and computer got its program to determine part of the outcome, mostly form and structure. As the increase of applying computation in design process, computation had been understood as a new logic but not a design technique anymore. The support from computation is quite obvious when designing a complex structure since it could generate things quickly and correctly. The information it provided during the designing is also useful as it allows you to communicate with yourself about the outcome. Besides, computation also defined a new way for architecture practice. People could manage and process the information which closely related with how the outcome constituted then improve the outcome. What computation does also great is it could stimulate the inspiration and knowledge gaining. In word, computation provided plenty of opportunities in various field in designing. All these features make computation an innovative and amazing component in design process, which also built up indispensable contributes of computation.

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A.5 LEARNING OUTCOMES I found it is really inspiring about how computation influenced different aspect during design process, which makes me really want to experience the influence comprehensively. At the beginning of this semester, I wrongly understand computation as computerization until I used Grasshopper in week oneâ&#x20AC;&#x2122;s exercise then I started realizing the difference between these two terms. As we are moving forward, I understand computation more correctly and I do agree with most statements that taking about the importance of computation and how beneficial it could be. I also found the unknown feeling about how the outcome would be different with my thoughts is really attractive. I expected more than what I did in computerization during the generating process. I enjoy the conveniences that computation brought and admire how people could invent these amazing â&#x20AC;&#x2DC;partnerâ&#x20AC;&#x2122; for designing. In the projects I have joined the design process so far, I can feel the progress of how I cooperate with computation programs. But I also realized the problem are existing in the whole process. For example, the program follows the rule strictly which makes specific knowledges and skills become necessary and that might take a while to be familiar with. Another problem might be quite individual, I found it is quite hard to manage the balance between me and computation program during designing and forming. I think it might because the lack of skills and experiences.

Anyway, although balancing what computation gives and what I want is quiet challenging, I still like the procedure of negotiating and improving.

If I am going to use computation program to improve my past projects, I might let grasshopper to determine something irregular and size to express the respective concept better since I have already know how to apply mesh on a polysurface, how to form a series objective with scale changing accurately and I also be able to add or subtract components grasshopper filled in a structure.

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PART B. CRITERIA DESIGN B.1 RESEARCH FIELD Research Field: Patterning In this field, I think the most intellectual part would be the source as a reference for whole pattern generation. As the whole pattern would accommodate concept, the source determined how it would look like and as the source changed the whole design could be totally different. The start of everything is important and difficult to generate. As it is actually predicted what the whole outcome would like, the definition and form are crucial and closely related to all fields included and each field or factors is expected to work well with concept when it has not totally shown.

From a relatively small-scale piece to make sure that it would accomplish the concept or idea successfully when ‘it’ becomes ‘them’, which can be understand as an intellectual process.

The amount and variation of the original piece also could be an intellectual consideration during the design process.

From concentrating on a magic piece to patterning, adding or reducing which and where, the process cannot be finished without specific knowledge and abundant experience.

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week 4 ALGORITHMIC SKETCHES:

This week we were given a video from West Sid filming technique. Like in this scene, a man is pas passed, the scene would actually transfer to diffe attracted us so we decide to form a project can

The design process isnâ&#x20AC;&#x2122;t go so well in fact beca specific, which means once we defined the form overcome that but all of them failed.

We were intended to use the slope on site to generate the space folding by height difference. As people trying to get near to the river, they found there is a space below like they never though about that before.

Then when they get down they realized the space is connected with site and underground. It started quite well but soon we found it is hard to define its structure and form to represent the quality.

We also considered about train track, what we were thinking is to place plenty of glasses on site and generate reflection. It is good for a concept diagram but may not for a specific project. We didnâ&#x20AC;&#x2122;t continue on that one because it rely on material too much rather structural and form. concept sketches

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de Story, we didnâ&#x20AC;&#x2122;t focus on the story but on the ssing basketball to another one and as that ball erent place. That space folding quality with that present that kind of feeling.

ause the concept and idea are too abstract to m, the space illusion also gone. We tried a lot to

concept sketches

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And finally, we got the outcome

After we stopped thinking about space, it makes sense. The panel basic spaces, and the staircase f responsibility to create illusion. Th this project is to let people involv the project, they would see each position, which just address the s it is so open, you contributed the realize it whether as a reference to yourself. when you are in the space

This weekâ&#x20AC;&#x2122;s project only touched in think, not bad as a start point. demonstrate that kind of feeling, to know and practice.

perspectives

like this.

enclosing space but create ls standing on site, which create freely grow near panel take he most success part we did in ved, as people move around h other very often in different space folding idea. Just because e space when you even didnâ&#x20AC;&#x2122;t to others or a definer of space

a little bit on our concept but I found it is quite hard to there is definitely a lot need us

plan

perspectives

B.2 CASE STUDY 1.0 SPECIE 1 : IMAGE AND PATTERNING

1.1 Curvy

1.2 Straight

1.3 Portrait

I applied different image referencing the pattern by image sampling component to test the limit of this comma reference mainly contain curvy shape. I found this can be expressed quite good by grasshopper. Then, I tried of curves, I want to know how would circle express light and shadow in an image, so I reference a personâ&#x20AC;&#x2122;s portr on details. What happened next is that I explored the limit of this component, I applied a cobweb picture that I sh the sophisticated composition and expected quality inside image. As I moved further I found image sampler is goo structure of the reference image were key of designing process, which may have difficulties to achieve. I also tried SPECIE 2: PATTERN OVERLAPPING

2.1 Horizontal

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2.2 Vertical

1.4 Cobweb

1.5 Inside Cliff

1.6 Tonal Paint

and and expression ability of circle. For first one, I just add the provided two images to generate a new d to reference an image consisting both straight and curvy lines, which also shown clearly. After testing rait. It is quite efficient on patterning the light and shadow defined by muscle although it didnâ&#x20AC;&#x2122;t work so well hot the other day, I want to see how it would interpret this in grasshopper. The problem is circle canâ&#x20AC;&#x2122;t express od at expressing density, shape and overall brightness depending on usersâ&#x20AC;&#x2122; requests however if the detail and d a tonal painting image to test how it would process the gradient, which quite effectively achieved indeed.

l

2.3 3D overlapping a

2.4 3D overlapping b

I tended to show the lapping pattern in different scale and geometry shapes, and also how different layer would contribute the content.

Therefore, in 2.1 and 2.2 series I applied patterns following horizontal and vertical directions and enriching each other. In addition, next test is the combination of 2-dimensional pattern and 3-dimensional pattern, which also followed horizontal and vertical direction. I think the use of patterning in proper architectural design is for enrich and accommodate concept so adding more expression to the base might help to achieve that.

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3.1 Descending

3.2 Rising

SPECIE 3: UNIT CONTRIBUTING TREND I want to know how patterning would express movement and trend. So I tried to change different input and vector to form a particular movement. I tested descending movement and rising at the beginning. I applied reverse vector component to those circles to get the different effect, which works quite well. Then I tried to form wave and I found it might be quite hard for a single component to apply both increasing and decreasing on the pattern at same time. In addition, it is also quite challenge but potential to generate different gradient to the curve, although the curvy appearance can be decided by the composition manner, it would be exciting to see another specific and direct effects. I also did covering and stepping, which are quite similar in technique but different in form. What these two iteration makes me impressive is how tolerant the patterning development could be.

3.2 Waving

3.4 Covering

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3.5 Stepping

SPECIE 4: Density and Dynamic Density variation is a fabulous way to address dynamic characteristic of pattering. In my opinion, patterning is not just repeating and can be understood at the first sight. It should be dynamic and impressive.

Therefore, I tested some possibility to show the density. Changing the size of each single element to generate shadow (not out of environment but pattern itself) and forming fluidity by the number of elements in a certain area, which all proves the dynamic aspect of patterning and how helpful computation performing during the process.

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B.2 Four Chosen Iterations

1.6 Tonal Paint

2.3 3D overlapping a

I prefer the tonal painting/1.6, 3D overlapping a/2.3, stepping/3.5 and the four fluidity tests at last. I like ton more than shadow variation and I also want to show the color which is unpredictable form certainly and free fro

The 3D overlapping is quite interesting to me because it demonstrates how different layers could create a r compositions applied to different layer, more possibilities and potential has been explored. Thatâ&#x20AC;&#x2122;s what I also tend the light and shadow in a more dynamic way.

I like stepping because of its compatibility. Unlike layering, it could add level while meet extrusion requiremen generating potential and dynamic forms, this iteration provided a reliable base indeed. The potential could be pr iteration between each step or on different extrusion level.

Finally, the four fluidity tests, it actually inspired me by the changing of elements amount to smooth fluidity. Densit but what if the flow is relatively regular and stable? Can it still be expressed by amount and size variation of e me back to the original logic relationship of density and fluidity. Points form curve and curves form surface. In Gr to dispersion of a surface, therefore, a significant movement distinguished by density can form a flow and so-ca process, if the points form line first, then as the points moved, line would be changed to stream. A group of stre flow. I think those tests make me think about the proper logic to form something accurately rather just applied so

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3.5 Stepping

Fluidity Tests

nal painting is because I was intended to show om limits.

richer content than a single layer. As different ded to apply on another iteration in B4 to show

nts easily. Just like what I expect in patterning, resented in the possibility of combining different

ty variation is a way to express significant flow each single elements? These questions brought rasshopper, the dispersion of points would lead alled fluidity. But if a line factor is added in the eams are able to present a stable and regular ome common used commands in grasshopper. "water" wood paint by Katsushika Hokusai in exhibition, shot by Percy

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week 5 ALGORITHMIC SKETCHES:

We were given a painting this w is: you have some smoke spread the color covered and wrapped up, amber.

Imagining an insect or a creature falling resin. Its emotion, gesture a Then we decide to design a build that, abstract ghost in specific hea

The original thinking was just like appearance, interior curvy wall to dynamic atmosphere. This form is We tried to suspend somewhere go so well. finally, we decide to

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week, and we found it can be described in a scene we imagined, which ding in your space then you pull down a plenty of color, at some point, the smoke and kept the vanishing smoke. Then, an interesting idea came

e was travelling through the forest, never thought could be stopped by a all kept vividly. ding consisting something free and non-hierarchical with a cover to keep avy shell.

e the sketch shown, entrance lower on that slope to keep integral amber o form non-hierarchy circulation and outside people can feel the internal s developed because wall is too heavy to represent the light ghost idea. up or add curvy line on the wall to less its heavy quality however it didnâ&#x20AC;&#x2122;t just keep the frame and get rid of wall itself.

We also applied two layers of the cover to enrich its thickness because only one layer does not feel like it would lock the free ghost inside. We also changed its position on site, we make it above water then we can only put entrance on two side. This is a kind of approach to keep aesthetically integrality of our cover.

We decide to use it as a gallery since it would allow people to have free circulation and relatively quite atmosphere inside. Just like what inside amber. concept sketches

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B.3 CASE STUDY 2.0

MoMa/Ps1 Reef designed by Iwamoto Scott got the inspiration from underwater landscape and life like sea mo an atmosphere with soft lighting and proper shading in existing concrete wall closed space. Circulation and hierar span and how deep should the fabric modules follow out of consideration of proper shading requirements. I thi is the underwater experience. Those fabric modules successfully transfer scalding sun into soft light and shading transparent sea plants would do. Moreover, the â&#x20AC;&#x153;membraneâ&#x20AC;? movement generated by natural wind just actin with the light color and frame to provide a peaceful and relaxing experience in this relatively heavier concrete sur quite good in integrity. It fully included those 3 elements, which are canopy, sitting area and wwground standi respectively. While those 3 elements worked coherently, the mainly interaction happened with them also were

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ound, gravels and anemones, corals to develop rchical movements defined how the frame would ink what this project had done quite impressive g for the space, which just like what water and ng like waving underwater, which cooperated rrounded space. In addition, this project also did ing for anemone cloud, reef rock and sea bed brought together, the design, people and site.

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Reverse-engineering Process Illustration

The the a it int poin add to fin gen poin circl wha of s curv in prop isnâ&#x20AC;&#x2122;t the add

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canopy development I did is to form area that it would cover first then divide to grids. Then I could find intersection nts. After the points had been defined, I ded a vector component in grasshopper nd centre point of each grid. Then I could nerate different sizes od circles with that nt as base. Next step is to move those les to some level and loft them. And as at this canopy designed, different level shading is required, I applied another vy surface and use that to split the loft grasshopper, which just generated per shading as required. The process complex, it is mainly about to combine design idea and the reason for each dition with the grasshopper technique.

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B.4 TECHNIQUE: DEVELOPMENT

as this project take inspiration from 3 elements undersea, anemone, sea rock and sea bed to form its design, i also try to in these 3 aspects and considering how they might be present in other way by pattering techique.

line line

= point move > point

= circle = line = circle

"anemone" form variation

connect corresponde frame then gennerate mesh

"anemone" form variation

"sea rock" form variation mesh in Grasshopper to generate crack gravel

"sea rock" form variation mesh in Grasshopper to generate compact composition

"sea rock" form variation basic solid - points control slider: 15

"sea rock" form variation basic solid - points control slider: 30

"sea bed" enrichment various height to express vegetation underwater

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"sea bed" enrichment smooth curvy surface to address sand

add another layer lower tha

"anemone"

"sea rock" form smooth mesh in Grasshopper to genera

"sea rock" form basic solid - points co

"sea bed" enrichment stepping to show the sea bed level and bring "unkno

o do the interation since the lower one got less and smaller hole, it would provide selected light to the space as sun moves

an the structural one

"anemone" form variation

"sea rock" form variation tended to show the mass activity inside gravel

variation ate irregular sharp appearance

own"

two layers with different size and number of hole

"anemone" form variation

form variation

variation ontrol slider: 50

remove the membrane but keep curvy frame

"sea rock" form variation mass and reflection

"sea rock" form variation tended to show the light reflection on rock underwater

"sea rock" form variation solid and surface - diversity underwater

"sea rock" form variation light reflection with more specific form

"sea bed" enrichment gap between elements 01 to make the unstable sea bed feeling when people standing on it

"sea bed" enrichment gap between elements 02 to make the unstable sea bed feeling when people standing on it

"sea bed" enrichment gap between elements 03 to make the unstable sea bed feeling when people standing on it

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"wall" variation curvy wall to cooperate with the underwater theme

"wall" variation transparent layer to form unclear feature of water

"wall" variation diversity position of transparent wall

"wall" variation -ocean current 01

"wall" variation -ocean current 02

"wall" variation -ocean current 03

"wall" variation waving pattern on each faรงade

"wall" variation waving pattern on each waving faรงade

except for anem

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"wall" variation "wall" variation column enclosed space to creat free entrance and cirlation, column enclosed space to creat free entrance and cirlation, respective more soft and flexible canopies concept base to work with respective canopies to work with non-hierarchy movement non-hierarchy movement

"wall" variation column enclosed space to creat free entrance and cirlation, respective flexibe and fix canopies to generate different feeling

"wall" variation slider=10

"wall" variation points to circle

"wall" variation move component

"wall" variation radius=50

"wall" variation slider=20 + move component

"wall" variation loft

mone, sea rock and sea bed elements, i aslo make wal iteration to responde the underwater environments.

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week 6 ALGORITHMIC SKETCHES:

For this week, we were given a paragraph from invisible cities written by Italo Calvino. It demonstrates a city above gr hypotheses about why those habitats chose to move above ground. We were starting with the idea of stay outside o objectively. But as we mwoved further we found something is missing. We go back to the paragraph and found m reasonable to believe that those habitats were there for protect the ground environment because they think their existen to the surrounding environments. They left ground because they love it too much to touch it. Therefore our concept is â&#x20AC;&#x153;Th here and there, with nostalgia and refrainâ&#x20AC;?.

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concept sketches

round and give three of the world to see it more information. It is nce would bring end hey hesitate between

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lines

surfaces

reference

What we actually did is to transfer the sky city into a structure in river and use the differenti and ground to represent the distance between those habitats and ground. In addition, w the form not a box because we tended to show the all-around distance feeling like there is can go. Except for distance, we have another aspect to represent the struggling in each in sky. We applied these flexible walls and platforms, which asllow people to actually go ou but as the platform is limited, they had to come back eventually to watch their absence. habitats on the invisible city would experience, they push clouds and rain to see their absen

In grasshopper, we used serval lines to form surface at the beginning, then use points compone boxes and smooth mesh component to make them together as a surface. Finally we used contour form our out appearance.

cubes

smooth mesh

frame form development

iation of water we also make truly no where ndividual upper utside building, Just like what nce on ground.

ent to generate r component to

plan

elevation b

elevation a

render

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We divide our building into two levels and give them different functions. Below the water would be the museum and upper water would be a free space. The reason why we set arrangement like that is because we want to show the process of exploration while the distance in our concept remains. So as people go inside through water to museum level, which refers to climbing up to the sky in text, they found they can hardly see anything clear of the outside except for those cultural relics since the water is a barrier to their sight. They want to explore more, they want to see more and touch more. Therefore they go upstairs. When they push the wall and feel free air while trying to end the distance, you still canâ&#x20AC;&#x2122;t get over it. Just like those habitants contemplate their absence.

We see the whole building as the city in clouds the surround water as the barrier between environment and yourself in your mind, you can feel the distance rather see it. We use flexible walls to address the confliction and restriction.

We use the building to accommodate the feeling and emotion in text.

render

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B.5 TECHNIQUE: PROTOTYPE

We use laser cut technique to the wall and frame. Then membrane to form the anemone. I developed it a little bit because I want wall also to engage in the process of constructing underwater. I applied wave image sampler to form the pattern on wall and it turns out really good. A problem I met when I combining those frames is I canâ&#x20AC;&#x2122;t puzzle them since the scale is too small for laser cutter to cut the hole. And the membrane actually works really well. I only did part of the project to see how it goes with patterning technique, modeling technique and real life conditions.

I actually enjoyed this process and started to understand the objective and aim of this task. There is some difference between hand cut and computation modeling technique. It started reminds me the proper position of computation. It is quite tricky that you started to see something already existing for a long time nut you never realized until you bring it to real life.

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frame

frame and membrane

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perspective view

bird view

"anemone"

B.6 TECHNIQUE: PROPOSAL

What we original designed is a dow when it meets ground. But it is not en our concept just by that, therefore continue to spread to touch the cree my habit, I want to occupy more.

Connecting with my technique, the form those layer with different density movement. And the plan was defin map of myna in Australia to show a

Each single element was defined by feather as myna would show their w when they are flying. As feather is rhombus in geometry. So we appl point and then generate density vari concept diagram - spread

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As our inspiration animal is myna, we found a character of myna is quite impressive and outstanding, which is its aggressive action and tendency to occupy more.

We take that quality to generate our concept: Never enough for my habit.

We decided to design a building consisting with clearly moving trend. And we figured out using various density to provide a feeling of arriving. To define the direction, we applied a prefer environment condition myna like, warmer atmosphere. Since normally sky temperature would be lower than ground temperature, we made a downward trend and call our building â&#x20AC;&#x153;arrivalâ&#x20AC;?.

Never enough for their habit as they are exploring unknown and toward to a new stage with partner and ambition.

wnward trend stopped nough to demonstrate e we made the trend ek. Never enough for

patterning is used to y to present downward ned by the distribution kind of occupancy.

concept diagram - plan definition

y abstract geometry of white feather obviously s soft and similar with lied rhombus to each iation. concept diagram - element definition

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elevation

Think with the feedback, I think we can develop our project in three aspects. The lift of structure, just like what feedback included, to lift something up just made ground boring again. Although we were intended to create all round entrances and free circulations, there are still other way to achieve that like create different layer at the part near ground like what I did for stepping iteration/3.5 in B2. Secondly, Multi-function. See our proposal critically, it is quite limit indeed. What we do to break the strong limit is to apply function to higher levels and more species (not only man) should be welcomed as they occupy more space our concept actually achieved more on function criteria. Thirdly, overlapping. Our density variation layer is too clearly divide, which lost the exciting form in original thinking (as what shown in concept diagram), therefore I think overlapping somewhere in the project would overcome that problem. And my technique, patterning and related iterations, would help with that. elevation

side view

see above interior

side view

see above

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B.7 LEARNING OBJECTIVES AND OUTCOMES Our tutorial is called “Control Freak”, what we do is to provide a project according to an attractive quality from a sound track, video, painting or a paragraph each week. As what our tutor said, to design something ridiculous and take it seriously, we are interpreting themes, pushing the boundaries and designing with computation as one of our group member. I personally really enjoy the process of draw a significant quality from those art pieces and then interpret it into architectural design. It is not about whether those art pieces themselves are impressive to me, it is all about the thoughts, inspiration and reflection it gives me, which I think is amazing to design stimulation and motivation. For instance, I don’t really like the video we have in week 4 but the space variation in its filming technique is definitely exciting. What I found also quite special is our group meeting. As what I said, I found the process of interpreting is quite interesting, my group and I actually spend a whole day to discuss about the quality we chose only. During that process, we did a lot of researches in quite large range of fields.

Tutorial also been quite productive too, as different interpretation collides each other, I found my understanding to architecture has being enriched. For instance, in week 5 tutorial, we got the idea of architecture accommodating memories. I just know architecture could accommodate ideas, culture, technique and living before but never thought about memories, which really made me impressive: as the architecture gone, your memories, a part of you, happened in that structure are lost. It gives me a new understanding of how people could have intersections with architecture and continuing effect my consideration about that aspect in later design processes.

We also talked about space limit in one week. How space can be influenced? In which way space can be defined? How to construct a space easily from its surroundings? I actually had a think about that, space can be influenced by circulation, lightness and materials etc. The space here doesn’t mean a four-façade closed area but a more abstract idea.

To construct a space easily from its surroundings, the function and context are supposed to be cohesive, at least not conflict (colonnade for example).

Besides, I also learned a lot about how to work with grasshopper and interpret its logic and language. We also did a lot of extra learning videos to form our project effectively.

Computation beyond efficient at this stage, it is a part of creativity.

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space notes

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PART C. DETAILED DESIGN C1: DESIGN CONCEPT From the interim feedback, the form itself consisted of separated layers and all lifted from the ground, which is a variable we can develop more. The separated layers are not convincible enough for the action or intent of aggression by myna and to lift something from the ground just made the ground boring again. I actually thought about whether the “lift” is needed to change just because of it made ground not interesting and whether it really made that. It is not rare that a lot of buildings were lifted and with their particular function, maybe, the ground does not seem like boring or not changed. If the building actually needs to be lifted, then what’s wrong with just letting the ground be boring? I guess what “boring” means is just the settlement of that project does not give any particular reason that the project had to be settled at there. If the building didn’t provide any attraction or positive use of that ground, then it is better to let it empty and available for other projects. However, since it is a subjective decision I personally don’t agree that our building made the ground boring again. In my less than humble opinion, what the problem here was not “boring” but “why”. Our purpose to place those columns was because we wanted to generate a non-hierarchical and free circulation, out of the habit of preferring wider space by myna, but apparently, our addition does not achieve that successfully since the ground itself is free enough and it is conflictive with our original purpose. Therefore we developed that, not because it is “boring” but because it is “not necessary”.

Another developing variable is the function. We got the feedback of that the form and function limited people activity just happened on ground level. The project only created space for people to use without any concept thinking and we didn’t consider possibilities of function for other creatures. The function and form are too limited at that stage. What we need to explore is the potential of our concept and function like how people could use it and in which way the building is unique to build.

The necessity of the project also related to function very close, which refers what we need to consider and understand in next level.

Besides, we basically built the building by single elements, which stand for the birds, created by abstracting the feather shape. In this way, the form itself lost its “arrival feature” as what we have drawn in concept diagram. Thus, we also need to change to another expression.

About our concept, the quality we chose from myna is not specific and unique enough. There are a lot of aggressive creatures and how are we going to design our building, which contains the unique feature related to myna. That’s another question we need to consider about.

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M u c a W W p

T t

Distribution Plan concept

Aggressive concept

Relationship Variation concept

Moving to next level, what we mainly focused on is the relationship between myna and people since its unique variation could address myna quality really specific. According to the research we did, the relationship changed to conflict from coherent, we were intent on presenting that variation in our building by both structure and fun We were trying to combine the idea of relationship and form of aggression together to design our building.

We found out that the increase of amount is the key of why that relationship changed. Therefore, we used to point, line and plane to generate the increasing pressure that myna brought to surroundings.

The frame itself could be the support since nearly all elements could be installed into the frame. Moreover, those panels at ground level could also provide supports to upper structure since they are all light weight.

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The distribution plan still working as a definition of the building at this stage. With a larger frame as the main elements such as point line and plane would follow the shape of distribution plan to repre aggression. As what had been mentioned before, the upper level is quite light and soft, and lower l confliction.

However, we controlled how high people would reach this stage to keep them away from the ligh area, which stands for the past coherent relationship. In week 9, all the structure and function were by how aggression could be represented and which relationship quality we applied.

Upper level- experience

s the base, esenting its level full of

ht structure e decided

Plan Ground level- Interior experience

There are 2 parts of the building were supposed to be 3d print. However, because of some file issues, which just provide a plenty of experiences for later model making, the model does not come out successfully. To bring something to real life means some aspects should be considered more carefully. For example, the frame thickness is significant since it is expected to carry cantilevered structure and what we set for the frame at the beginning is too thin to 3D aprint.

I also had thought about the necessity of 3D print for these models. It is more efficient to make these models by piece and piece rather than a whole together.

What I thought about is in which circumstance should I use 3D print. Frame this week with universe angle can be made by hand. Examining the models critically, the only part might require 3D print was those surfaces because of its curvy surface and irregular dimension.

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3D model part b PERSPECTIVE

3D model part a PLAN

3D model part a PERSPECTIVE

3D model part b PERSPECTIVE

3D model part a PERSPECTIVE

3D model part b PLAN

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C2: TECTONIC ELEMENTS AND PROTOTYPES

The concept and form keep developing at this stage. What needs to be considered more is the ongoing process. W past to current. However, we can still consider and explore how potential process would be in our concept. We e relationship between people and myna, like what they used to be.

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We thought we defined the relationship happened from expected to design a structure promoting the coherent

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"Co

Wha dam

We meet myna myna concept development during C2

waitness diagram

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nest and roost point diagram

oncept Adjusting"

at we started to do at this stage is to work with data related to our concept. We referenced the known mage site caused by myna in its distribution area, which formed those pipes presenting their aggression.

were tented to create a space that people and myna could use and occupy together, which could t the expectation in function. What we had also noticed is that there is no control point or nest point for a in our site, so we were mainly focused on how to form a space for a coherent relationship between a and people working as a control and nest point as well.

project location on site

damage point and nest point layering distribution plan

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3D Print Experiments for Fabrication

Since we drive the quality from myna, there are 2 significant features, we insisted to understand and form into th the relationship variation. To express its aggression, we used pipes gathering to those damage points in the distrib as the core structure in the building

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week 10 3D print line drawings

he project, which is its aggression and bution plan, which had been regarded

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During the 3D print modeling process, I found that there a one would be the support parts. To form those cantilev print some supports under them, which could increase th supports material density is too high, which supposed b structure can be formed, it would be quite hard to remove Removing supports could also break those small objects why that we didnâ&#x20AC;&#x2122;t get our frame in week 9.

As 3D print is working layer by layer, the surface could be left just like what the image is shown. In so influence the model both structurally and aesthetic

After the first test, I realized that 3D print might su could be seen as additional. Fora example, wha because they can also be cut from a PVC pipe a tidier. However, for those structures with relatively would be quite efficient and accurate to modeling

are few questions about it. The most significant vered structures, the machine would have to he working hours and costs. Moreover, if the be quite strong to make sure the cantilevered e them later. Just like what the image is shown. s such as a thin stick, which is also the reason

e could be quite rough, and some printed material trace ome cases, this could require extra treatment since it would cally.

uit those structures more, which contain nearly no elements at we did this week, those sticks can be seen as additional and glued to the plane, which would even look nicer and complex designs but can be seen as a completed solid, it g with 3D print.

Using the base from the last stage, we added volumes to the building according to nest point by myna in its distribution pl used by both human and birds. We intended to print out inside volume and trials to show how would aggressive surface interior. However, the interior volume oneâ&#x20AC;&#x2122;s angle is not suitable for 3D print which causes it failed to print.

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lan and the volume can be e would work with coherent

week 11 3D print line drawings

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For something with the curvy surface without any closed irregular geometry shape, the 3D print shou the laser cut separated the structure into different lim broke the integrity. 3D print, however, can keep the for this particular shape, we still applied 3D print, still being quite rough in detail.

However, if there are a c the geometry, 3D print mi material would be print in high costs, and hard to rem

part seem to be additional, as it is a whole uld be priority with laser cut. To think it critically, mited levels due to dimension and cost, which e gradient and form better than laser cut. Thus , which forms the geometry quite efficient but

complex volume or space arrangements inside ight work not that efficient. A lot of support nside, which means long printing period and move the supports if the openings are too small.

About the relationship variation, we tended to design a space for the on-going process, which is turning the conflict into the cohereant atmosphere. To make both structure and function of the projecat maeeting the coherent concept, we also added rooms according to the nest point in its distribution plan for abirds and people could occupy.

The development of this 2 weeks is quite hard to conclude in a few words. It provided a new way to think about how to express the chosen quality, such as the aggression interpreted through damage point, and it also showed the shortage and problem of the “coherent relationship”. For the aggression, it also built a base of how to use the correct component in Grasshopper to form those pipes. As we added space for birds can also can occupy the concept is not that convincible. The development also provides some different form to test how 3D print works. All those structures seemed like should be modeled with 3D print are delated at the end of C2 developments since didn’t make sense and the rest can be modeled by other methods. However, since we are going to change the main modeling methods, the way of elements supporting won’t be same. For example, as what I learned from how aggressive tubes show be modeled, 3D print can’t distinguish different meanings and it is likely to be cracked so the tubes cannot be made with the main body together. Moreover, it is hard to form the empty interior space for 3D print as well just like what we had try in prototype.

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C3: FINAL DETAIL MODEL

As what problem we had been realized in our concept is the uncertainty of the on-going process. Fo tried to define an on-going process however the so-called coherent relationship is too hard to determin make sure whether the on-going process happening would still be coherent. After we realized that, missed all the time.

So, we are not trying to determine the relationship anymore but to create a space for people to relationship. In addition, we do not design space for myna to occupy on purpose anymore and the b represent the bird.

I think what we had improved on the form is quite closely related to our concept. As the interior should whole building under the scheme, we cooperate with the outside forces to construct internal atmospher got this week is we improve the integrality of all elements in the project. Each element is expected to carr and aims with others, which could be quite mass and odd while combining. However, I think we ove keeping communication with the concept, which had been achieved better than each week before.

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or last 2 weeks, we ne because we canâ&#x20AC;&#x2122;t we found what we

establish their own building itself would

d also work with the re. Another effort we ry different meaning ercome the issue by

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"response" concept sketches

"response" concept collage

To representing the bird, we mainly chose 2 significant plan to generate those tubes. Since we still use the relat the only circumstance can be called as â&#x20AC;&#x153;conflictâ&#x20AC;? happe coherent experience may also be existing. Therefore, w tubes in the building.

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quality of myna, which is aggressive and noisy. For aggressive, we used damage point by myna in its distribution tionship variation as our base, we actually explored the meaning of coherent and conflict relationship. We thought ens between 2 participants with similar scale, dimension, and strength. Moreover, somehow between those conflicts, we think a bird can be aggressive, people can also respond something, which is the reason why we have 2 kinds of

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"cliff" concept sketches

"cliff" concept collage

In addition, the visitors can find somewhere and some l structures that people would be able to use, which cou balance the ability mentally and emphasize the concep

As we did some research the movement of air would cre this idea on our tubes as people would hear the noisy w

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level they cannot reach. We cut the building as it won’t connect two sides of the river and placed some extending uld provide the experience of not everywhere birds can reach could be accessed by people. This design would pt of “same strength conflict”.

eate different sounds under different container. Those tubes could generate sounds with the wind force. We applied while they are moving in interior.

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For the function, we tried to figure it out in the whole developing process since we had been asked for an ess be built? To consider the structure seriously, we thought what we had been through for the whole semester, from discovered the potential possibilities of our site is the key and most valuable to us. When we went to the site, in by each weeksâ&#x20AC;&#x2122; practice, I found the limitation does exist and it gives us something to play with. We think our site is just the idea we want to be linked with our building and that would be the meaning of the building existence, to enco

About Function ...

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sential question: why our building should m the site visit to the final outcome. we fact, it is quite boring to me. However, is not boring but full of potential, which ourage exploring, creating and occupying.

potenial inside building concept diagram(left), potenial entending to site concept diagram(right)

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Since we are going to make the most of our project as cantilevered structure above the river, we just used those downwards aggressive pipes to enlarge them as the supports. What we also did here is to let partial trial out of the building to build various circulation conditions.

SECTION It is quite clear to see how space volume varies in section and this is the key to provide diverse potentials to discover and occupy interior. As people could reach different levels and space inside the building, as they moving to a different room they might found some structural variation, which provides more possibilities while generate correspond limitations, different level of limitations.

PLAN The project is placed where vegetation is quite flourishing because we also want to take vegetation as our consideration instead of avoiding it because I think it is really attractive to let this project work with nature. The surround is full of natural resources, which is precious.

EXTERIOR

When I draw the interior experiences, I also noticed that the exterior experience could exists between different trails and its surrounding natural resources such as waterb

d be varied as well. The possibility body, trees, and rainwater etc.

INTERIOR

Final Model Fabrication

Since we found the 3D print is not suitable for our structural design, we started considering how are we going to u 2 models with different scales to show different functions. One is the whole structure with 1 to 200 scale and ano 50 scales. The whole structure is to make sure that the building is built and the partial one is to show how air movem how interior space volume would look like.

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use laser cut to model it. We made other is the partial structure with 1 to ment could make sound inside and

laser cut file

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There are 25 layers of this model and each layer including 5 to 7 pieces, which we found quite complex since the small cant in Rhino, canâ&#x20AC;&#x2122;t stand by themselves. Therefore, we actually stick those small pieces to them correspond pieces then glue to s locate those pieces, we print out the plan of two layers, which are ground layer plan and 14th layer plan, then we built these end. In this way, the accuracy of the model could be guaranteed, and it made works easier.

Then we used aluminum and viva stick to show the aggressive tubes and combine them with the whole structure. We only ma quite hard and not obvious enough to place pathway inside. About how inside pathway formed would be shown in the par

I think the 1 to 200 model is quite effective in showing the practical aspect of the project and provide a full image of how it be the wideness of each piece. Because we offset about 7mm for each piece to form interior volume and space, which we process. I think 4 or 5mm would be better while it still can work quite well structurally. Another problem might be the contour c the curvy surface that accurate and sometimes the shape of one layer does not speak for all upper or lower level, especially i somewhere is not continues in the model.

tilevered pieces, out of the contour command some large supported piece above them. To e 2 parts separately and combine them in the

ade one pathway for this model because it is rtial model.

t would look like in all views. One pity would e found is too wide during the model making command. Unlike 3D print, laser cut canâ&#x20AC;&#x2122;t form in this small scale, which is just the reason why

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final model in 1:200

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It is qu any co looks of var whole volum mode how d structu

There are 38 layers consisted of this model. The process of this model is much easier than the 1 to 200 one because there are less small pieces and the variation of each layer is quite obvious. Just like how we made the former one, we printed out 3 layers plan to make sure the accuracy, which are ground layer, 14th layer, and 26th layer. For this model, the key is to understand how the surface varies. Since there are different extrusion and depression on the surface, the shape of laser cut for each layer also varies, and to locate each layer on the right position, we need to check how the extrusion or depression formed near that level on the surface.

For this partial model, we used larger hollow pipes as the scale increases and for sound making experiments. The pipes were made in 2 materials, aluminum and plastic, with different length for making various sounds. We combined one end of each group of 2 pipes first then insert them into the building. The process is quite fun actually when we let those tubes generate sounds by air movement. About the trail, we made it through the whole section and end up with outside as we actually made openings there.

uite interesting that when we made those 3 parts, each layer looks like separate projects however they can be combined without onflicts. When we decide which 3 layer plans should be used we didnâ&#x20AC;&#x2122;t think too much just separate them equally, but it just like 3 separate projects. I think this might happened because the shape generated by Grasshopper can be everything and full riations, which is the reason why when you just see one particular part it could be an individual structure even it belongs to the e. After we had proved the project can be brought to real life by the 1 to 200 model, we proved we have interior space and me for activities with the company of sound by nature and structure cooperation by the 1-to-50 model. To be honest, during this el making process, I started to be familiar with how our project interior looks like and how it can be used. I am surprised with diverse that the interior volumes are. Just like what we promoted in our design, exploring the potential, I think our interior space urally could be supportive and all we have to do next is to consider how the functional diversity could be achieved.

final model in 1:50

C4: LEARNING OBJECTIVES AND OUTCOMES

I think the lateral developments could focus on the interior designs for support multifunction. Even our building has numbe that could adapt to a lot of things would be much harder to construct than an interior with one main function. I was quite c don’t we take some practical considerations from the site? Such as the inspiration of “creating with limitations”, our building significant limitation is those aggressive tubes that could make sounds. The structure would affect circulation and the sound design. In addition, about the train station, I think since our project is encouraging potential, we don’t we make space bec of experience? I think this could be a nice idea to apply to our project as later developments.

For this particular project, the most experience I got is keeping developing the concept. It is important to understand the development. There are diverse aspects of the concept even when it's settled, what I need to do is to examine each and m makes me inspired is the potential. Julius said it is quite interesting that we still have possibilities even we already brought a extra lines, but we can still add other variables to the work. I really enjoy creating things but what it would make me feel pr

ers of function possibilities, which does not mean we donâ&#x20AC;&#x2122;t need to consider how it going to work. I think the environment confused about how to achieve that then an idea just came up with, since we get this multi-function idea from our site, why g also has serval limitations due to the way we made it, we can also form interior function facilities with those limitations. A would affect function. Maybe the function can be decided and provided by different circulation due to different structural came train station? As people usually think about train station as a place to wait but what about we provide another kind

e concept at each stage and be able to find its shortage. Some of them might be crucial to structures and the stream of make sure there is nearly no against sides. It is good to have possibilities, but they need to follow the concept. What also certain object to real life in the last tutorial. It is like we settled something already and there wonâ&#x20AC;&#x2122;t be an eraser to get rid of roud is its dynamic and generous features, generous enough for different opinions. I think our building meet that level a bit.

Interim present 04/18/20 Arrival: aggresion, attacking, never en

week 09 Arrival: aggresion, relationship variation, past won't have my name on

week 11 Harmony Bridge: be coherent again, use the space together

Final present 05/23/2018 Beyond: No more definition of relationship, establish it by every panticipants.

Break artificial impression, explore, discover and occupy

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Harmony Bridge: be coherent again, occup

018 nough for my habit

week 10 py the space together

Timeline and continuance About when a project can be seen as finished to me is when Iâ&#x20AC;&#x2122;m satisfied with the outcome.

There are a lot of variables even the final presentation is finished. Whether because of own skills improvements or the change of surrounding environments, and whether to develop the project itself or drive inspiration from it and apply to other thoughts, the project continues. Therefore, even the final presentation is done, the â&#x20AC;&#x153;final designâ&#x20AC;? still can keep developing.

later development sketches

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BIBLIOGRAPHY ArchDaily, Heydar Aliyev Center / Zaha Hadid Architects (2013), <https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 04 March 2018].

Brady Peters, ‘Realising Architectural Ideas’, Architectural Design, 83.2 (2013), 56-61 (p.60).

Figure 1. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-archite cts/57e416dce58ecef8b4000510-antwerp-port-house-zaha-hadid-architects-photo Figure 2. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-archite cts/57e4178fe58ecebef8000c3a-antwerp-port-house-zaha-hadid-architects-photo Figure 3. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-archite cts/57e418a0e58ecef8b4000512-antwerp-port-house-zaha-hadid-architects-photo Figure 4. Caalondon, Heydar Aliyev Center, 2013, accessed 04 March, 2018, hhttp://design-afterhours.blogspot.com.au/2013/11/heydar-aliyev-center-baku-azerbaijan.html Figure 5. Caalondon, Heydar Aliyev Center Figure 6. Asif Masimov, Heydar Aliyev Center, 2016, accessed 04 March, 2018, https://commons.wikimedia.org/wiki/File:Heydar_Aliyev_Center.jpg Figure 12. SEEL, Spanish Pavilion, 2010, accessed 11 March, 2018, http://www.mc2.es/ficha_proyecto.php?i=en&id=65&idcategoria=11 Figure 13. SEEL, Spanish Pavilion Figure 14. Channelbeta, Spanish Pavilion, 2010, accessed 11 March, 2018, https://www.flickr.com/photos/channelbeta/4619881302/in/photostream/ Figure 15. Thomas Heatherwick Studio, the Bof the Bang, https://www.raywaterhouse.co.uk/ Figure 16. Thomas Heatherwick Studio, the Bof the Bang, concept, http://www.heatherwick.com/project/b-of-the-bang/ Figure 17. Thomas Heatherwick Studio, the Bof the Bang, 3D Print, http://www.heatherwick.com/project/b-of-the-bang/ Figure 18. Thomas Heatherwick Studio, the Bof the Bang, Construction, http://bikesandbuildings.blogspot.com.au/2012/04/welding.html Figure 19. Thomas Heatherwick Studio, the Bof the Bang, Digital model, http://www.heatherwick.com/project/b-of-the-bang/ Figure 24. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006, http://www.zelig.dk/art/vivisection/ Figure 25. Mette Ramsgard Thomas and Simon løvind, Vivisection, 2006, https://kadk.dk/en/case/vivisection Figure 26. https://kadk.dk/en/case/vivisection Figure 27. http://www.zelig.dk/art/vivisection/ Figure 28. http://www.zelig.dk/art/vivisection/ Figure 29. Herzog & De Meuron, https://www.reddit.com/r/AbstractPhotos/comments/5fkbrw/scales_messe_basel_building_by_herzog_de_meuron/ Figure 30. Herzog & De Meuron, Messe Basel, https://post-ism.com/2015/08/03/basel-tov/ Figure 31. Herzog & De Meuron, Messe Basel, http://zumtobel.us/inspiration/basel-exhibition-center_35/ Figure 32. https://www.modlar.com/photos/419/messe-basel-new-hall-exterior/ Julio M. Calzón & Carlos C. Jiménez, ‘Weaving Architecture Structuring the Spanish Pavilion, EXPO 2010, SHANGHAI’, Architectural Design, 80.4 (2010), 52-59 (p.59).

MINI Clubman, Antwerp Porthouse / Zaha Hadid Architects (2016), <https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects> [accessed 04 March 2018].

Robotic Membranes: Exploring a Textile Architecture of Behavior’, Architectural Design, 78.4 (2008), 92-95 (p.94).

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