Geng shiran 666071 finaljournal

STUDIO AIR JOURNAL SHIRAN GENG

1

CONTENT

Part A CONCEPTUALISATION 0.0 Introduction/Previous Works

Page NO. 4-7

A1 Design Futuring 1.0 Design Futuring 1.1 Case Study 1 1.2 Case Study 2

A1 8-11 12-15 16-19

A2 Design Computation 2.0 Design Computation 2.1 Case study 1 2.2 Case Study 2

A2 20-23 24-27 28-31

A3 Composition/Generation 3.0 Computation Generation 3.1 Case Study 1 3.2 Case Study 2

A3 32-35 36-39 40-43

A4 4.0 Conclusion A5 5.0 Learning Outcome A6 6.0 Apendix - Algorithmic Sketches

A4-44-45 A5-46-47 A6-48-55

A7 7.0 References

A7-56-57

Conceptualization begins to determine what is to be built ... and how it will be built ...

PART A 2

CONCEPTUALISATION

Fig 1 Grasshopper Generated shapes

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A0-0.0 INTRODUCTION

Previou

Fig 5

Shiran Geng 3rd Year Architecture TUTORIAL 9 - BRADLEY ELIAS HK-UK-AUSTRALIA ART / SCULPTURE 4

Fig 2 Previous Work

us works

Fig 3 Previous Work Studio Earth

Fig 4 Previous Work Studio Water

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A0-0.0 INTRODUCTION-PART A

CON

AIM OF PART A

Constructing a convincing argument justifyi to the design challenge ARGUMENTS A1-DESIGN FUTURING

Architecture as a design practic ongoing disciplinary discourse A2-DESIGN COMPUTATI

Evolution of design processes gaged with them A3-COMPUTATION GENE

How architectural literature an from composition to generation CONCLUSION/REFLECTION

A critical reflection on how valuable is com Why is it valuable ? How to make the most o

GUIDE LINE 6

NCEPTUALISATION

ing the value of a computational approach

ce that contributes ideas to the and culture at large ON and how computing has en-

ERATION

nd practice reacted to the shift n

mplutational approach to architectural design. out of computational design aproach ?

OF PART A 7

A1-1.0 DESIGN FUTURING

Architecture as a design practice that contributes ideas to the ongoing disciplinary

Current Concern Dialectic of sustainment ‘The relation between creation and destruction is not a problem when a resource is renewable, but it’s a disaster when it is not.’

The renewable resources on the planet are currently being used up 0.25 times

faster than they can be renewed. It is truly concerning that human beings are consuming resources in such a fast speed. Designers have a significant impact on the way how the society consumes resources. Fry thinks that designers are creators but he also suggested that creation something means destroying something at the same time – the creation of table at the cost of tree. Design buildings or any sort of living environments often involves the usage of all sorts of materials. Designing new things with technology can lead the world to a more sustainable future. However, we also need to be careful about the cost of producing and making ideals come to live.

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y discourse and culture at large.

Futuring.

Slowing the rate of defuturing Problems adds up to the diminution of finite time of our collective and total existence Make more time

De-futuring.

The negation of time – reason to an unsustainability

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A1-1.0

DESIGN FUTURING

Architecture as a design practice that contributes ideas to the ongoing disciplinary

Speculative Design Design democracy

Democracy is driven by the growing mass of cheap design softwares, which

allow users to practice design at a basic and superficial level. Fry suggests that these quick computer generation tools are not really designing, it provides users tons of composition variations that any computer users can select and form ‘design’ outcomes.

As technology is developing fast, architectural design has focusing more on the visual outcomes, which is often generated with computers. Fry argued designing is a whole activity that need to take materiality and operability but not just the asthetics of things.

Design Intelligence “The realization of design intelligence would mean that having the ability to read the qualities of the form and content of the designed environment in which one exists, would be a mode of literacy acquired by every educated person.”

Design Complicity

Design complicity has an impact effect on the increasing impetus of unsus-

tainability of design itself. Sustain-ability suggests a more materially grounded objective and agency.

It is important that designers move from ‘sustainable development’ to ‘development of the sustainment’.

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y discourse and culture at large.

Sustainment

A. cut loose from developmental capital logic of perpetual growth B. recognizes the unavoidability of the dialectic of sustainment C. registers that our being is finite/our collective existence is related to the sustainability of our future actions

Architectural Influence

Architecture has a huge influence on people’s daily life. Considering the

future of designing techniques is almost as important as considering humans’ future living form.

Computational design technique is no wonder one of the ongoing future designning method as some of the architecure nowadays are already integrating this method into desigin asthetics and constructing engeneering.

Computational method often acts as a supportive part of a desige project but not being the dominant part.

It is up to designers to decide the role of computational mehod in our design. the influence of designs that involves a future aspect is discuessed in many design articles. The following case studies will present two of the integrateionmethods of architecture and computational design.

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A1 - 1.1 CASE STUDY 1 - DOME OVER 12

R MANHATTAN 13

A1-1.1 CASE STUDY 1

Dome over Manhattan Architect: Richart Buckminster Fuller ; Shoji Sadao Year: 1960

Fig 6 Dome over Manhattan

Fuller was one of the first person to

make a dome city step out of science fiction. The concept of ‘dome over manhattan’ first came out around 1960. Fuller wanted to use this geodestic dome tha spans over Manhattan to regulate potential weather issues and weather pollution. This idea was a revolutionary idea at that time. The dome was to reduce cooling cost in summer and heating cost in winter. By putting the giant dome over these buildings, there will be no individual building cooling and heating systems. It was also a sign of the designers trying to design for the environment.

The occur of this concept also shows that the issues of sustainability design products start to influence people’s potential living environment.

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Place: Unbuild but ideally over Manhattan

This dome was never built in real life.

The scale and potential cost of the construction stopped the realization of the project. As Fry suggested before, any future design realization cost destruction of other resources.

Especially when facing construction projects at huge scale, the balance of destruction and creation is often hard to find.

Recently, people have started to rethink about the project. As the humanity realization has developed since 1960, people started to think about the user group of the Dome.

Will they only be people who live in Manhattan, who are normally the top of the capitalism chain? Isn’t design for everyone?

These questions are yet to be an-

swered. However, if we look back to lecture one, we won’t find it hard to answer these questions on a theoretical base. However, it is still challenging for designers to create something like the ‘dome‘ in real life without considering about who will be paying for this design.

On an environmental perspective, there is not one – size – fits- all solution for all the environmental problems that we are currently facing. It might have saved energy on a small scale. For example, Shaoji and Fuller’s design for US pallvion 84 in Montreal. They used the same design concept. However, on a bigger scale such like the size of Manhattam, we need to reconsider the complexity.

Fig 7 Dome by Buckminster in Montreal on Fire

“The dome caught fire in 1976 and the image of the flaming structure, which seemed to augur the end of a richly optimistic, fantastical era of architectural posturing, was later purloined by Arcade Fire when the The complexity of making existing envi- Montreal band were promoting their ronment, social and economic systems 2010 album The Suburbs online.” acting as a whole organ is beyond description. Hence, the fantasy idea ‘dome over Manhattam’ can solve all these sustainability issues shouldn’t be dreamed about.

Fig 8 Attempted Reproduced Dome Shape in Rhino

Fig 7 Dome by Buckminster in Montreal

A transparent dome form can be easily generated in software like grasshopper, but computer generated forms sholdn not be the only thing architects should look. Software like this will just be more common and simplified. It’s the use of the structure, instead that matters (especially when consideraing designning in future).

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A1 - 1.2 CASE STUDY 2 - CONTINUOU 16

Fig 9 Continuous Monument in V&A

US MONUMENT 17

A1-1.2 CASE STUDY 2

Continuous Monument Architect: Superstudio Year: 1969 Fig 10 Continuous Monument

Supers studio commented on the way

Place: Unbuilt

and if cities can be achieved simply how the world is getting globalized. by multiplying these basic compoThe world is getting more and more nents then there is no need any more covered in building structures. Given for architects,’ the way the world is developing, super studio proposed this idea of turning On some degree, the modern world the world into one anonymous mega- is already a ‘continuous monument’. structure. It is not a built project; it is a Urbanization is putting more and collage work that’s currently being dis- more building structures on land.

The continuous monument has only played in the museum if modern art. proposed the extreme vision of it. In ‘Superstudio’s Continuous Monument, terms of sustainability, the continuous developed in a series of collages and monument is not a good model. storyboards in 1969, is a vision of total urbanization. There is nature and then Urbanization has already been dethere is the city, a single giant structure stroying farm land and using up natstretching across the landscape. The ural resources. Considering the span city’s form is determined by a geomet- of the project, the amount of land and nature that might be potentially ric accumulation of white cubes – avoid is scary to even think about.

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The realization of the structure can

also cause a lot of culture issues.

There will be hardly and local culture left. Architecture has always been very important of any type of culture in civilization history. Materials from local resources, structures that only suit one specific type weather. All these little details formed architecture as a whole unit. Different architecture style almost represent cultures. Removing that and build the world into one megastructure is not the best idea on a culture perspective.

The world is already slowly turning into one whole megastructure by urbanization. Because of the computer generation and the easy access to different computer programs, architects role has been influenced.

People are wondering the meaning of design format. The continuous monument is an extreme but accurate example of how urbanization process can influence architecture design.

Fig 11 Continuous Monument With Reallife scale

Fig 12 Continuous Monument in Landscape

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A2-2.0

DESIGN COMPUTATION

Evolution of design processes and how computing has engaged with them.

Computation.

Computerization.

Computation is a procedure of cal- Computerization is about automaculating, i.e. determining something by mathematical or logical method.

Computation is about the exploration of indeterminated, vague, unclear and often ill-defined processes.

Form generation - algorithm design desgn of systems that are capable of aadapting with other systems - architecture that flows

Fig 16 Computational Design Example

tion, mechanization, digitization, and conversion.

Generally involves the digitization of entities or processes that are preconceive, predetermined, and well difines.

Fig 17 Computerized Render of MSD

Fig 18 Computerized Render of MSD Elevation

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Design Practice The current moment problem

Parametric & Biometric Design

Material shift and the fabrication design have changed due to the evolution of digital architectural design. Software like Rhino and grasshopper have changed design a lot. The definition of biomimetic principles of design also contributes to the modern design knowledge. Biological nature has had a huge influence on architecture design. It is learning from natural principles and response to conditions of environment context.

Role of Computers/ Advantage or Using Them

Architecture design is an activity that deals with both creative and analyti-

cal issues. A design is a solution to resolve in both manners. However, computers, by their nature are made to be analytical engines. They create the best analytical answers but they are incapable of making up new instructions. They lack creative abilities.

Computer skills nowadays are essential in architectural design. The way this should be seen varies from different designers. Kalay suggests that these computer methods should be learnt and they can direct designers to successful solutions in a faster speed. Understanding the implications of these computer actions can help designer to express their design more accurate. Designers should be leading and using the programs but not the other way round.

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A2-2.0

DESIGN COMPUTATION

Evolution of design processes and how computing has engaged with them.

Fig 13

Kalay Design Methodology Diagrams.

Fig 14

Fig 15

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Oxman & Kalay - New Structuralism - Advantages and Critics

Architects before Renaissance had both building and craftsman skills. As architects, they had to be able to apply these skills in their designs. People used to consider architects as having a whole set of skills, not just drawing and designing. Technically, architect as a job required engineering and construction skills. It was after Alberti’s approach of architecture design, architects then only needed to produce drawing sets but not actually being a part of the structural building team.

However, Oxman suggested that architects nowadays after having the computational design skills, architects now have full control over the fabrication, building completion and also the design aesthetics. This theory received a lot of criticisms. Mainly on the fact that architects don’t live in vacuum. The resources are still not fully available to architects; the regulations are still restricting the architects. The ability of architects changing computational forms, scripts doesn’t make architects have full control over an actual building project. Also, the examples that Oxman used in the writing are mainly small academic pavilions that are either there for displays or being a part of exhibitions. They are not built in big scales to represent the practical level of computational architectural design in real life.

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A2-2.1 CASE STUDY 1- RESEARCH PA 24

Fig 19 Research Pavillion in Stuttgart

AVILION IN STUTTGART 25

A2-2.1 CASE STUDY 1

Research Pavilion in Stuttgart

Fig 20 Research Pavillion in Stuttgart

Architect: ICD - IKTE Year: 2010 Place: Univeristy of Stuttgart

The structure stands an unusual struc-

ture resembling a woven basket. This research pavilion was designed using a unique computation approach.

The group of designers tested out the charateristics of plywood, by measure the radius that plywood sheet can be bent without breaking. Then they tried to find a geometry that allow the material to exploit in an optimal manner, which can work together in terms of both function and design.

After determinate the tensile strength of the plywood stripes, designers then used computers to generate positions of all connections. thi approach helped designers to generate the possible positions of the plywood stripes.

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This structural calculation in the process of coiling up flat stripes by means of finite element analysis (FEA). It takes a few seconds to run through the computational design model.

Where as FEA will take a lot longer for the processes. After the process, the pavilion is then constructed and put in real life. This is defintly a future possibility for computational design on other type of materials. ‘The prototypical building articulates the anisotropic character of the fiber composite material as an architectural quality and reflects the underlying processes in a novel texture and structure. The result is not only a particularly material-effective construction, but also an innovative and expressive architectural demonstrator.’

‘The design concept is based on the study of biological construction processes for fiber-reinforced structures.

These processes are relevant for applications in architecture, as they do not require complex formwork and are capable of adapting to the varying demands of the individual constructions.

The biological processes form customized fiber-reinforced structures in a highly material-effective and functionally integrated way.’

Fig 22 Tensile Strength Test

Fig 23 Tensile Strength Test

The official design concpet has been

also inteperated in many other Stutgart university computational architectural projects. Also by using computational design method, designers of the research pavilion have saved a lot of time on testing all possible forms with FEA processes.

Fig 24 Generated Form Basing on Test

There is no pre- existing form and this has led to more possibilities of the outcome. Unlike a traditional computerization process, the researchers are also able to measure the relaxation behavior in the finished pavilion. The results collected can also be used for future virtual 3D models as well. This feature of computational design has created a lot more possible quick outcome for designers to choose from.

Fig 25 Construction of The Pavillion in Stuttgart

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A2-2.2 CASE STUDY 2 - ELYTRA FILAM 28

Fig 26 Elytra Filament Pavillion - Bird View

MENT PAVILION 29

A2-2.2 CASE STUDY 2

Fig 27 Elytra Filament Pavillion in V&A

ELYTRA FILAMENT PAVILION

Architect: ICD - IKTE Year: 2016 Place: Victoria and Albert Museum, London

The pavilion draws inspiration from

‘Through a transparent, adaptive and growing canopy the installation aims to extend this precedent towards evolving and adaptive semi-outdoor urban green spaces.’

the Victorian Greenhouses. The designers embodied the impact of the first industrial revolution and they really embraced the adoption of new modes of making materials. Experiencing sprit of new mode of fabrica- The second design inspiration is the tion, the project has truly showed us a unsurpassed effectiveness. The strucnew form of making materials. ture was inspired by lightweight construction principles found in nature.

Not only just the material, but also the This fibrous structures of forewing shells installation was trying to forecast the of flying beetles known as elytra. This revolution of robotic and physical pro- whole structure is a product of reduction working together in architec- search on the integration of architural design. In Victorian greenhouse, tecture, engineering and biomimetic the convergence of constructional principles. and environmental aspects results in a different experiential experience.

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Nature has its way of creating forms

and it influences the conception of this project’s structural installation. The composite structure only consists two basic cells. The inhabited ground interface the canopy and the column cell. Both these cells are made from the same load-bearing fiber material: transparent glass fibers and black carbon fibers. The computational nature of this project made it unique from any other projects.

‘The canopy constitutes a fibrous tectonic system that is as architecturally expressive as it is structurally efficient.

It provides the visitor with a unique spatial experience that transforms and evolves over time. The canopy also represents a live research project, which is most fitting for the history and ambition of the V&A.’ As there is no predetermined final outcome, the canopy is paired with real time sensor to sense the force within the structure. This doesn’t only allow the project to have real time control but also satisfy the future needs of its record. This is exactly what future computational design should be aiming at. This case study was a really good example of part A. It used a computational design method to generated these biometric related forms.

Fig 28 Biomimetic Inspiration

Fig 29 Robot Construction

Fig 30 Human Installation of the Structure

Fig 31 Elytra Filament Pavillion

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A3-3.0 COMPUTATION GENERATION

How architectural literature and practice reacted to the shift from composition to g

Algorithm Thinking.

The Differences Between Parametric Design and Computational Design.

‘An algorithm is a recipe, method or technique for doing something.’

Computational design refers to the

Algorithm is a set of rules or oper-

ations that is definite and effective.

It is not restricted to just numbers but also literal logics. ‘The operations correspond to state transitions where the states are the configuration of the tokens, which changes as operations are applied to them.’

Mathematicians and computer scientists restrict the definition of ‘algorithm’ – effective procedure ‘algorithm’ is a recipe for telling computer what to do ‘ - it does not do justice the profundity of the notion of an algorithm as a description of a process.

This may be avoided when precision is needed.

‘The connection between algorithms and computation is tight. A virtual machine is the machine that does what the algorithm specifies. A virtual machine exists at some level higher than the machine on which the algorithm is implemented. For example: a word processor is a virtual machine that exists on top of the hardware machine on which it is implemented.’

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use of computer approach to generated non determined forms. Paramatric design refer to the use of parameters to design things. It means if the parameter alters, the outcome with change accordingly.

“Computation is a good think, not parametric design…it’s like confusing science with the power of science”. -François Roche Parametric design emphasis more on the unexpected outcome with the aim of changing condition to adapt to user’s needs. It is completely different concept from computational design. I was confused about these two design methods before this week’s lecture and tutorial.

Now I understood why a lot of the designers get offended when they get called parametric designers. People also argue that, most of the designers use both methods before they have the full control of the program they are using. In another word, before the designers are perfectly fluent with their computer language, they are technically using both methods.

generation - the conceptual changes instigated by computing

Computation as an integrated art form: the danger of it being a script writing exercise - Critics

Computation as an integrated art form: the danger of it being a script writ-

ing exercise. ‘Through computation, the digital architectural design environment has both the ability to construct complex models of buildings and give performance feedback on these models.’

Drand argued that the way how pen and pencil can be used as a tool to illustrate any design ideas is similar to the way how computational tools can be used to make design or any visual communications more efficient.

He also argues that before the algorithm concepts are fully understood by designers, it is not computational method that designers are actually using. Hugh Whitehead also supports this argument by saying that:’ There is the danger that if the celebration of skills is allowed to obscure and divert from the real design objectives, then scripting degenerates to become an isolated craft rather than developing into an integrated art form’

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A3-3.0 COMPUTATIONAL DESIGN - IN

How architectural literature and practice reacted to the shift from composition to g

As Brady suggested there are different ways that the comp

A.‘the most common approach is to have computational d arate from the design teams.’

B.‘the second approach is to have a consultancy of comp

C.‘no separation between design intent and computationa

D.‘Emerging model of hybrid software engineers/architect

BRA

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NTEGRATED APPROACH

generation - the conceptual changes instigated by computing

putational design integrates with Architectural design.

designers working in internal specialist groups largely sep-

putational designers.’

al technique’

ts.’

DY’S FOUR INTEGRATION APPROACH

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A3-3.1 CASE STUDY 1 - KHAN SHATY 36

R ENTERTAINMENT CENTRE 37

A3-3.1 CASE STUDY 1

Fig 32 Khan Shatyr Entertainment Centre

Khan Shatyr Entertainment Centre

Architect: Foster + Partners Year: 2010 Place: Astana, Kazakhstan

Computational Design Integrated Approach

A. ‘the most common approach is to have computational designers working in internal specialist groups largely separate from the design teams.’

Khan Shatyr Entertainment Centre was designed using a computational in-

tegrated method. Its integration approach was to have a seperate group of computational experts within the whole design team. The entire design group worked was a whole unit but they all had seperat tasks within the group. The computational design group was mainly acting as a form finding part.

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The

computational design team desgined a form- finding algorithm that was used to generate quick design options for the cabel net sturcture. The algorithm was mainly used to simulate the forces that will be need to develop the form. This program allowed the designers to decide what form is the most feasible, light weigtht, cost efficient.

As discussed before, these coputational generated forms are really helpful for future changes or generations. Designers did need to spend hours on trying to get the percise calculation in 2D but instead they just produced a algorithm that helepd them to find the most effective form.

The computational design team has to work with other experts at the same time in majority of the projects at the moment.

Especailly when designing large scale projects, the completion needs experts on other areas too, such as legal sector.

Fig 33 Khan Shatyr Entertainment Centre 3D Iteration

Fig 34 Khan Shatyr Entertainment Centre 3D Model

Fig 35 Khan Shatyr Entertainment Centre Celling

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A3-3.2 CASE STUDY 2-BAO’AN INTER 40

RNATIONAL AIRPORT TERMINAL 3 41

A3-3.2 CASE STUDY 2

Fig 36 Bao’an International Airport Terminal 3 Render

Bao’an International Airport Terminal 3

Architect: FMassimiliano Fusksas and Kinippers Helbig Advanced Engineering Year: 2012 Place: Shenzhen, China

Computational Design Integrated Approach D. ‘Emerging model of hybrid software engineers/architects.’

The computational design method is integrated in this airport design by a parametric data model. This model is used in controlling the size and the slopes of the openings. The model was adapted according to sunlight, solar gain and viewing angles. Meanwhile, it also has a level of design aesthetic consideration into it.

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‘The inherent optimization potential of the iterative process not only facilitated the geometrical definition of a large number of unique, non-repetitive components, but also resulted in a successive performance improvement for the integrated structural system.’

Due to the huge amount of traff

Fig 37 Bao’an International Airport Terminal 3 Construction

ic, the airport as to meet a very specific requirement. It needed openings that can meet the lighting requirement. Architects would have spent a long time to work out the exact fitting and meanwhile taking care of the aesthetics of the design. The parametric model saved designers a lot of time and energy. However, this project had a really big budget on the computational generation.

Fig 37 Bao’an International Airport Terminal 3 Wing

Fig 38 Bao’an International Airport Terminal 3 Built Form

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A4-4.0 CONCLUSION General Reflection.

1] After the first few weeks of studying Air, I have learnt that computation is a process when we can generate forms by literally just knowing how to use certain computer programs. We are not basing on any existing forms. However, computerization is when we have the design in our head already and we are just using computer to digitize them.

2] In modern design world, knowing how to use computers has gradually became a skill that architects must know. Majority of the architects use computers to digitize their works. However, computational design is not the most common form of architecture design.

3] Part of the computational designs need to figure out what is the issue and isolating problems and coming up with theoretical programmers and not knowing exactly what to put in as a code.

4] I have learnt the possibilities of computation design and the potential of designers over use them and let computer take over architectural design.

Computation creates opportunities for future design but as people are worried about the real meaning of creativity.

5] Programs like CAD block should not take over the design world and fluent in a set of computation language doesn’t mean that designers have creativity.

It is the computer that generated these forms for us.

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What about futuring?

Dunne and Fry have very different views on they think future design should

be like. In the book design futuring, Fry suggests that the main concept of future designs should be aiming at slowing down the de-futuring process. In order to create more time for future human beings.

Where as Dunne argues that, because designers are normally trying to solve problems but the real design futuring should be predictable. We should think future as being completely unknow and unpredictable. Ultimately Dunne and Raby argue that speculative design can be a catalyst for social dreaming.

Dunne and Raby pose ‘what if’ questions that are intended to open debate about the future people want and do not want. They think the predictions that have been proven wrong, again and again. These prediction and forecasting have been proven wrong and wrong again.

Design futuring is a rather new concept for me, as majority of them time people think of future design as more sustainable. Fry thinks the word ‘Sustainbility’ has became a word that is being over used and almost lost it’s true meaning.

Saistment is the concept that Fry tried to introduce.

The Power of Computational Architects / New Structuralism Critics

As far as architecture design goes, it is easy for academia to suggest or pre-

dict the bright future of computational design methods. Researchers like Oxman, think that architects will have full control over any computational design projects in the future. Reality is that it is not easy to have full control of the existing regulations and laws. Even if it may not be fully practical to generate buildings by using just computational methods at the moment, computational design is a great tool to increase use in order to increase structural efficiency, design variety and constructability of future architectural projects.

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A5-5.0 LEARNING OUTCOMES Do we know as much as we think we do?

Dunne’s idea very critical but I think after these few weeks of learning, I have

more understanding on it. With all these new techonolgies and the opportunities that people have on computational design and computerize their existing ideas. Dunne argued that the future is almost inppreficable. By social dreaming or in another word, not trying to imagine what is the future. Think of future as completely unknown, designers have more opportunity on future design.

Improvement on Past Designs.

Computational design skill like grasshopper can help designers to generate

forms easier and faster than traditonal design approach. The idea of what design sustainability really stands for has helped me on understanding design a lot better rather than just learning about subjects like reshaping environment in first year. Sustainbility has become misunderstood and sometime over used.

Sustainment is a more appropriate concept (see A1).

Applicability of Computation Design.

As an outcome of Part A of the journal in studio air, I have learnt to use the basic level of a computational design tool – grasshopper, simple parametric design methods and digitical fabrication methodology. These are all the advantages of computational method that designers need to make use of. However, as discussed in A2, before architects become fluent in any programs without any pre-existing forms, designers are still being controlled by the program on some degree. Understanding the programm and write effective code are important in the computational design processes. Also designers really need to learn how to control the process fluently, rather than letting the precess control us.

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Fig 39 Week 1 Grasshopper Sketches/Outcome

Fig 40 Week 2 Grasshopper Sketches/Outcome

Fig 41 Week 2 Extra Grasshopper Sketches/Outcome

Reflection on Sketchbook.

These grasshopper sketches prove the efficiency of computational design method. Geometries automatically update themselves according to input changes. The method provides a lot of possibilities for future design. All these sketch exercises are good examples of the power of computational design approach. The more fluent designers are with their computational operation, the more control they have over the generated outcomes.

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A6-6.0 SKETCHBOOK WEEK ONE - OCTREE - SCULPTURES

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WEEK ONE - OCTREE - SCULPTURES

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WEEK TWO - CONTOUR

Distance-0.0

Distance-0.5

Distance-1.2

Distance-0.3

Distance-1.0

Distance-1.5

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WEEK TWO - CONTOUR

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Distance-1.2

Distance-1.5

Distance-1.7

Distance-2.0

EXTRA SKETCHES

VORONOI 3D

Geodesic

Project /Plane

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EXTRA SKETCHES

Geodesic Geodesic in grasshopper is a really useful tool for creating geometries. I find it really efficient to use. Instead of using just using Rhino and generate each surface separately by lofting each curves. This grasshopper tool saves so much time. Also when you update a curve or the shape of a curve, it automatically generated a new geometry accordingly.

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Flocks

Game of Life - Conway In week two’s lecture and tutorial, we briefly talked about game of life. By using grasshopper, the generation saves a lot of time. By these simple algorithm inputs in grasshopper, patterns like ‘Conway’ can be easily generated and controlled.

Reach

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A7-7.0 REFERENCES Dunne, Anthony and Fiona Raby, Speculative everything: Design, fiction, and social dreaming (Cambridge: The MIT Press, 2014a) Anthony Dunne and Fiona Raby, Speculative everything: Design, fiction, and social dreaming (Cambridge: The MIT Press, 2014a).

---, Speculative everything: Design, fiction, and social dreaming (Cambridge: The MIT Press, 2014b) Anthony Dunne and Fiona Raby, Speculative everything: Design, fiction, and social dreaming (Cambridge: The MIT Press, 2014b).

Fry, Tony, Design futuring: Sustainability, ethics and new practice (New York, NY: Berg Publishers, 2008a) Tony Fry, Design futuring: Sustainability, ethics and new practice (New York, NY: Berg Publishers, 2008a) (pp. 5–6).

---, Design futuring: Sustainability, ethics and new practice (New York, NY: Berg Publishers, 2008b) Tony Fry, Design futuring: Sustainability, ethics and new practice (New York, NY: Berg Publishers, 2008b) (pp. 37–42).

The digital in architecture: A critical mapping, ed. by Rivka Oxman (London, United Kingdom: Routledge, 2013).

Kalay, Yehuda E. and William J. Mitchell, Architecture’s new media: Principles, theories, and methods of computer-aided design (United States: MIT Press, 2004) Yehuda E. Kalay and William J. Mitchell, Architecture’s new media: Principles, theories, and methods of computer-aided design (United States: MIT Press, 2004).

Oxman, Rivka, ed., The digital in architecture: A critical mapping (United Kingdom: Routledge, 2013) The digital in architecture: A critical mapping, ed. by Rivka Oxman (United Kingdom: Routledge, 2013) (pp. 15–21).

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Peters, Brady and Xavier De Kestelier, Computation works: The building of Algorithmic thought AD (United States: John Wiley & Sons, 2013) Brady Peters and Xavier De Kestelier, Computation works: The building of Algorithmic thought AD (United States: John Wiley & Sons, 2013) (pp. 9â&#x20AC;&#x201C;12). michelle, Biosphere of Montreal (Atlas Obscura, 2016b), <http://www.atlasobscura.com/places/biosphere-of-montreal> [accessed 11 August 2016].

57

CONTENT

Part B CRITERIA DESIGN 0.0 Introduction/Guideline

Page NO. 60-61

B1 Research Field 1.0 Biomimicry 1.1 Material Performance

B1 62-65 66-69

B2 Case Study 1 2.0 Case Study 1 2.1 Selection Criteria 2.2 Iterations 2.3 Successful Selection

B2 70-73 74-75 76-79 80-85

B3 Case Study 2 3.0 Case Study 1 3.1 Reverse Engineering Stages 3.2 Reverse Engineering Diagrams 3.3 Outcome 3.4 Similarity/Difference

B3 86-89 90-93 94-95 96-97 98-99

B4 Technique Development 4.0 Explanation Diagram 4.1 Iterations 4.2 Criteria Development 4.3 Successful Selections

PART B 58

CRITERIA DESIGN

B4 100-105 106-111 112-1113 114-115

B5 Technique Development-Prototypes 5.0 Prototypes 5.1 Selection Criteria 5.2 Origami Approach 5.3 Fabrication 5.4 Testing/Outcomes B6 Technique Development-Proposal 6.0 Starting Point 6.1 Site Analysis 6.2 Brief Response 6.3 Potential Site 6.4 Realization Interim Presentation Feedback B7 Learning Outcomes B8 Appendix -Sketchbook References

Page NO. B5 116-123 124-125 126-129 130-135 136-137 B6 138-139 140-141 142-143 144-145 146-151 152-153 B7-154-155 B8-156-161 162-163

59

B0-0.0 INTRODUCTION-PART B

CRITERI

AIM OF PART B

Develop a particular technique or tectonic system using comp modeling and physical prototypes.

B1-RESEARCH FIELD

B2-CASE STUDY 1

B3-C

Research a stream in computational design, use it as a starting point for Part B

Produce experimental iterations by changing definitions/Speculate outcomes

Reve ect. E ect c duce

TECHNIQUE

B4-TECHNIQUE D VELOPMENT Develop the definitio extend and alter its fu tionality

B7-LEARNING OBJECTIVES AND OUTCOMES How architectural literature and practice reacted to the shift from composition to generation

GUIDE LINE 60

IA DESIGN

putational methods through case-study analysis, parametric

CASE STUDY 2

RESEARCH

erse-engineer the projEstablish how the projcould have been proed using grasshopper.

DE-

on to unc-

B5-TECHNIQUE PROTOTYPES Research a stream in computational design, use it as a starting point for Part B

B6-TECHNIQUE PROPOSAL Produce experimental iterations by changing definitions/Speculate outcomes

B8-APPENDIX-ALGORITHMIC SKETCHES A critical reflection on how valuable is computational approach to architectural design. Why is it valuable ?

E OF PART B 61

B1-1.0-RESEARCH FIELD - BIOMIMICR

Fig b1 Canopy by United Visual Artists

Biomimicry

‘‘An approach to innovation that seeks sustainable solutions to human challenges by emulation nature’s time tested patterns and strategies.’’

62

RY

Biomimetic Architecture ‘‘A philosophy of architecture that seeks for solutions for sustainability in nature, not only replicating the natural forms, but by understanding the roles governing those forms. It is a multi-disciplinary approach to sustainable design that follows a set of principles rather than stylistic codes. It is a part of a larger movement known as biomimicry, which is the examination of nature, its models, systems, and processes for the purpose of gaining inspiration in order to solve man-made problems. ‘‘

Opportunities/Fabrication Concerns To create a truly functional architectural biomimetic model for a society, the design would not only have to mimic specific traits or systems found in nature, but the overarching systems as well. Biomimetic architecture should imitate ecosystems and then the minor systems working in unity within them. For effective biomimetic architecture, cities should function like every detailed part of an ecosystem, where individual buildings act as individual organisms which belong to a bigger, balanced system that relies on the organisms as much as the organisms rely on it. Although the recent research in biomimicry provides fascinating alternatives for the future of architecture, we must first study and understand how each system works within the larger scale and how they are all interconnected before applying it to architecture.

63

B1-1.0-RESEARCH FIELD - BIOMIMICR

Biomimicry works on three levels o

Organism On this level of biomimicry ar-

chitectural design, architects often look to the organism itself, then applying the form/ function to buildings straight away.

This is the implication level I will be focusing on in Part B.

Fig b3 Venus Flower Basket (sponge-labeled)

Behaviors On this level of biomimicry,

buildings mimic how the organism interacts with the environment, it then generates a structure that can also fit in without resistance in its pre-existing surrounding environment.

Fig b5 Termite mounds Namibia

Ecosystem On this level of biomimicry,

buildings mimic how the organism interacts with the environment, it then generates a structure that can also fit in without resistance in its pre-existing surrounding environment.

Fig b7 Namibian Desert Beetle

64

RY

of conceptual design implications.

a

e

Gherkin Tower - Norman Fosterâ&#x20AC;&#x2122;s Inspired by: Venus Flower basket Sponge

Hexagonal skins and round shapes help disperse stresses on the organism.

Fig b4 Gherkin Tower

East gate Centre - Mick Pearce Inspired by: African Termites

Looking at the function of a no air-conditioning termite and study its passive cooling system.

The Structure doesnâ&#x20AC;&#x2122;t look like a termite.

Fig b6 Eastgate Centre

Sahara Forest Project - Exploration Architecture Inspired by: Namibian Desert Beetle

Looking at how those beetles combat climate change - then design this greenhouse to act as a zero waste system.

Fig b8 Sahara Desert Project

65

B1-1.1-RESEARCH FIELD - MATERIAL

â&#x20AC;&#x2DC;Material integrated design approaches a 66

PERFORMANCE

allow complex integrated force active morphologies.â&#x20AC;&#x2122; - ICD 2012 67

B1-1.1 RESEARCH FIELD - MATERIAL

Material Performance/Computational Design/Implication/ Fabrication Concerns

Computational design seems to have complex integrated relationship with materi computational methods to analysis the most sufficient way of using a specific mater rial at different scale in order to make sure the material give out maximum performa stiffness, pre-stress level, stability.

Geometric date within computational design projects is often determined by the p designers are trying to integrate the computational design method with the mater used form finding method that involved materiality test.

Designers are very positive about the future opportunities that embedded material p material performance led form finding speeds up the fabrication process, provides 68

PERFORMANCE

ial performance. Computational projects often use both physical experiment and rial in any design project designers often conduct experiments and studies on mateance. These tests often involve different type of material parameters â&#x20AC;&#x201C; comparative

physical form-finding models which define certain aspects of the design forms. More rial performance. Projects like the ICD research pavilion and the Voussoir Cloud all

performance computational design method. As mentioned in Part A case study 2.1, s more design possibilities.

69

B2-2.0 - CASE STUDY 1 - IWAMOTO S 70

SCOTTâ&#x20AC;&#x2122;S VOUSSOIR CLOUD 71

B2-2.0- CASE STUDY 1 - IWAMOTO S

Voussoir Cloud Architect: Iwamoto Scott Year: 2008 Place: Low Angeles

Material Strategy

The petals are formed by thin wood. They are folded along the seams. Meanwhile

the structural porosity within the constraints of sheet material is allowed. ‘The flange and press upon each other.’ The vaulted forms are naturally created by the attribu

‘By beginning with a material operation of folding using small handmade models construction processes that followed focused on calibrating the relationship of digit types in Voussoir Cloud with zero, one, two, or three curved edges. Each cell beha relative to the overall form.’

72

COTTâ&#x20AC;&#x2122;S VOUSSOIR CLOUD

e the flanges want to bulge out along the edges of the curve. This is the reason why es of the resulting dimpled, concave petals pack together as compressive elements ute.

to test geometric relationships of bending along a curved seam, the design and tal model to physical corollary through iterative empirical testing. There are four cell aved in a slightly different manner based on its size, edge conditions, and position 73

B2-2.1- CASE STUDY 1 - IWAMOTO S

SELECTION CR

Constructibility

Aesthetics

Designs like Iwamoto scottâ&#x20AC;&#x2122;s voussoir â&#x20AC;&#x2DC;Cloud require the form to be buildable in curvature. The constructibility is also related to the complexity of the form on some degrees. We need to find a balanced form. Constructibility is also defined by the ease ans efficiency of the installation.

Ideally, the design would also be able to serve as an art work on the existing site. The design should at least be presentable in an aesthetics scale and be deliberated to th site itself.

Interactive Potential

Adaptability

Interactivity strives to elevate the attraction of the site to tourists. Visitors will have different experiences basing on the interactive level of the design. Increasing dynamic shapes that can lead people to visit different part of the design can elevate the interactive potential.

Ability of the design to adjust or adapt itself to the changing condition of the site. For instance, the weather or the natures inhabitants. The ability of generating design outputs accordingly to the site condition.

74

COTT’S VOUSSOIR CLOUD

RITERIA 0-10

Structural Integrity

Softness

How to ensure the structure’s stability in the rain while maintaining the functionality and performance of the design. Keeping the design together with it’s aimed structure is a very important component in the form selecting processes.

The fluidity of the design. This is often defined by the visual aspects such as the amount of extreme curves or non-angular edges. How well does the design merge into its surroundings?

Light/Shadow Effect

Acoustic Effect

The amount of possible lighting opportunities. This is a complicated factor as in the design should meet a balance of shading, natural lighting and artificial lighting.

The ability of the design surface to deflect sound. The potential of the form to reduce the amount of sounding energy, in order to reduce the noise level of the design. This can also help to increase the visitor’s experience on site. It’s often defined buy the amount of curvature and reflective surface of the form.

75

B2-2.2- IWAMOTO SCOTTâ&#x20AC;&#x2122;S VOUSSOIR ROTATION NO.1-NO.5

Connect move with a rotate algorithm before graft and loft the curve. Then change the angle of the rotation.

NO. 1

LUNCH BOX

NO.6-NO.15

Subdivide the space using a 2D Voronoi and trim with a curve representing the perimeter of the room. Change the curve into Hexagon cells (within lunch box plug-in) and control the V/U divisions in order to control the amount of Hexagon on the panel.

NO. 6

1

2

Number of Points 6 Cell Number 1-5

DEPTH

NO. 11

NO.15-NO.25

Connect a random algorithm (generate a set of numbers) and change the seed number with a number slider. Meanwhile change the scale factor and change the Z unit of motion.

Number of Points 6 Depth 5-2

Depth 5-2 5 Depth5 Width 5-15

Width 5-15 5

76

Width-2

NO. 20

10

NO. 21

15

CLOUD ITERATIONS

NO. 3

NO. 2

NO. 7

3

4

4

NO. 17

NO. 9

5

NO. 14

NO. 13

NO. 12

NO. 16

NO. 8

NO. 5

NO. 4

3

NO. 18

NO. 10

NO. 15

2

NO. 19

5

NO. 22

NO. 23

NO. 24

NO. 25 77

B2-2.2- IWAMOTO SCOTT’S VOUSSOIR

NUMBER OF POINTS

NO. 26

NO. 27

NO.26-NO.35

Connect the source points on the curve with a populate 2D algorithm.

Then control the amount of points with a number slider.

Number of Points 0-4

OFFSET DISTANCE

NO. 31

NO. 32

0

1

NO. 36

NO. 37

NO.36-NO.45

Connect the source points with a remap algorithm, then control the target’s domain. Change the scale factor, meanwhile, use the vector 2 points as a unit, then multiple with the mapped outcome.

Number of Points 6 Offset Distance 0-20

78

NO. 41

NO. 42

0

5

CLOUD ITERATIONS

NO. 28

NO. 29

NO. 30

NO. 33

NO. 34

NO. 35

2

3

4

NO. 38

NO. 39

NO. 40

NO. 43

NO. 44

NO. 45

10

15

20 79

Selection 1

Constructibility

5

Aesthetics

8

Interactive Potential

9

Adaptability

4

Structural Integrity

5

Light/Shadow Effect

7

Softness

6

Acoustic Effect

8

This model is relatively hard to constructed.

Because of the openings, there is no area that we can have mass production. Each component is unique; we need to produce them individually. This might take a lot of time, hence increases the difficulty of construction. Meanwhile, it might cause a lot of noise problem as well, because of the large amount of opening of the model. Sound will have a lot more potential pathway to go to and bounce back, so it might create unexpected noise level. But the reason why I selected this one is mainly because of the interactive potential of it. Openings creates different paths and hence more interactive opportunities.

B2-2.3- SELECTION 1 80

Selection 2

Constructibility

7

Aesthetics

8

Interactive Potential

8

Adaptability

5

Structural Integrity

6

Light/Shadow Effect

7

Softness

8

Acoustic Effect

8

Outcome Speculation 1&2

The model has a really high softness level, which means it will blend with its surroundings really easily. This model is also potentially easier to construct in comparison to model one. The model also has a really high light and shadow effect index. It creates a lot of shading having the dense pattern. However, the adaptability is relatively low to the other selections, because of the complexity of the structure.

B2.3- SELECTION 2 81

Selection 3

Constructibility

8

Aesthetics

7

Interactive Potential

7

Adaptability

6

Structural Integrity

8

Light/Shadow Effect

8

Softness

7

Acoustic Effect

5

Selection three offers a really simple form without many openings. It can easily connect with the outside environment and create a decent amount of shading effect. The form will be easily constructed, due to the simplicity of the form. However, the column is wide but shallow, it may not have a good lighting system and may potentially not have enough ceiling height.

B2-2.3- SELECTION 3 82

Selection 4

Constructibility

9

Aesthetics

5

Interactive Potential

7

Adaptability

8

Structural Integrity

8

Light/Shadow Effect

5

Softness

4

Acoustic Effect

8

Outcome Speculation 3&4

Selection four has a repetitive patterned outcome. It lacks good lighting effects and it won’t be easy to blend with the surrounding environment. However, it has a high constructibility level and structural integrity due to its highly repetitive nature. The hexagons grid offers it’s a set structural guideline and it can be easily adapted, reconstructed and transformed. It can also provide a good sounding effect due to the thickness of the panel and the small openings. This model won’t be really good in terms of the lighting system because the ceiling is almost fully enclosed.

B2.3- SELECTION 4 83

Methods

B2-2.3- ITERATIONS-SUCCESSFUL SELEC 84

Speculation

CTION 5 85

B3-3.0- CASE STUDY 2 HERCULES MO 86

ONUMENT VISITOR CENTRE 87

B3-3.0- CASE STUDY 2 HERCULES MO

Background

The Hercules monument in Bergpa â&#x20AC;&#x2DC;It is a proposal for the visitor cent landscape submerged undergrou the baroque park and monument techniques a system of self-similar t instrumental in the development o The reverse engineering will use this 88

ONUMENT VISITOR CENTRE - INTRO

Hercules Monument Visitor Centre

Architect: Achim Menges with Scheffler + Paterner Architects Year: 2005 Place: Germany

ark Whilhelmshone, Germany, which is on the list of perspective world heritage sites. ter for the visitor centre suggests an infolding of the park to articulate an interior und that intensifies the transition from the natural surroundings of habichtswald to t.â&#x20AC;&#x2122; This project also synthesizing digital form-generation and associative modeling triangulated faces across multiple scales of articulation and formativeness became of the design proposal. s projectâ&#x20AC;&#x2122;s form as a starting form.

89

B3-3.1- REVERSE ENGINEER STAGES

1.Frames

2.Horizontal Movement

After creating a curve in Rhino, I created number of reference points and trying to put a frame component on each point. In order to create the frames, I needed separate set of data.

I had to split listed the data. Then I put frame component on each point with inserted items. Then I deconstructed the plane in order to connect the components with next step.

I wanted to move planes away from the original point in the horizontal direction. Firstly, connect the length component with the reverse normal value, in order to offset the distance basing on the reverse of the length value. Then Merge component is connected with random value and graft all the outcomes in order to re list all the values.

Connect the outcome with amplitude and then move component, in order to move the points accordingly to the reverse distance of each point.

90

3.Vertical Movement

4.Lofting Surfaces

Vertical movement simpler than the horizontal movement. I created the length component and then connected it to random movement and time these two components together. Set up a Z unit vector direction and connect it to move. The points are now moved accordingly along Z unit â&#x20AC;&#x201C; vertical axis.

After moving the edgy points of the curve, now I want to loft the curves in order to create the surface I was trying to achieve. First, I insert items from last step to interpolate curve. Then Loft the curve and have it ready for next step â&#x20AC;&#x201C; changing curves form.

91

B3-3.1- REVERSE ENGINEER STAGES

5.Selection On window cells and bottom cells

The outcome of the lofted surface gives out separate panels that form one whole surface together. The algorithm offers control over the selection of the surfaces. By using lunch box plug-in, we generate different forms of the cells.

Then we can select the amount of window cells by project the curve, find the closest point for each curve, deconstruct the domain, select all curves that smaller than a certain value and finally dispatch these cells into solid cells and window cells.

92

6.Panalizing Win

Create boundaries then connect the fin swatch pattern on preview the panels.

ndow Cells

for each curve and nal surface and put nto the panel and .

7.L-System Creating L system, it will generate repetitive patterns. This step is posited in order to get the exact look of the case study. Simplify, shirt and cull the exploded curves â&#x20AC;&#x201C; graft these outcomes and connect them back to the hoop-snake in order to complete the L system.

93

B3-3.2-REVERSE ENGINEER STAGES- D 1.Vertial Movement Random

2.Horizontal Movement

Merge

Merge

End Points

Move Graft

Division A/B

Length

Amplitude Reverse

Graft

3.Lunch Box Diamond Panels

Hexagon Cells

Quad Panels Insert ItemI

Loft

nterpolate

Filter

Initial Surface

Surface

Skewed Quads

Triangular Panels

Triangular Panels

Triangular Panels

4.Selection Of Window Cells Surface

Dispatch

Area

Project

Division A/B

Bounds

94

Deconstruct Domain

Smaller Than

DIAGRAMS 5.Panalizing Window Cells Polyline Deconstruct BrepI

tem Polyline

Window Cells

Merge

Evaluate Surface Surface Closet Point

Polyline

Amplitude

Area

Boundary

SurfaceP

Polyline

Curve

review Move

Centre Point

Swatch

6.L-System Hoop Snake

Curve

Explode

Point on Curve

Cull Index

Graft

Simplify Tree

Graft

Shift

Polyline

Final Curves

Graft

95

B3-3.3- CASE STUDY 2 HERCULES MO

Final Outcome

L-System Generation

96

ONUMENT VISITOR CENTRE-OUTCOME

97

B3-3.4- CASE STUDY 2-OUTCOME SIMIL

98

LARITY/DIFFERENCE Similarity

Digital form finding &materiality

The Hercules monument visitor centre is project that used digital approach to define its form. The material they used it glass in triangular shapes. They decided the triangular shape to maximize the strength of the structure. Designers decided the form on a macro scale first and made repetitive structures on top of the macro structure. This is very similar to the approach I used to define the forms of my reverse engineering, because I was mainly considering the strength that materials can offer. I didnâ&#x20AC;&#x2122;t decide the forms due to its aesthetic features. The aesthetic features came after the materiality consideration.

Simple geometry based

The Hercules monument visitor center was made out of simple geometric forms combination. It is not because the designers can generate more complex forms using parametric design method. They can generate way more complex outcomes by simply change the parameters (algorithms) but the materiality consideration is playing the most important role in the process. My reverse engineering also used simply geometry to start the form generation. By doing this, I have more control over the outcomes in relation to the materiality considerations.

Difference

Triangular shape

I used triangles to start the reverse engineering process but I didnâ&#x20AC;&#x2122;t generate as much repetitive forms as the original Hercules monument visitor centre.

However, this creates more opportunities for my next task. I will use the L system to generate more outcomes with different base geometries, which does not have to be triangulated.

Potential joints / Scale

In the original project, the forms are not designed to be connected with simple joints due to the weight of the material. They used steel as a fix joint in order to support the structure. However, in my project that is on a smaller scale in comparison to the original project, I am thinking of experimenting different prototypes that involves pin joints. Fix joints is stable and offers a lot of support but flexible joints offer more design opportunities.

99

B4-4.0- TECHNIQUE DEVELOPMENT ITERATE A. References Points 1-10 NO.1-NO.10

I first created five points on itself is too curvy, it is hard to the curve is controlled by a a plane on each point. Als

The seeds numbe journal. I also sim and vertical com

B. Horizontal Seeds Number 10-100 NO.11-NO.20

Weight 0.3

C. Vertical Seeds Nu Vertical Movement

NO.21-NO.26

D. Vertical Weight Nu NO.27-NO.30

Seed Number / Weight Panel 100

DETAIL EXPLANATION ON HOW TO

n the curve. The curve is made not to have a great curvature. Because if the curve o offset the points without any intersections on a really curvy curve. The location on a position slider. After putting the points, I created a frame for each point and put so, the initial curve has 5 points on it and it can be controlled with a number slider.

er was controlled by the number sliders. Iterations will be shown in next section of the mplified the data and relisted by the graft component. The weight of the horizontal mponent are controlled by sliders too and they change the weight of the surface.

Weight 0.8

umber 10-100

umber

Horizontal Movement

101

B4-4.0- TECHNIQUE DEVELOPMENT E. Diamond Amplitude 0.85/0-1 NO.31-NO.38

F. Quad Cell Number/Am

NO.42-NO.52

G. L-System NO.48-NO.50

L- System (Hoop-Snake) is used to generate repetitive patterns on the surface. By inse 102

DETAIL EXPLANATION

mplitude

This is this lunch box component that I used to add more control onto the form. There are three triangular forms that put in, which will be shown in the iterations later in part b. This stage is also designed with different amount of cells and amplitudes of the normals, which can be used to change forms of the surface and deviate from the original forms of the Hercules monument visitor Centre.

erting different number into the delay, the hoop runs for different amount of times 103

A. References Points

D. Vertical Weight Number

Weight 0.3

C. Vertical Seeds Number

100

D. Diamond to Quad Lunch box

Diamond

HOW DOES EACH PARAMETRIC UNIT I THE OUTCOMES ?

104

CONTROL OUTCOMES DIAGRAM

Weight 0.8

E. L-System

90

0

Quad

INFLUENCE

1

105

B4-4.1- TECHNIQUE DEVELOPMENT - ITE References Points 1-10

Amount of Points 1-10

NO.1-NO.10

NO. 1

NO.2

NO.3

NO.4

NO.5

1

2

3

4

5

Horizontal Seeds Number 10-100 NO.11-NO.20

NO. 11

NO.12

NO.13

NO.14

NO.15

10

20

30

40

50

Vertical Seeds Number 100-50 NO.21-NO.26

NO. 21

100

106

Amount of Points - 5 Horizontal Seeds Number 10-100

NO.22

90

Amount of Points - 5 Horizontal Seeds Number - 60 Horizontal Weight - 3 Vertical Seeds Number 100-50 NO.23

80

NO.24

70

NO.25

60

ERATION MATRIX

NO.6

NO.7

NO8

NO9

NO10

6

7

8

9

10

NO.16

NO.17

NO.18

NO.19

NO.20

60

70

80

90

100

NO.26

Vertical Weight Number NO.27-NO.30 Amount of Points - 5 Horizontal Seeds Number - 60 Horizontal Weight - 50 Vertical Seeds Number - 60

50 Vertical Weight 7-10 NO.27

NO.28

NO.29

NO.30

7

8

9

10 107

Diamond Amplitude 0-1

Lunch Box - Diamond Selecting Window Cells 0.3-1

NO.31-NO.38

NO. 31

0.3

NO.32

NO.33

NO.34

0.4

0.5

0.6

Lunch Box - Quad^ Quad Cell Number 0-1/Amplitude 0-10 Selecting Window Cells 0-1 NO.42-NO.52

Amplitude for Normals * NO.44

NO.42

NO.43

0

0.1 1

0.2

0.2

NO.47

NO.48

NO.49

NO.50

0.4

0.5

0.6

0.7

NO.45

8*

NO.52

1

L-System NO.48-NO.50 NO.48

0 108

Lunch Box - Diamond Hoop-snake 0-2 NO.49

1

NO.35

NO.36

NO.37

NO.38

0.7

0.8

0.9

1

Lunch Box - Diamond Selecting Window Cells - 0.9 Amplitude for Normals 2-9

NO.46 Quad^

2

NO.39 NO.39-NO.41

0.3

NO.42-NO.46

NO.51 6

NO.40

9

NO.41

Skewed Quad^ 0.7

7*

NO.47-NO.52

NO.50

2 109

L-System

Lunch Box - Quad Hoop-snake 0-1

NO.48-NO.62 NO.48-NO.52

NO.49

NO.48

0

1

L-System

L-System

L-S

Hoop-snake 0-2 Lunch Box - Triangle A NO.53

Hoop-snake 0-2 Lunch Box - Triangle B NO.56

Hoo Lun

0

0

NO.57

NO.54 1

NO.58

NO.55 2

NO.53-NO.55 110

1

2

NO.56-NO.58

Lunch Box - Skewed Quad Hoop-snake 0-1

NO.50

NO.51

1

0

System

op-snake 0-3 nch Box - Triangle C NO.59 0

L-System

NO.60 1

NO.61

L system provides opportunities for more alternative outcomes from the form finding process.

It generates more patterns and by controlling the delay numbers in the hoop snake system, it creates different outcomes.

NO.62 2

3

NO.59-NO.62 111

B4-4.2- TECHNIQUE DEVELOPMENT SELECTION CRITERIA 0-10 After looking into the brief and the new case study, i developed a few things in my

Constructibility

Aesthetics

Designs like Iwamoto scottâ&#x20AC;&#x2122;s voussoir â&#x20AC;&#x2DC;Cloud require the form to be buildable in curvature. The constructibility is also related to the complexity of the form on some degrees. We need to find a balanced form. Constructibility is also defined by the ease ans efficiency of the installation.

Ideally, the design would also be able to serve as an art work on the existing site. The design should at least be presentable in an aesthetics scale and be deliberated to th site itself.

Interactive Potential

Adaptability

Interactivity strives to elevate the attraction of the site to tourists. Visitors will have different experiences basing on the interactive level of the design.

Increasing dynamic shapes that can lead people to visit different part of the design can elevate the interactive potential. According to the brief, the design has to exhibit some sort of animal and human interaction. The interaction potential is now extended to include animal interaction.

Ability of the design to adjust or adapt itself to the changing condition of the site. For instance, the weather or the natures inhabitants. The ability of generating design outputs accordingly to the site condition. Also, the structure now has to be able to adjust itself according to potential animal surroundings or provide adaptability to different animal activities.

112

CRITERIA DEVELOPMENT

selection criteria. (Shown in red)

Structural Integrity

Softness/Animal Friendliness

How to ensure the structure’s stability in the rain while maintaining the functionality and performance of the design. Keeping the design together with it’s aimed structure is a very important component in the form selecting processes.

The fluidity of the design. This is often defined by the visual aspects such as the amount of extreme curves or non-angular edges. How well does the design merge into its surroundings? and how well does the design merge into the animal conditions around the site.

Light/Shadow Effect

Acoustic Effect

The amount of possible lighting opportunities. This is a complicated factor as in the design should meet a balance of shading, natural lighting and artificial lighting.

The ability of the design surface to deflect sound. The potential of the form to reduce the amount of sounding energy, in order to reduce the noise level of the design. This can also help to increase the visitor’s experience on site. It’s often defined buy the amount of curvature and reflective surface of the form.

113

B4-4.3- TECHNIQUE DEVELOPMENT - S Selection 1

Selection 1

Constructibility

Interactive Potential

Constructibility

8

Constructibility

7

Aesthetics

8

Aesthetics

7

Interactive Potential

7

Interactive Potential

8

Adaptability

8

Adaptability

5

Structural Integrity

8

Structural Integrity

5

Light/Shadow Effect

6

Light/Shadow Effect

7

Softness

7

Softness

6

Acoustic Effect

8

Acoustic Effect

7

114

SUCCESSFUL SELECTIONS Selection 1

Selection 1

Softness/Animal Friendliness

Adaptability Constructibility

6

Constructibility

7

Aesthetics

9

Aesthetics

6

Interactive Potential

8

Interactive Potential

5

Adaptability

7

Adaptability

6

Structural Integrity

7

Structural Integrity

5

Light/Shadow Effect

7

Light/Shadow Effect

8

Softness

5

Softness

8

Acoustic Effect

6

Acoustic Effect

7 115

B5-5.0-TECHNIQUE DEVELOPMENT- PRO

Starting point of the prototypes exerc

116

OTOTYPE-STARTING POINT

cise - sketching potential outcomes

117

A

118

PROTOTYPES 1 ANGLE BRACKETS 25MM Zinc plated angle brackets offers a right angle folding for the structure, which is what i need to realize the folding idea for metal sheets.

The use of longer screws is used according to the thickness/ load. Screws are suitable for fixing brackets to timber. For fixing other surfaces, equivalent fixings are suitable drill.

Installation 1. Position bracket in location to check that unit will function as intended 2. Fasten with screw provided using a No.2 Phillips head insert bit at 1000rpm. Alternatively, just use a standard screwdriver.

PROTOTYPES 2

ADJUSTABLE HOLE AND EYELET PUNCH This type of fixing is ideal for crafting and decorative use due to itâ&#x20AC;&#x2122;s small size and flexibility.

First you select a hole punch suitable for the job and screw into the top jaw of pilers. Screw the anvil (brass base) into the lower jaw of pilers and punch hole in the material by closing the jaws of the pilers. Select eyelet attachments to punch.

Place eyelet in the hole, ready to be punched. Squeeze the pilers together firmly to set the eyelets.

This fixing is suitable as it offers great opportunities for form change and potential folding. However, I might need to change the selected form and add edge onto the original from, so i can use adjustable hole and eyelet punch fixing.

119

PROTOTYPES 3

29MM X 17 MM FIXED JOINT - CIRCULAR

Pilot holes bust be drilled prior to fastening brass screws with a screwdriver or drill set to low speed for this type of joint. Suitable for fixing objects on the same plane. It is a metal joint and have water resistance.

However, this is joint deviate from folding on separate planes. It does not offer flexibility in structural alterations.

The joint does not have great aesthetics and it will be challenging to realize it in a large scale. It doesnâ&#x20AC;&#x2122;t support the potential metal design proposal - it requires metal to bend to create the curvature. I need a joint that offers flexible angular folding for the material

120

121

PROTOTYPES 4

FIXED PIN BUTT HINGES 50MM

122

Solid brass hinges will not rust, exhibit excellent durability under heavy use and gives a decorative appearance to the design. Brass is a soft metal. Pilot holes bust be drilled prior to fastening brass screws with a screwdriver or drill set to low speed.

Butt hinges are not suitable fir use on particle board materials used in certain cupboard objects.

In relations to the design, I m thinking of use metal or timber. Metal will work well with this type of joint but not timber (thin sheets). Also, this type of joint is fixed pin joint, it may not be suitable for the origami idea - folding.

123

B5-5.1-TECHNIQUE DEVELOPMENT- P

PROTOTYPES CRITERIA Material Performance - MP A.

Optimization B. for fabrication - OF C. For economization - OE D. For structural performance - OS

124

ANGLE BRACKETS 25MM

FIXED P BUTT H

Angular corner / bend Strength Prevent material from bending

Strength Prevent materia ing Aesthetics

+

+

OS/MP

OS/MP

Fixed Joint Low design opportunity Expensive Joint type Hard to use in larger scale Does not work well with sheet material

Fixed Joint Low design opp Expensive Joint Hard to use in la Does not work sheet material Weaken the m fixings

-

-

PROTOTYPE-SELECTION CRITERIA

PIN INGES

al from bend-

portunity t type arger scale well with

material - more

CIRCULAR-PLATE

+

Strength Economical Enhance material Performance

MP/OE

-

Fixed Joint Low design opportunity Doesnâ&#x20AC;&#x2122;t offer bending on separate planes Low aesthetics Weaken the material more fixings

ADJUSTABLE HOLE-EYELET PUNCH

+

Strength Flexibility Folding Design adaptivity Economical Mass Production

MP/OF/OE

Low strength Weaken the material - more holes Hard to joint - small eyelets

125

B5-5.2-TECHNIQU GAMI FABRICATIO

126

UE DEVELOPMENT- PROTOTYPES-ORION APPROACH 1

127

B5-5.2-TECHNIQU GAMI FABRICATIO

After experimenting with prototypes, i wanted to look in to a seamless way of proto out different ways of folding a flat sheet into a 3D geometry as a reverse approac to come up with my own definition to unfold geometries and ease the fabrication

128

UE DEVELOPMENT- PROTOTYPES-ORION APPROACH 2

otyping. So i looked at different origami grasshopper definitions. In kangaroo, I tried ch to what I did in the reverse engineering. By studying this approach, I as inspired n processes.

129

This is the first fabrication I tried with my base unit. I tried with polypropylene and tim totype because it does not offer enough area for joints. It will also require the mate

B5-5.3-TECHNIQUE DEVELOPMENT- F 130

mber. This fabrication approach is not ideal for what I want to achieve with my proerial to bend to achieving the final geometry.

ABRICATION 131

B5-5.3-TECHNIQUE- FABRICATION

PART (B) Part (B) (1) determines the model area, change the ‘Model Area Offset” and “Plane Rotation Angle” in order for the model to fit within the cutting area of the material.

(2) shows the panel numbers and side labels on the selected panel of the model. I can check which side is attached to which side in here when I assemble model parts. Change the number slider “Panel Number” to select specific panel.

(3) shows two different types of the joint.

PART (A) Part (A) determines the overall size of the model.

(1): the size of the final model in mm.

(2): Add desired overall length of the physical model.

(3): the overall dimension of the physical model after rescaling.

132

(3)

(1) (2)

(1)

(3)

(2)

133

B5-5.3-TECHNIQUE DEVELOPMENT-FABR

This is the base unit of my prototyping process. After learning more about the origami process in kangaroo, I decided to develop the base unit from triangular shape into triangles with a edge area that I can put joints on them. By doing this, it can achieve the seamless and fold-able structure. This is also inspired by the Voussior Cloud project.

134

RICATION

135

B M

136

B5-5.4-TECHNIQUE DEVELOPMENT-TESTING/OUTCOME

Testing the prototypes - folding/ Prototype Outcome 137

B6-6.0-TECHNIQUE DEVELOPMENT - PRO

138

OPOSAL

139

B6-6.1-TECHNIQUE DEVELOPMENT - P

HUMAN DENSITY/FLOW

TOPOLOGY

ACTIVITIES DENSITY 140

PROPOSAL-SITE ANALYSIS

NORTH

Recreational area

Children activity

Potential site

Creek Boarder

25M

The site is chosen because of the following reasons 1. The human density around the site 2. Being the entrance area for Merri Creek trail 3. The children park next to the site will bring passengers coming into the site 4. Lack of animal drinking spot in the creek 5. High activity level 6. A relatively flat surface for construction 7. Existing pathways from all direction 8. A good integration of human and animals 9. Large open area 10. Dog owners are active around the site 141

1.Students Must find or develop a ‘standard’ component which they will array/agg installation along Merri Creek.

The standard component will be a triangular metal sheet panel with extra area a These component will array all the way in the design process. The standard compo the materiality-metal and offer more complex design outcomes basing on its simple

2.A Singular, refined tectonic detail must be implemented. This tectonic detail may ponent, or it may utilize ancillary parts.

Tectonic details are presented in the prototypes section. The idea is to realize the fol er. In order to realize this, I decided to put extra area to every edge in order to put

3.Your Algorithm must address issues of material performance AND / OR optimiza structural performance).

4.At Least one ‘data set’ relating to a site along Merri Creek must be utilized in an alg be abstracted.

The height and the width of the design and the stand component are all controlled existing objects (benches/bins) around it and the design will be alternated using g design, these factors on site are all considered.

5. By semester’s end students must have produced a full working prototype at a min

6. The final prototype must be installed on-site and this installation must be docume

7. Your project MUST engage both human and nonhuman clients. The extent to whic This design offers an opportunity for humans with pets both enjoy the time in merri the design. It can also be a good starting point for any trekking activities with pets du creek trail itself.

8. Your proposed scheme must be contained within a virtual 15 x 15 x 15M envelop

B6-6.2-TECHNIQUE DEVE BRIEF

142

gregate in the design and fabrication of an

along each edge for connection purposes. onent is chosen due to its ability to maximize e form. be embedded within each â&#x20AC;&#x2DC;standardâ&#x20AC;&#x2122; com-

lding idea but also hold the structure togethjoints on.

ation (for fabrication OR economization OR

gorithmic form finding process. This data may

d by different algorithms. There are trees and grasshopper. When choosing the form of the

nimum scale of 1:10.

ented.

ch either party is engaged is up to you. creek by creating a pet drinking tank within ue to the lack of animal drinking spot in merri

pe.

LOPMENT - RESPONDING TO THE

143

Sta

B6-6.3 TECHNIQUE DEVELOPMENT-PROPOSAL-POTENTIAL 144

Overlook site

anding on site center

L SITE

Overlook site

145

B6-6.4-TECHNIQUE DEVELOPMENT-PR AL-REALIZATION

146

Water tank for pets

Potential Benches

Pathway Entrance

Greenness

ROPOS-

Potential Form

Top View

147

Top View on

148

A

Animal Interaction

B6-6.4-TECHNIQUE DEVELOPMENT-PROPOSAL-REALIZATION

n Site

Overlook Animal Interaction

Proposal-A pavilion with pet water tanks.

149

B6-6.4-TECHNIQUE D

150

Zoom In-Animal Interaction

DEVELOPMENT-PROPOSAL-REALIZATION

Zoom In-Human and Animal Interaction

151

I N T E R I M P R E S E N T A T I O N I M P R O V E M E N T CRITICS Critics: Scale & Joints 1. The installation process and methods will be different on a larger scale 2. I canâ&#x20AC;&#x2122;t just scale something up and expect it to work on a large scale.

3. Ways to joint things together will be difficult

INSPIRATION/SUGGESTIONS Inspirations/Potential 1. Dog pool 2. Smaller scale 3. Shading blade - one piece for people who are walking their dogs

OUTCOMES/SOLUTIONS 1. Scale this design down 2. Fabrication consideration

POTENTIAL SOLUTION - SCALE A sculpture shading system that offers opportunity for human and pet interaction.

152

N

F E E D B A C K / P R O P O S A L

153

B7-7.0-LEARNING OBJECTIVES AND O

154

Development from algorithm to architecture

In part B, I develope thinking to an pote Learning anticipati coming and limitati arguments with evid and difference of th

Personalized repertoire of computational techniques

I studies how to de niques by engaged algorithm construct study 2, I studied th

Generating various design possibilities for a given situation

I also developed â&#x20AC;&#x153;a given situationâ&#x20AC;?.I in visioning and comp

Skills in 3D media

I also learn to use d to investigate scale fabrication and ass

Understanding

Finally, I built found structures and type

OUTCOMES

ed the ability to make a case for proposals from algorithm ential built project ing and preempting criticism by openly discussing shortions of proposed approaches/designs and supporting your dence and data. Critical thinking/comparing the similarity he case studies and part b outcomes.

evelop a personalized repertoire of computational techd in self-directed learning of visual programming and in tion. In order to achieve the reverse engineering in case he forms and generalization of choose case study.

an ability to generate a variety of design possibilities for a nvestigated design space using parameter manipulation, parative analysis with matrices.

digital models and digitally fabricated physical prototypes e, material effects, geometry, physical forces and issues of sembly. This taught me skills in various 3D media.

dational understandings of computational geometry, data es of programming through out Part B.

155

B8-8.0-SKETCHBOOK Gradient Descent

156

L-System

157

EXTRA SKETCHES

158

159

EXTRA SKETCHES

160

161

REFERENCES

Efímera, J. (2016). Tower of Hercules Vis A Coruña, España: Home. Ciav.torrede September 2016, from http://ciav.torred

Gerfen, K. (2009). Voussoir Cloud. Archi 2016, from http://www.architectmagaz soir-cloud_o

Kassel Marketing | Hercules monument trieved 15 September 2016, from http:// parcs-and-palaces/wilhelmshoehe-mo

Menges, A. (2016). achimmenges.net chitecture Product Design. Achimmeng from http://www.achimmenges.net/?p

Merri Creek diverison information and h Melbournewater.com.au. Retrieved 15 melbournewater.com.au/waterdata/w ri-Creek.aspx

North: Merri Creek Trail - Bicycle Networ trieved 15 September 2016, from https:/ eral/policy-and-campaigns/2708/

VOUSSOIR CLOUD - IwamotoScott. (201 September 2016, from http://iwamotosc

Walking trails and bike paths. (2016). Mo September 2016, from http://www.more discover-our-creek-trails.html

162

sitor Services and Interpretive Center, eherculesacoruna.com. Retrieved 15 deherculesacoruna.com/en/

itect. Retrieved 15 September zine.com/awards/r-d-awards/vous-

t. (2016). Kassel-marketing.de. Re/www.kassel-marketing.de/en/ ountain-park/hercules-monument

Achim Menges Design Research Arges.net. Retrieved 15 September 2016, p=4458

history - Melbourne Water. (2016).

September 2016, from http://www. waterwaydiversionstatus/Pages/Mer-

rk. (2016). Bicyclenetwork.com.au. Re//www.bicyclenetwork.com.au/gen-

16). Iwamotoscott.com. Retrieved 15 cott.com/VOUSSOIR-CLOUD

oreland City Council. Retrieved 15 eland.vic.gov.au/parks-pools-sport/

163

PART C

164

165

CONTENT

C.1 Des ig n Concep t

P a g e No .

C . 1. 0 D e si g n Pr e ce d e n t

1 7 0 -1 7 3

C . 1. 1 P ro p o sa l

1 7 4 -1 7 5

C . 1. 2 L a d y b u g S h a d ow Te s t

1 7 6 -1 7 7

C 1. 3 P a n e l F o r mi n g

1 7 8 -1 7 9

C . 1. 4 Fo r m F i n d i n g

1 8 0 -1 8 1

C . 1. 5 M o d e l I n si g h t

1 8 2 -1 8 3

C . 1. 6. 1 L o ca t i o n S e l e ct io n S tep A

1 8 4 -1 8 7

C . 1. 6. 2 L o ca t i o n S e l e ct io n S tep B

1 8 8 -1 8 9

C . 1. 6. 3 L o ca t i o n S e l e ct io n Ou tco m e s

1 9 0 -1 9 1

C.2 Te ctonic E lem e n t & P ro toty pes

166

C . 2. 0. 1 Wo r k f l ow

1 9 4 -1 9 5

C . 2. 0. 2 Wo r k f l ow / Pr o to t ype D eve lo pm e nt

1 9 6 -1 9 7

C . 2. 1 P ro to t y p e A

1 9 8 -2 0 1

C . 2. 2 P ro to t y p e B

2 0 2 -2 0 5

C . 2. 3 P ro to t y p e C

2 0 6 -2 0 9

C . 2. 4 P ro to t y p e D

2 1 0 -2 1 5

C.3 F i nal Detailed Mo d e l

P a g e No .

C . 3. 0 M o d e l Co n st r u ct i on

2 1 8 -2 2 1

C . 3. 1 M o d e l I n sta l l a t i o n

2 2 2 -2 2 3

C . 3. 2 M o d e l At mo sp h e re

2 2 4 -2 2 7

C . 3. 3 P hysi ca l M o d e l o n S ite

2 2 8 -2 3 1

C . 3. 4 P hysi ca l M o d e l I ntera c t io n

2 3 2 -2 3 5

C.4 F ur ther D evel o p m e n t C . 4. 1 I ssu e O n e

2 3 8 -2 3 9

C . 4. 2 I ssu e Two

2 4 0 -2 4 1

C . 4. 3 I ssu e Th r e e

2 4 2 -2 4 5

C . 4. 4 L e a r n i n g O u tco me

2 4 6 -2 4 7

Refe r ences

2 5 2 -2 5 3

167

C.1 D ES IG N CON C EP T

168

169

C .1.0 DES IGN P RE C E DE N T

ORIGAMI PROJECT

Using grasshoppe r to unfo l d o b jec ts to a l ter na te th e size /shape /ae sthe tics /s h a d ing a r ea /fo l d - a b il ity of th e de sign and he lp to s im p l if y th e fa b r ica tio n p r o ces s .

I want to c re ate a sim il a r fo r d a b l e, b ut a r ig id ef fec t like the pre ce de nt h a s . D eta il tec h niq ues a r e w r itten in B5.3. I will u pdate th e d efinitio ns to wo r k with th e new prototy pe s in Pa r t C .

I n nex t part of the des ig n p r o ces s , I wil l up d a te my grasshoppe r definiti o n to wo r k with th e new p r o to ty pe s, ex pe rime nt 4 m o r e p r o to ty p es (o ne with p a tte rning) and produ ce a 1 :2 m o d el , g enera te itera tio ns according to dif fe re nt s ite co nd itio ns with th e h el p of lady bu g plu g-in.

170

Fig.1 P re ce d e n t A k ihisa Hira t a A rc hite c t u re Of fice Form Find ing Proce ss

Fig.2

P re ce d e n t A k ihisa Hira t a A rc hite c t u re Of fice

171

Origami Exercise These are experiments I did to explore the concept of origami folding.

By this exercise, I played around the form that simple folding can create.

172

Folding Exercise Folding with a parabolic way of expressing, this exercise It did inspire me with my prototype in part c.

173

C .1.1 P RO P O SA L

Proposal A Th e sh a d y origami is a fold-ab l e s h a d ing d evice th a t is d es ig ned b a s in g on t h e or igami conce pt. I t is lo ca ted next to th e entra nce of Mer r i C r ee k Tra i l, next to a childre nâ&#x20AC;&#x2122;s park . Th e s h a p es a r e g enera ted us ing g ra s s h op p er to fit into the site cond itio ns . Th e co m p uta tio na l d es ig n p r o ce s s took t h e site size , animal activity l evel , a nd tr ee h eig h t. I t is d es ig ne d to b e foldable and having a s im p l e a es th etic s , wh ic h c r ea tes a h o l i s ti c cont rast w ith the natu re a r o und it. As a f unc tio na l d es ig n, it of fe r s p eople who are walking the ir p ets a p l a ce to r es t, enjoy th e na tur e a n d recr ea te.

174

Feedback from Proposal A - Tr y to distribu te mu ltiple ob jec ts a c r o s s s ite (4 o r 5 ) - P a ra metrically control the o b jec ts a cco r d ing to o ne of th e s ite info r m a ti on, t his can be arbitrar y

Development into Proposal B O n top of proposal A, I adde d a few el em ents to th e d es ig n. I d ec id ed to i n cr ea se the amou nt of sc u lptur es a nd h ave d if fer ent o p ening s fo r ea c h sculpt ur e according to its loca tio n fr o m a r efer enc ing p o int. I a l s o wan t to use la dy bu g to do a shadow tes t to s et th e l o ca tio n of ea c h s c ul p ture .

175

C.1.2 L ADYBU G S HA DO W TES T

A. S I T E

D. A NALYSI S PERI OD

E . S U N PAT H - WI T H P OT E NT I A L I N S TALL AT I O N P O I N T S

176

B. T R U E NO RTH - TREE I MPLEMENTATI O N

C . S U N R I S E AN D S U N S E T

F. F I N AL O U TCO ME

177

A

C

C .1.3 PA N E L FORMI N G P a ra m etr ic R ul e: Th e f ur th er th e l o ca tio n po i n t (A>C >B >D ) is fr o m th e r efer e n ce p o int (R ) , th e l a r g er th e s c ul pt u r e is , th e l es s p a nel it h a s .

178

B

Site Image

S ite Image With Shadow

D C

A

C B D

REFERENCE POINT

179

C.1 .4 FORM FI N D I N G

SCALE Th e diagram on the righ t s h ows th e s ca l e of ea c h s c ul p ture and the ir orname n ta tio n. Th e s h a d ing d evices a r e d esi gne d for adu lts, c hild r en, a nd a nim a l s . H aving a p r ec is e scale for dif fe re nt u se rs is im p o r ta nt. Th e im a g e s h ows th e corre ct scale of e ac h sc ul p tur e in r el a tio n to b o th h um a n a nd non-hu man.

180

A ADU LT

CHILD

B

C

D DOG

181

C.1.5 M O D E L INS IGHT

A f ter making su re the re latio ns h ip b etween s ite l o ca tio n a nd th e s i ze a n d o r n a

t a i led mode l re nde r image of m o d el B . Th is is th en us ed to to b e my f i n a l CN C to make be cau se of its ae s th etic s a nd c l ea r r ep r es enta tio n of the o r n a me n t a overly re pe titive on this m o d el .

182

amen t at i o n of ea ch mode l, I c re ate d a de-

C mod e l te m p la te. I choose this scu lptu re t ion. B e cause th e ope ning patte rn is no t

183

C . 1.6 .1 LOCATION SE L E C T I ON ST E P A

S te p A : S h awd ow test is co n d ucted with the f ina l 4 models a nd 4 exist i n g t rees o

1

2.2

2

Lo ca t i o n i teratio n b asin g on La dybug res ults . Ima ges with da s he d li n es a rou n

184

on s ite .

1.4

nd th e m a r e th e selected on e for fo r next s tep of loca tion s ele ction.

185

C . 1.6 .1 LOCATIO N SE L E C T I ON STEP A

Ste p A : Sh awdow te st is condu cte d with th e fina l 4 m o d el s a nd 4 exis ting t r e e s o n s i te

3

4

L o ca t i on i tera tion basing on Lady b ug r es ul ts . I m a g es with d a s h ed l ines a r o u n d t he m a r

186

.

3.4

4.3

re t he s e l e cted on e for nex t ste p of locat io n s el ec tio n.

187

C . 1.6 .2 LOCATIO N SE L E C T I ON ST EP B

Ste p B : Ad j u s t lo cation al m o d els f rom Step A a nd the n s ele ct the m ost su i t a b le

From Step A

1.

4

2.

2

3.

4

4.

3 188

Perspective

B

e loca t i o n a l a r ra n gem en t of th e 4 m ode ls .

Adjustment

Outcome

SELECTED ARRANGEMENT

189

C .1.6 .3 LOCAT I ON SE L E C T I ON OU TCO M ES

Perspective 1

Th e outco m e af ter s ele cting the mos t s uita ble l ocation arran gem ent.

190

Perspective 2

I m ages are p ro d uced to pre s e nt a more details scen e w ith sha dow in.

191

C.2 TECTO NI C ELE M E NT & PR OTOTY PE S

192

193

C1

Form Finding

Site Location

C2

Tectonics

Folding

C.2.0.1 WORK FL OW

194

Referencing P

Seamless Bolts Con

Point

nnection

Panel Sizing in Relation to the Referening Point

LADYBUG Shadow Test

Final Form and Location

Framing System

CNC Prototype

Finalising Prototype

Fabrication C3

Installation

Laser Cut

CNC

polypropylene

Aluminium

Seamless Bolts Connection

195

C. 2 . 0. 2 WO EKF L OW-P ROTOT Y PE D EV

196

P rototype A

Protot yp e B

O r i gami Folding

P a tter ning

V E L O PMENT

PrototypeC

Protot yp e D

F ra ming Syste m

Al um inum

197

C .2.1 TECTON I C E L E ME N T

PROTOTYPE A Th e first p rototyp e in Pa rt C is ma de out of polyp ropylen e sh eet with 0. 6mm thick nes s . This prototyp e is a fo rm finding proce s s which helpe d me to un d erstan d an d tes t the origa mi mecha nis m in real life.

Th is p ro cess of this prototype required a n a ccurate rh in o file. The mounta in line s a re e tched th rough laser cutting ma chine to fold upwa rds .

M eanw h ile, th e valley line s ne ed to be cut through laser cuttin g m achine with da s h lines , be ca us e th ey w ill b e fold ed dow nwa rds .

198

FABRICATION Th e m oun tain lin es - bla ck / The va lley lines -re d.

199

F O L I D I N G IN TO DI F F ER E N T F O R M S

200

OUTCOME

201

C .2.2 TECTON I C E L E ME N T

PROTOTYPE B Th e seco n d p rototype is ma de with the s a me temp late of p ro totyp e A, but I ra ndomly pla ce d hole s all over th e sh eet to let the s un come through an d co n d uct a sh adow s tudy. There a re two holes on each trian gle unit. The s a me folding te s t wa s p laced af ter th e fa brica tion. Although my des ign h as trian gular op enings ra the r tha n round hole sh ap e op en in gs, it is s till a good prototype for sh ad ow stud ies w i th folding ef fe cts .

202

FAB RICATION L ASER C UT

203

OUTCOME 1

204

OUTCOME 2

205

C .2.3 TECTON I C E L E ME N T

PROTOTYPE C Th e th ird p rototyp e in Pa rt C is ma de out of bla ck an d clear p olyp ropylene s he et with 0. 6mm thick n ess. Th is p ro totype is a compute r ge nera te d a nd laser cut ob ject. The def inition is upda te d f rom p art B to suit th e new form.

Th e system h as cha nge d into a f ra mework (the b lack p art) system. The cle a r polypropyle ne is a co m p on en t th at is a tta ched to the f ra me. As a p rototyp e, th is is a new s tructura l opportunity of th e d esign . I t also of fe rs good s ha ding a nd lightin g ef fect an d un ique a e s the tics .

206

COMPONENT 1-L ASER C UT

I NSTALL ATI ON DETAIL

207

I N STAL L AT ION P R OC E SS

Co m p o n en t fra m i n g

1

system .

is

th e Com -

p o n e n t 2 is th e p an els th a t go o n to p of th e str u c tu ral fram e.

COMPONENT S 1

CO N N E CT IO N JOINT

208

COMPONENT S 2

OUTCOME

Th e d iagram ab ove sh ows the ins ta lla tion deta ils a nd the fi n a l m o d el outco m e. Component 1 a cts a s the ba s e f ra me , a n d co m p on en t 2 is th e ma in body. I us e 1/ 8 inch bolts a s co n n e ctio n jo in ts. Th ese joints a re economica l a nd e a sy to fi n d . It of fers m o re op portunities for f urther deve lopment of th e d esign itself w ith out having to worr y too much a bout fi n d i n g th e righ t co n n ection joints .

209

C .2.4 TECTON I C E L E ME N T

PROTOTYPE D

P rototyp e D is my f ina l prototype for pa rt C ; it is a CN C m o d el w ith a luminum s he ets tha t a re 0. 6 m m th ick. I ch o os e to us e 0. 6mm ma teria l be cause of th e fold a bility of the ma teria l. It of fers an op p ortun ity to fold a nd to cut through the m aterial to p rod uce dif ferent mode ls .

I t is also a typ e of ma teria l tha t ca n be refolded m ultip le tim es. Af ter experime nting with this p rototyp e, I d ecid ed to us e this technique for my fin al m od el con st ruction. It a ls o of fers a good aesth etic o utco m e for the des ign.

210

CN C SH E ETS

CONNEC TI ON HOLES

I NSTALL ATI ON DETAIL

211

212

F O L DIN G

ANGLE

BO L T S

CONNEC TI ON

I u se d my hand with s a fety g l oves to fo l d the she e ts. Be ca us e of th e d ura b il ity of th e me tal she e t, it wa s no t th a t h a r d . H owever , it was dif ficu lt to g et a s h a r p r ig h t a ng l e fo r the she e ts. I t al ways c r ea tes a wel d ed c ur ve w he n tr ying to fo l d .

To ac hieve a better ed g e ef fec t, I us ed th e e dge of a table a s a m o l d to fo l d . I t h el p ed w ith the folding p r o ces s es , b ut I h a d to b e ve r y carf u l with fo l d ing th em , s o it d o es nâ&#x20AC;&#x2122; t be nd to u nwan ted d ir ec tio ns . B eca us e a d ju sting the sheets b a c k ta ke m o r e tim e than tr y ing to g et th e a ng l e r ig h t fo r th e first time , and i t of ten r es ul ts in a l es s a es the tic ou tcome.

The joints are the 1 /8 inc h b o l ts . I t is ea sy to install and make a n a d jus tm ent o n. I t is a l s o highly e conomica l . Th is is (s h ow n in B O LT S ) the standard jo int unit I wil l us e fo r l a ter final mode l cons tr uc tio n a s wel l . Th is b o l ts can he lp to pro d uce a s ea m l es s co nnec tio n if they are insta l l ed ca r ef ul l y a nd th e m eta l she e ts are folded a cc ura tel y.

213

214

BE N DIN G

UNI TS I NSI DE

IN STAL L AT ION

COMPLETION

OUTCOME

Th e im ages sh ow the pos s ible is s ue if folding is not a ccurate. Th e sh eets go to undes ire d dire ctions . It i s h ard to ad just it ba ck without le aving a bra s ion to mark th e to p of th e ma teria l. F or the f ina l model, i nstallatio n ( fold in g) will be conducte d with more ca re to p reven t th is is s ue s f rom ha ppe ning.

215

C . 3 F INAL D E TA I LED M ODEL

216

217

C . 3. 0 M O DEL CON ST RU C T I ON

FINAL MODEL Th e fin al m od el is cons tructe d with C NC a luminum sheets. I t is th e sim ila r proce s s for prototype D. The pr ocess starts cutting the s he ets , folding them up, co n n ect th em w ith bolts a nd f ina lly re move a ny unwan ted h arsh n ess w i th s a nd pa per.

C NC SHEETS

218

FOLDING 1

I NSTALL ATI ON DETAIL

219

FOLDING

Th e pr o s a n d co n s of CN C a l u m in um sheet

are

c u sse d

in

d isP roto-

t y p e D. A s m en t io n e d b efore; th e sheets s ma l l e r ,

are

a

and

lo t th e

o p e n i n g s a re a lot c l ose r

220

I NSTALL ATI ON The

a ccura cy

of

the

ma chine

is

not e nough to c u t it without leav i n g unwa nted Sa nd neede d

ma rks.

pa pe r for

is re-

moving unwa n ted pa rts .

221

C.3. 1 M O DEL I NS TALL ATIO N OU TCO M E FR O N T V I E W

222

C .3 .1 MOD EL I N STA L L AT I O N OUTCOME SIDE V I E W

223

224

C . 3 .2 MODEL MODEL ABCD

AT M O S P H E R E

225

C . 3 . 2 MODEL MODEL AB

AT M O S P H E R E SUNSET

226

227

C .3 .2 M O D EL MODEL ABCD

INTERACTION ON SITE

228

229

C .3.3 M O D EL PHYSICAL MODEL B

ON SITE VERTICAL

230

C.3 .3 M ODE L PHYSICAL MODEL B

O N S I T E H O R I Z O N TA L

231

C.3. 4 P H YSICA L M ODEL I N T E R AC T I ON ON SIT E

232

C .3 .4 P H Y SI CAL MOD EL STANDI NG ON S I T E

233

C.3.4 P H Y SI CA L NIGHT TIME

234

C.3.4 P H Y SI CA L N IGHT TI ME DETAI L

235

C.4 F UR TH ER DEV E L O P M E NT & L EAR NI NG O UTCO M E

236

237

C .4.1 FU TH U R DE V E L OP ME N T

ISSUE ONE I s s u e 1 : Accor di n g to the feedbac k I got from final p r e se n t a t i on , t h e first suggestion is to emphasise mor e on my pr op osal one - dog d rinking station.

In resp on se to sugges tion one , I crea ted a concrete base fo r th e sculp ture tha t ca n a ls o s upport the loa d.

Th is w ill in crease th e f unctiona lity a nd the s tructura l su p p ort of th e d esign. It a ls o of fers more huma n a nd n on - h um an in teract ion pos s ibilities (re ga rding the br i ef).

238

WATER TANK AT THE BOTTOM OF THE DE S I GN

239

C . 4.2 FU TH U R D E V E L OP ME N T

ISSUE TWO

I s s u e 2: In ste a d of using central point and purel y u s e t h e la dybu g r e sult to c hoose l ocation for each s cu lpt u r e , I sh ou ld be looking at the aesthetic asp e ct of t h e loca t i on sel ection.

In resp on se to sugges tion two, I re moved the ce ntra l poin t th at all fo ur mode ls we re fa cing a nd looke d a t a mo re sp read location pos s ibility. By doing this , the l o cality of th e d esign is more f un a nd a es the tic. Sha dow ef fects sh o uld n ot be a res triction to the des ign.

240

TOP VIE W

NEW PERSPEC T I V E 1

NEW PERSPEC T I V E 2

241

C . 4.3 FU TH U R D E V E L OP ME N T

ISSUE THREE I s s u e 3 : Th e or n a m entation can be improved, eac h p a n e l ca n h ave for m variation. The design can be e nh a n ce d by m or e ornamentation possibilities.

In resp o n se to th is i s s ue , I looked a t a prece de nt A rab World I n stitute in Pa ris . The orna me nta tions in t h i s p reced en t h ave a dif fe rent form for e a ch pa nel a nd all togeth er; th ey cre a te a fa ca de with a unique pattern . I d id m o re orna ment exe rcis e by crea ting a nd ro tatin g p an els in gra s s hopper to a chieve a bette r orn am en tatio n d es ign.

242

Arab World I nstitute P ar is

243

C . 4.3 FU TH U R D E V E L OP ME N T

244

R oa t a t i on 1

Roatation 2

Roatation 3

O n Si ng l e P a n e l

On Single Panel

On Singl e Pa n e l

R oa t a t i on 1

Roatation 2

Roatation 3

O n M ode l

On Mod el

On Mod el

Ornamentational Possibi l it y

245

C. 4 .4 L EARNING OU TCOME A

The bri ef i s a broad brief, bu t it al s o

Th r o ug h s tud io a ir , es p ec ia l l y i n Pa r t

op en s up a lot of ways I can inte rp r et

B a nd C , I h ave g a ined a n abi l i t y to

i t . I l e a r nt a lot throu gh tr y ing to co m e

g enera te a va r iety of o utco m e s fo r a

up wi th a specific re sponse to su ch a

g iven s ite s itua tio n. B y us ing g ra s s -

w i d e b ri ef .

h o p p er ,

I

us ed

a l g o r ith m ic

de s i g n

a nd p a ra m etr ic m o d el ing to a chi eve d if fer ent d em a nd s of th e d es i g n . I t i s c l ea r th a t d es ig ning with g ra ss ho ppe r s aves a l o t of tim e a nd g ive d e s i g n e r s m o r e d es ig n p o s s ib il ities th a t s a t i s f y b o th a es th etic a nd s tr uc tura l r e qu i r e m ent of a ny cer ta in b r ief .

Obejctive 1

O b j ec t i ve 2

In terr ogating a brief

An a b il ity to g enera te a va r iety of de s i g n p o s s ib il ities fo r a g iven s itu a t i o n

246

Thr o ug h out th e proce ss of de signing

I s ucces s f ul l y p r o d uced a 1 :2 m o de l a s

a n d fa br i ca t i n g. I ex pe rie nce d many

a p a r t of th e d es ig n o utco m e . B y do -

ways of p a ra me tric mode ling and dig -

ing s o , it h el p s m e to und er s tan d s t u -

i t al fab ri ca t i on . I le arne d how to las er

d io a ir in r el a tio n to th e a tm o s phe r e

c ut a nd CNC fabrication. This stu dio

exp er iences . Wh en p utting th e co m-

ce r t a i n ly h elp ed me to have vario us

p uta tio na l d es ig ned p hys ica l mo de l

sk i l l s ets i n t h re e -dime nsional me dia

o n th e s ite, I ca n exp r es s th e a t mo -

a n d esp eci a lly in compu tational ge-

s p h er e d es ig n o utco m e m o r e cl e a r l y.

om et r y, pa ra me tric mode ling, analy ti c d i a g ra mmi ng and digital fabrica tion.

Objective 3

O b j ec t i ve 4

Sk i lls i n va r i ou s thre e -dime nsiona l

An und er s ta nd ing of r el a tio n s hi ps

me dia

b etween a r c h itec tur e a nd a i r

247

C. 4 .4 L EARNING OU TCOME B A s an oth er learning ou tcome of th is st ud i o, I g a i ne d an ability to ma ke a case for pr oposals by deve lop ing t h i n k i n g a n d e ncou raging construc t i o n of ri g or ou s and pe rsu asive arg um en ts i nforme d by the conte mpora r y a r c hi tectura l discou rse . This aspec t sp eci fi ca lly sh ows in the e ngaging of t h e si te i nfor mation that the brief r eq ui r ed to us engage w ith. Using r efer e nce p oi n ts, we athe r analysis in r esp onse to t h e brief itse lf .

F ew ca s e s tud ies wer e ta l ked a bo u t in my jo ur na l ; it is h el pf ul fo r de s ig ner s to l ea r n fr o m o th er pr o j e ct s .

Co m p uta tio na l d es ig n p avil io n s l i ke th e Meng es r es ea r c h p avil ion s we r e a g o o d exa m p l e to l ea r n te chn i ca l d eta il s fr o m . Th e way th ey u s e d a n d jo inted m a ter ia l h el p s m e a l o t i n th e p r o ces s es of p r o d uc ing my pr o to ty p es . Co ncep tua l l y , th e o r ig ami co n cep t of my d es ig ned is ins p ir ed by t he Ak ih is a H ira ta Ar c h itec tur e Of f i ce . B y l o o k ing a t th is p r eced ent, I l e a r n e d fr o m th eir fo r m - find ing tec hn i qu e s , wh ic h is a s s o c ia ted with th e o r i g a mi a nd fo l d ing co ncep t. Overa l l , I have l ea r ned th e im p o r ta nce of l o o k i n g a t d if fer ent ca s e s tud ies a nd p r e ce de n t s a l o ng d es ig ning .

Obejctive 5

O b j ec t i ve 6

The abi li ty to make a case for propo s a l s

C a p a b il ities fo r co ncep tua l , te chn i ca l a nd d es ig n a na l ys es of co ntem po ra r y a r c h itec tura l p r o jec ts

248

Thr o ug h out th i s su bje ct, I have gained a l ot of con tr ol to mu ltiple compu ter p r o g ra m s. I fi r st le arne d how to us e g ra ssh opper. The n prac tice the pro g ra m to h elp my fabrication and d esi gn pr ocesses. I t is tru e that whe n I wa s g ood a t th e sof tware , I fe lt like I h ad no cont rol of the ou tcome s at al l .

B ut o nce I a m familiar with the p a ra m eters, g ra sshoppe r is an exce llent to ol to ch a ng e de sign ou tcome s w it h i n a s h ort p er i od.

Af ter l ea r ning th e g enera l tec h n i qu e s of g ra s s h o p p er , I a l s o l ea r ned s t u di e s l a d y b ug a nd ka ng a r o o p l ug - in s . L a dyb ug is us ef ul wh en tr y ing to co n du ct wea th er a na l ys is fo r th e d es ig n . I u s e d it to ca r r y o ut a s h a d ow tes t a n d l o ca ting my d es ig n. Ka ng a r o o wa s u s e d to p r o d uce s tr uc tura l a na l ys is fo r t he d es ig n. I t is ea sy fo r d es ig ners to s e e th e p hys ica l fo r ces by us ing kan g a r o o p l ug - in. I t is no t h a r d to r ea l i s e t ha t g ra s s h o p p er is no t jus t to o l d e s i g n e r s ca n us e fo r unr o l l ing g eo m e t r y a n d fa b r ica tio n, it is a l s o a n ef fic ie n t pl a t fo r m fo r d if fer ent wea th er o r s t r u ct u r a l a na l ys is s uc h a s ka ng a r o o a n d l a dyb ug .

Objective 7

O b j ec t i ve 8

F o un d a ti ona l unde rstandings of com p u-

A p er s o na l is ed r ep er to ir e of co mpu t a -

t a t i o n a l g eom etr y , data stru ctu re s a nd

tio na l tec h niq ues s ub s ta ntia te d by t he

t ypes of programming

und er s ta nd ing of th eir a d va nta g e s , di s a d va nta g es a nd a r ea s of a p p li ca t i o n

249

S TUD IO AIR

250

S H IRAN G E N G 2016

251

RE F ER ENCES

A D C l as si cs: I n sti tu t d u Mo nd e Ara be / Je a n N o u vel, Archi tecture A r c hD a i l y. R e t r i eve d 3 0 Oc to ber 2 0 1 6 , fro m h t t p:/ / www. archdail ab e - j e a n - n o u ve l /

A ki h i s a H i ra ta | O f f i ce | Arc h D a ily. (2 0 1 6 ). Arc h d a ily.com. R etriev co m / of f i ce /a k i h i sa - h i rat a

Th e Swa r m Cr e a te s Th e Illu s io n Of Flo c k ing Bird s Us ing Alucobon

Oc to b e r 2 0 1 6 , f r o m h t t p:/ / www.a lu co bo nd u s a .co m / blog/the-swa al ucob o n d - a cm/ # . V - n kxCF9 4 - V

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- S t u dio, P i e r r e S o r i a a n d G i l b e r t Lezenes . (2 0 1 6 ). y. com/1 62101/a d - cl a ssi cs- i n sti tu t - d u -m o nd e-a r-

ve d 3 0 Oc tob e r 2 0 1 6 , f r o m h t t p : / / www.a rc h d a ily.

n d ACM . (2016) . A l u co b o n d u sa . co m . Ret rieve d 3 0

a r m-create s - t he - i l l u si o n - of - f l o cking- birds - u s ing-

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ST U D

TUT BRADLE

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IO #9

TOR Y ELIAS

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