Su gu 815628 air stuio final submission

STUDIO AIR 2018, SEMESTER 1 newOder 815638 SU GU

TABLE OF CONTENT About Arthor Part A: Conceptualization A1. Design Futuring Case study 1 Case study 2 A2. Design Computation Case Study 1 Case Study 2 Case Study 1 Case Study 2 A3. Composition/Generation A4. Conclusion A5. Learning Outcomes A6. Appendix-Algorithmic Sketches

C.2 PROTOTYPE 2.1 Prototype 1: Material Testing 2.2 Prototype 2: Material Testing 2.3 Prototype 3: Connections 2.4 Prototype 3: 3D Printing Colomn

Part B: Creteria Design B.1 RESEARCH FIELD Strip and Folding B.2 CASE STUDY 1.0 2.1 Intereation Part 1.0 2.2 Iteration Part 2.0 2.3 Best Iterations B.3 CASE STUDY 2.0 3.1 Reverse Engineering 3.2 Logic/Process B.4 TECHNIQUE: DEVELOPMENT 4.1 Iteration Part 4.2 Best Iterations 4.3 Selection creteria B.5 PROTYPING Prototype A Prototype B Prototype C Prototype D&E B.6 Proposal B. LEARNING OUTCOME

C.4 LEARNING OBJECTIVE AND OUTCOME

Part C: Final Detail Desgin C.1 DESIGN CONCEPT 1.1 Reflection on Feedback 1.2 The Site& Concepts 1.3 Form FInding 1.4 Final Column Design

C.3 FINAL DETAILED MODE 3.1 Connection Design 3.2 Fabrication Diagram 3.3 Fabrication Process 3.4 Final Model 3.5 Fianl Design 3.6 Further Development

Figure 1, Paintings for Studio Earth.

Figure 2, Second Skin---3S for Digital Design and Fabrication.

About Aurthor

I am a third-year architecture student studied in Melbourne university who just finished a two-months internship in HAS company in China.

Painting, arts and literatures are my passions since I was very young. I believe those are the things that brought up me to who I am today. As lucky as l am, my family support me to seek for what I want. The reason why I pick up architect as an intended profession is honestly unknown. But life is full of those amazing coincidences. No matter how hard this will be, I will stick to it as I do enjoy every single moment when I am doing architecture.

I got touch with digital tools particularly Rhino and Indesign from the course Digital Design and Fabrication. Before that, I am kind of an old school student who will make physical model and rendering drawings by hand. This course provides me the first experience to translate my ideas through Rhino specifically and fabricated with laser cutting (Figure 2). Frankly speaking, we didn’t achieve a very desired result as there are always a gap between the digital performance and real-life assemblage. However, I began to notice the power computer held and its potential to improve design efficiency.

In this studio, I will explore digital design, with the confidence that I will get to understand it in a more profound way.

PART A CONCEPTUALIZATION

“Designers should become the facilitators of flow, rather than the originators of mantainable ‘thing’such as discrete products or images.”

---Wood, John

“It is not just that many contemporary practices harm the world of our dependence but also that so few of them deliver the means to actually know the consequences of their activities beyong a horizon of immediate concern.�

----Tony Fry

A.1 DESIGN FUTURING

INTRODUCTION “Where are we approaching� is a question continuously asked by generations to generations. We are at the crucial point. A point to save human being from defuring conditions of unsustainability before it is too late. Climate change and increasing population has already caused severe consequences to the earth1. Whether the change is anthropocentric or not, people are facing an essential task to extend our finitude of life by designing a sustainable future. Designing is not merely about solving problems but change our altitude: change to an open mind which promote new possibilities of a sustainable future with people of all range.

1. Fry, Tony (2008). Design Futuring: Sustinability, Ethics and New Practice (Oxford: Berg), pp 5.

Figure 3, Exteirior of Guangzhou Opera House.

Figure 4, Inteirior of Guangzhou Opera House.

CASE STUDY 1 Project Nmae: Guangzhou Opera House Architects: Zaha Hadid Architects Location: Guangzhou, Guangdong, China Area: 70000.0 sqm Project Year :2010

The Guangzhou Opera House designed by Zaha Hadid Architecture also suggests an overwhelming solution for the potential future. This design which was inspired by river valleys and how they are transformed by erosion, was the product of parametricism1. Modelled and tested through digital tools, designers will have the opportunity to “experience” through the computer about how their architecture will perform before construction. Not only the dynamic forms can be achieved through computation, material and structural system will also be optimized2. Despite of the advanced technologies which contribute to energy and time saving parametric design held, its concept that integrating every system can also be regarded as a sustainable approach.

In Guangzhou Opera House, two “stones” (major and minor function rooms) are not isolated from its natural surroundings. The landscape of this opera is exactly the extension of the architecture as when water crash and tumble over rocks, the rock also have impact to the water. Therefore, each system is associated with each other, which creates smooth transition between interior to exterior, form to function. The Guangzhou Opera house also combined seamlessly with its urban and culture settings in China, providing a new approach for architectures to design for the future.

1. ”Guangzhou Opera House / Zaha Hadid Architects”, Archdaily, 2018 <https://www.archdaily.com/115949/ guangzhou-opera-house-zaha-hadid-architects> [Accessed 16 March 2018].

2. Archdaily, 2018.

Figure 5, the Plugin City.

Figure 6, Diagram of the Plugin City.

CASE STUDY 2 Project Name: Plug-in City Architects: Archigram Location: Paper architecture Project Year : 1960

There are always brave pioneers who stand out, thinking critically about the world existed. They challenge the authority and even the social value which deeply imbedded for centuries. They practice as testimonials to what could be, while at the same time, provide alternatives of a potential future. The Plug-in City, which was proposed by Archigram in 19641, is one of the perfect examples of this kind.

In this design, the traditional modality of architectures disappeared. The city becomes “forest-like”: the bold core structure is the trunk and branches of the tree; infrastructure, offices, residential and commercial areas are the leaves, which can be moved easily by giant cranes2.

Those “leaves”can be plug-in or plug-out like a Lego toys, which create a dynamic movement among architectures. There is no need for precise urban planning as changes are taken place

every single moment according to people’s needs. Cities are literally a lived being. Citizens can easily move their house if they want to travel to other places; shops can be repositioned when the business is not prosperous; when there are natural calamities happen, there is also an opportunity for people to settled down in a new safe place: we can all anywhere “home”.

The “blueprint” of Plugin City is unfortunately not be built, or perhaps will never be built. Nevertheless, the Plugin City Archigram created is literally a sustainable city. It is sustainable in a way as how it began to cope with contingency situations. The ideology of it left behind will provide people a brave hint when exploring the future.

1. AD Classics: The Plug-In City / Peter Cook, Archigram”, Archdaily, 2018 <https://www.archdaily.com/399329/ ad-classics-the-plug-in-city-peter-cook-archigram> [Accessed 16 March 2018] 2. AD Classics, 2018.

“‘Computation’ is the processing information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information,with the capacity to generate complex order and form, and structure.”

----Tony Fry

A.2 DESIGN COMPUTATION

INTRODUCTION Computation and computerisation are two essentially distinct processes in terms of design. As computers practice limited engagement during a design, computerisation, in some way, can be the generation precedes computation.

As contended by Oxman, computers gradually involved larger and larger part of architectural designs, which have already taken part in the design process from the right beginning, and can, in the very future, communicate with digital machines to fabric an entire building1. Computers are not merely a tool for architects to represent their ideas and forms like they are used to2----- parametric design of computer has already marked a new era for digital technology: there are algorithmic logics behind, to support and enable a new form of digital design thinking.

1. Oxman, Rivka and Robert Oxman, eds (2014), Theories of the Digial in Architecture (London; New York: Routledge), pp 7-8.

2. Lynn, Greg, ed. (1993), Folding in Architecture, AD (Architectural Design), Wiley-Academy, West Sussex, UK

Figure 7, Exteirior of Guangzhou Opera House.

CASE STUDY 1 Project Name: Daedalus Pavilion Architects: Ai Build Location: Amsterdam Project Year : 2016

Daedalus Pavilion which is constructed by AI Build, is a fascinating example of how computation impacts profoundly on current design and construction. This is a 5m wide x 5m deep x 4.5m high pavilion which consists of 48 pieces, using 160 kg of biodegradable filament material supplied by the Dutch manufacturer, Formfutura1.

It is first designed with a powerful web application called AiSync2. Taking the advantage of additive manufacturing, intricate detailed components which consist of the whole pavilion are 3D printed by KUKA industrial robot programmed with Ai algorithms within only 3 weeks3.

Although sophisticated as the process of manufacturing Daedalus Pavilion is, Ai Build is not satisfied with the existing computation technology. They push the boundary of how we could create complex design through computation. Asrobots are “blind”, they will just follow what the “command” given by programs and will not be aware of errors or accidents happened through

fabrication. Therefore, Ai Build combined Al algorithms with cameras and sensors to mon itor real-time process4. It will detect problems, providing feedback to algorithms programs and autonomously making decisions to achieve best results. This advanced improvement not only create intercommunications between computer and machines, but physical environment and digital one. It saves material and cost of construction, while more importantly, optimizing the structurally efficient form by itself.

Computation now get involved in all design process (architecture’s new media) including evaluation, communication and fabrication.

Such a great development demonstrates how the construction can be transformed by robotics and artificial intelligence in the future.

1. “Ai Build - Daedalus Pavilion”, Ai-Build.Com, 2018 <http://www.ai-build.com/daedalus.html> [Accessed 16 March 2018].

2. “Ai ubild-Daedalus Pavilion”, 2018.

3. “Artificially Intelligent 3D Printer Creates “Daedalus Pavilion” | All3dp”, All3dp, 2018 <https://all3dp. com/daedalus-pavilion/> [Accessed 16 March 2018].

4. “Artificially Intelligent 3D Printer Creates “Daedalus Pavilion”, 2018.

Figure 8, Flight Assembled Architecture.

CASE STUDY 2 Project Name: Flight Assembled Architecture Architects: Gramazio & Kohler Location: Orléans, France Project Year : 2011-2012

Gramazio & Kohler never failed to surprise people by their pioneering approaches that using the maximum potential of computation. After their successful experiment with ROBmade to construct brick façade of Keller AG Headquater (Ofenhalle Pfungen, 2010), Gramazio & Kohler, together with Raggarllo D’Andrea (designed the visionary autonomous system) also applied a similar technology to Flight Assembled Architecture in 20111. The Flight Assembled Architecture performed in a dynamic manner by robots’ strategically placing modules. The whole model looks different at every angle. While this vivid differentiation is achieved exactly by algorithmic programs2, which can create myriad differentiation in various scales by changing the scripting rules or algorithmic procedures. It allows the realization of “free form” geometry which will not limited the creativity of designers. It also indicates that computation will contribute to the efficien

cy of a design process, while at the same time, provides incredible amount of possibilities.

Apart from its impressive performative design, the most highlighting aspect of this project can be its extreme use of flying robots.

Its installation was assembled by a range of quadrotor helicopters, interacting, lifting and transporting 1,500 small prefabricated modules to a large-scale work which is 600m high and 3.5m in diameter3. In this case, digital design data is translated to a machine behaviour of the flying robots, very much like the previous example of Daedalus Pavilion, which free human’s hand from the touch with high accuracy and fast construction speed. It generates radical new ways of thinking and provide the new possibilities of future construction method.

1.”Gramazio Kohler Architects ETH SIA BSA”, Gramaziokohler.Com, 2018 <http://www.gramaziokohler.

com/web/e/installationen/209.html> [Accessed 16 March 2018].

2. ”Gramazio Kohler Architects ETH SIA BSA”, 2018.

3. ”Gramazio Kohler Architects ETH SIA BSA”, 2018.

â&#x20AC;&#x153;when architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computationcanbecome a true methos of design for architecture.â&#x20AC;?

----Brady Peters

A.3 Composition/Generation

INTRODUCTION Composition, which was formed way back since the Renaissance, is the traditional architectural methodology we know today. Architects test various ways and practice different design process to meet one preconceived goal.

From Alberti to Mies van der Rohe, from Frank Lloyd Wright to Ram Koolhaas, master builders would vision their ultimate design at the very beginning, and then composite them parts by parts afterwards. Although there will be numerous possibilities during the architectural practice as unpredictable problems will arise, only one solution will be produced, which will be the final refined solution.

However, over history, there will always be revolutionary thinking challenges the conventions as a result of the developing technologies, society and economics. The Avant-grade architects who have already taken advantages of digital computation, hint a new way of thinking-----generation, which completely flipped over the previous “Top-down” architectural ideology to a “Down-top” one.

Figure 9, Baoâ&#x20AC;&#x2122;an International Airport interior.

Figure 10, Rhino Diagram of Airport surface.

Figure 11, Rhino Diagram of Airport Surface.

CASE STUDY 1 Project Name: Bao’an International Airport Architects: Zah Hadid Architecture Location: Bao’an, Shenzhen,China Project Year : 2013 Composition design which can be seen as a more human-oriented and subject process may diminish the effectiveness of architectural composition. As there is no practical feedback of how the architectures will perform in the real environment, self-ego, lack of information and faulty judgement can lead to results. Frank Lloyd Wright’s Fallingwater, whilst is regarded as Wright’s most respective work which evokes the enduring relationship between nature and man, was damaged from the flood again in 2017 since 19461. Driven by his idea of “A building should appear to from easily from its site and be shaped to harmonise with its surroundings”2, Fallingwater was located right on the top of the natural rocks of the waterfall.

However, poetic as it is, lacking of the consideration of flood and the rise of water table causes severe consequences. This indicates the success while simultaneously the imperfection of the architectural method of composition.

Nevertheless, computation paradigm sparks new methods of architectural thinking. The generation architects who enable the algorithmic thinking, parametric modelling and scripting culture, shift away from the design of preconceived goals. Instead of master controlling the overall appearance of a design as composition architects do, generation focusing more on procedure, materials or system. Parametric modelling combined with performative and material system nowadays, provide opportunities for designers foreseen their design performance at every design stage3. It allows flexible design and extend designers’ abilities to cope with changing environment 4 . As the final form will not be settled at the last stage, there will

be various options and possibilities generated.

Bao’an International Airport can be a fascinate example of how generation design provides desirable performance without form predesigned. This airport which has overall length of 1,5000meter with 500 rooms will embrace up to 40 million passengers per year5. According to Knippers Helbig, the development of flowing geometry was not finalised until its structure and all façade elements are developed 6. Benefiting from the structural and performance testing software, the openings and inclined angles of the panels of the glass were carefully calculated and modelled digitally to ensure desiring effect before the construction stage.

This permits indirect sunlights enter through 25,000 openings, creating incredible dancing vivid lighting throughout the day7. This “bottom-up” method allows more practical thinking including the energy, structural and material system. Every single component which may affect the design performance will be considered to generate a final results------an optimized result of which appearance may not be predicted.

Figure 12, Falling water.

1. “Frank Lloyd Wright’s Fallingwater Damaged From Flooding”, Archdaily, 2018 <https://www.archdaily.com/876326/ frank-lloyd-wrights-fallingwater-damaged-from-flooding> [Accessed 16 March 2018].

2. Oliver Wainwright, “Frank Lloyd Wright’s Final House Will Be Built In An Unlikely Setting – Somerset”, The Guardian, 2018 <https://www.theguardian.com/artanddesign/architecture-design-blog/2013/sep/19/frank-lloyd-wright-villa-builtsomerset> [Accessed 16 March 2018].

3. Oxman, Rivka and Robert Oxman, eds (2014), Theories of the Digial in Architecture (London; New York: Routledge), pp 6.

4. Peters, Brady. (2013) ‘Computation Works: THe Building of Algorithmic Thought”, Architectural Design, 83,2, pp. 8 5. “Bao’an International Airport Knippers Helbig Advanced Engineering”, World-Architects, 2018 <https://www.world-architects.com/en/knippers-helbig-advanced-engineering-stuttgart/project/baoan-international-airport> [Accessed 16 March 2018].

6. “Bao’an International Airport Knippers Helbig Advanced Engineering”,2018.

7. “Bao’an International Airport Knippers Helbig Advanced Engineering”,2018.

Figure 13.

Figure 14, .

CASE STUDY 2 Project Name: I’ve Hear About...

Architects: François Roche Location: Bao’an, Shenzhen,China Project Year : 2005-2006

I’ve heard about…can be one of the most controversial projects of François Roche1. It totally breaks down the “Top-down” architectural methodology, bringing in new blood by creating a system that finding its own form based on data, something that “builds up only through multiple, heterogeneous and contradictory scenarios”2. Human beings are now stand back of the design process, taking in a role that merely set up initial algorithm or a system. Those system will self-gestate numerous possibilities free from human interfere. Therefore, it will be less likely to forecast what the result will be, which creates a somehow “autocratic” order that “no longer depends on the arbitrary decisions or control over its emergence exercised by a few”, but “the ensemble of its individual contingencies”3.

This intent raises new thinking in design, that the self-creation of data and algorithmic system could generate some principles that imbedded with meanings. However, how meaningful will this meaning be? Or will the artificial creation without certain subject intuition be meaningful? Can these products relying on merely the algorithmic thinking and computation fulfil human intention? Will the final products meet actual need? Maybe as Hugh Whitehead also concerned, in a negative view, generation method may become an isolated craft rather than an integrate art4.

1. François Roche, “I’ve Heard About”, New-Ter-

ritories.Com, 2018 <http://www.new-territories. com/I%27veheardabout.htm> [Accessed 16 March

2018].

2. François Roche,2018.

3. François Roche,2018.

4. Peters, Brady. (2013) ‘Computation Works: THe Building of Algorithmic Thought”, Architectural Design, 83,2, pp. 15.

Figure 15.

A.4 Conclusion

Advanced technologies especially digital computation bring new design thinking and methods to human beings. We are away from the traditional representing and analogue method to an algorithm-based and parametric process. Computation benefits the industry with unpredictable possibilities. By Intertwining the intuition and creativity of human brain with rational analytical capability of computer will produce incredible design results and help people achieve a sustainable future. This method combines the advantages of human and computer altogether.

Every life and every discipline will benefit from this method, by which, we can develop a sustainable bright future.

A.5 Learning Outcome

During the intensive learning of Part A, I gained a more profound understanding of architectural computing. Before this, computer is merely a tool for me to represent my work in to digital version. Through lecture, tutorial discussion, readings and practice with Grasshopper, I noticed the opportunity and a new way to use computer and digital tools. They even provide me a distinct way to vision our life when the invisible parameters that began to flow into our daily life and will mark a new era of its own. There is an algorithmic world that was created by us and run parallel to ours. If we connect with them tightly and keep on developing them rationally, more effective designs will be created. Apart from that, digital design will also improve design efficiency and expand the possibilities of solutions. However, as computing technologies also have its drawbacks, there will be a risk if we rely purely on computation. Therefore, we should apply this advanced method in a proper way with human intuition to adapt to the flexible and changing world.

A.6 Appendix-Algorithmic Sketches

Inspired by classical architectures and orders, various columns are tested through Grasshopper. Aftter tutorial presentations, I took the advice from my tutor and peers refining some of my columns with more interesting detialed. Geomrtruies are more controlled and there are more thinkings being put in.

Experienmenting with differnet geometroes, scales and angle of the conlumns.

References “AD Classics: The Plug-In City / Peter Cook, Archigram”, Archdaily, 2018 <https://www.archdaily. com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> [Accessed 16 March 2018] “Ai Build - Daedalus Pavilion”, Ai-Build.Com, 2018 <http://www.ai-build.com/daedalus.html> [Accessed 16 March 2018].

“Artificially Intelligent 3D Printer Creates “Daedalus Pavilion” | All3dp”, All3dp, 2018 <https://all3dp. com/daedalus-pavilion/> [Accessed 16 March 2018].

“Bao’an International Airport Knippers Helbig Advanced Engineering”, World-Architects, 2018 <https:// www.world-architects.com/en/knippers-helbig-advanced-engineering-stuttgart/project/baoan-international-airport> [Accessed 16 March 2018].

Fry, Tony (2008). Design Futuring: Sustinability, Ethics and New Practice (Oxford: Berg), pp. 1-16.

François Roche, “I’ve Heard About”, New-Territories.Com, 2018 <http://www.new-territories. com/I%27veheardabout.htm> [Accessed 16 March 2018].

“Frank Lloyd Wright’s Fallingwater Damaged From Flooding”, Archdaily, 2018 <https://www.archdaily. com/876326/frank-lloyd-wrights-fallingwater-damaged-from-flooding> [Accessed 16 March 2018].

“Guangzhou Opera House / Zaha Hadid Architects”, Archdaily, 2018 <https://www.archdaily.com/115949/ guangzhou-opera-house-zaha-hadid-architects> [Accessed 16 March 2018] ”Gramazio Kohler Architects ETH SIA BSA”, Gramaziokohler.Com, 2018 <http://www.gramaziokohler. com/web/e/installationen/209.html> [Accessed 16 March 2018].

Lynn, Greg, ed. (1993), Folding in Architecture, AD (Architectural Design), Wiley-Academy, West Sussex, UK Oxman, Rivka and Robert Oxman, eds (2014), Theories of the Digial in Architecture (London; New York: Routledge), pp 1-10.

Peters, Brady. (2013) ‘Computation Works: THe Building of Algorithmic Thought”, Architectural Design, 83,2, pp. 8-15.

List of Images Figure 1, Paintings for Studio Earth, Created by Su Gu. Figure 2, Second Skin---3S for Digital Design and Fabrication, Photoed by Su Gu. Figure 3 &4, “Gallery Of Guangzhou Opera House / Zaha Hadid Architects - 7”, Archdaily, 2018 <https://www.archdaily.com/115949/guangzhou-opera-house-zaha-hadid-architects/501388bc28ba0d1507000729-guangzhou-opera-house-zaha-hadid-architects-photo> [Accessed 16 March 2018] Figure 5&6, “Gallery Of AD Classics: The Plug-In City / Peter Cook, Archigram - 1”, Archdaily, 2018 <https://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram/51d71b74e8e44ed538000023-ad-classics-the-plug-in-city-peter-cook-archigram-image> [Accessed 16 March 2018] Figure 7, . “Ai Build - Daedalus Pavilion”, Ai-Build.Com, 2018 <http://www.ai-build.com/daedalus.html> [Accessed 16 March 2018].

Figure 9, 10 ,11, “New Terminal At Shenzhen Bao’an International Airport”, Theplan.It, 2018 <https:// www.theplan.it/eng/webzine/international-architecture/new-terminal-at-shenzhen-baoan-international-airport> [Accessed 16 March 2018].

Figure 12, , 2018 <https://www.researchgate.net/figure/Frank-Lloyd-Wright-Fallingwater-House-BearRun-Pennsylvania-1939-A-unique-example-of_fig1_283579397> [Accessed 16 March 2018].

Figure 13, 14& 15, François Roche, “I’ve Heard About”, New-Territories.Com, 2018 <http://www.new-territories.com/I%27veheardabout.htm> [Accessed 16 March 2018].

B

PART CRITERIA DESIGN

B.1 RESEARCH FIELD For the research field, our group pick up different research filed due to the consideration of future design variebility. I pick the strip and folding, which is a newly produced architectural algorithm technique. This technique is an algorithmic technique in which a two-dimensional single surface is transformed into a volume by folding.

The succession of transformation in which the continuity of the material is emphasized, thus is able to extend undulant strips for wrapping a certain space, and shift an enclosed volume to a semi-opening space, as well as shifting a single surface to a three-dimensional volume. In this system, the structure allows the deep exploration of non-standard and organic curvilinear forms. Meanwhile, in this way, in terms of the systemâ&#x20AC;&#x2122;s materiality and structure, the sense of fluidity and dynamism could be presented in a more direct way. For the fabrication, strip and folding could be fabricated through computation modeling with high accuracy and efficiency for the aim of offering visual and spatial experience to the design with minimal material. The algorithmic design has a great capacity to simplify the design complexity and convert them into simple steps. Once the junctions or joints of strips have been found, after defined and marked, the upcoming folding form is simultaneously determined.

The Seroussi Pavilion can be considered as practical precedent that demonstrates the behavior of Electromagnetic Fields based form that is produced by the definition of field generation [1]. The patterned shadow care is designed in this project that follows the change of daylight and thus provides sense of movement when passing through the space[2]. Structurally, the computation logic is composed of attraction points and repulsion, which could lead a bunch of secondary curvilinear lines spreading in the two-dimensional plan, producing infinite possibilities via varying input parameters and the algorithm of the primary curve.

The 3d printing enables the experimented model to test the visual density and abstracted geometry form with the seamlessly connected branches.

1. Admin, Alisa Andrasekâ&#x20AC;&#x2122;s Algorithmic Seroussi Pavillion, (2010), https://www.arch2o.com/seroussi-pavilion-biothing/ 2. Ibid.

https://www.arch2o.com/seroussi-pavilion-biothing/

https://www.arch2o.com/seroussi-pavilion-biothing/

ITERATION PART 1.0 TWO DIEMENTIONAL Specie 1.1: Number of Curve Divided Points Specie 1.2: Number of Circle Divided Points (Strips) Specie 1.3: Radius of Circle

ITERATION PART 2.0 THREE DIEMENTIONAL Specie 2.1: Graph Mapper Input Specie 2.2: Spin Force

http://portfolio.ezioblasetti.net/following/portfolio.ezioblasetti.net/Seroussi-Pavillion

ITERATION PART 1.0 TWO DIEMENTIONAL

Specie 1.1: Number of Curve Divided Points

Three Base Curves N=1

Three Base Curves N=6

Specie 1.2: Number of Circle Divided Points (Strips)

Three Base Curves Number of Curve Devided Points N=1 Circle devided N = 10

Three Base Curves Number of Curve Devided Points N=1 Circle devided N = 31

Specie 1.3: Radius of Circle

Three Base Curves Number of Curve Devided Points N=1 Circle devided N = 10 Radius of circle= 2

Three Base Curves Number of Curve Devided Points N=1 Circle devided N = 10 Radius of circle= 11

Three Base Curves N=20

Three Base Curves N=50

Three Base Curves Number of Curve Devided Points N=1 Circle devided N = 50

Three Base Curves Number of Curve Devided Points N=1 Circle devided N = 80

Three Base Curves Number of Curve Devided Points N=1 Circle devided N = 10 Radius of circle= 20

Three Base Curves Number of Curve Devided Points N=1 Circle devided N = 10 Radius of circle= 40

ITERATION PART 2.0 THREE DIEMENTIONAL

Specie 2.10 Graph Mapper Input (Positive factor of Z movement)

Perlin Mapping Number of Curve Devided Points N= 5

Bezier Mapping Number of Curve Devided Points N= 5

Number

Specie 2.11 Graph Mapper Input (Nagetive factor of Z movement)

Perlin Mapping Number of Curve Devided Points N= 5

Specie 2.20 Spin Force

Specie 2.20 Spin Force/Line Force

Three Base Curves Number of Curve Devided Points N=1 Circle devided N = 10

Number

Porabola Mapping r of Curve Devided Points N= 5

Power Mapping Number of Curve Devided Points N= 5

Porabola Mapping r of Curve Devided Points N= 5

Power Mapping Number of Curve Devided Points N= 5

Sine Mapping Number of Curve Devided Points N= 5

Sine Mapping Number of Curve Devided Points N= 5

Square Root Mapping Number of Curve Devided Points N= 5

Square Root Mapping Number of Curve Devided Points N= 5

SUCCESSFUL ITERATIONS B 2.3 SELECTION CRETERIA Strip Denstiy The density of the strips could be one of the highlighted feature for strip and folding system as it is the strips that create surface-like geometry. It will serve structual functions as well as aesthetic. The transformation from 2D strips to 3D dienmentional shapes are therfore to be assessed.

STRIP DENSITY FLUIDITY OPPORTUNITY RELAVANCY

Fluidity Because the general form of case study A is created from electrical fields, which means it has its great advantage of being unlimited and moving smoothly in space. Moreover, the curvilinear form is the structural which support Strip and folding object, thus, any sharp turning will be regarded as a failure.

Opportunity Being able to facilitate changes and be further explored should be an important property of an interation. The opportunities also means the potential to refine to a more ratoinal form based on future design intent.

STRIP DENSITY FLUIDITY OPPORTUNITY RELAVANCY

Relavancy Although the interation practice is mean to be as uncontrolled as possible to generate unexpected outcomes, one thing will always be refer to is that how relevant it is to our final design. Would this certain directoin of interation be adapted to the facade or colomn?

STRIP DENSITY FLUIDITY OPPORTUNITY RELAVANCY

STRIP DENSITY FLUIDITY OPPORTUNITY RELAVANCY

WEEKLY ALGORITHN SKETCHBOOK

STUDY FROM BOTANIC OF MERRI CREEK FLOWER DRAWING Chrysocephalum apiculatum (Common Everlasting Daisy)

WEEKLY ALGORITHN SKETCHBOOK BEHAVIOUR ALGORITHM OF COMMON V=EVERLASTING DAISY

B3 CASE STUDY 2.0/ REVERSE ENGINEERING Project Nmae: ICD/ITKE Research Pavilion 2010 Architects: Institute for Computational Design (ICD): Achim MengesInstitute of Building Structures and Structural Design (ITKE) Location: Stuttgart Project Year :2010

ICD/ITKE Research Pavilion in 2010 is a perfect example of how temporary digital techniques push architectural form-finding to an evolutionary way. The material which is selected for a construction is tightly connected with internal and external pressure and constrains. Material together with the forces are crucial factors to determine the overall form and structural system of a construction. Traditionally, material properties and physical forces in the real world are seldom considered during a digital form generation. They are treated as separate entities subsequently after form-finding. Therefore, in order to overcome this problem, ICD/ITKE Research Pavilion 2010 was constructed as an impressive built-form developed entirely from the elastic bending behaviour of birch plywood strips.

This 12-meter pavilion is constructed by extremely thin plywood sheets with merely 6,5mm wide and assemblaged by a 6-axis industrial robot [1]. During digital design process, bent and tensioning regions of form as well as elastic bending and coupling properties of strips are estimated by structural analysis model (FEM simulation) [2]. External forces including wind and snow loads are also calculated in form-finding stage. In this way, an unpredictable form of the pavilion is generated by its material behaviour, which is both aesthetic and structurally successful [3]. This suggested that an integrated process of design computation, materialization and fabrication is feasible. However, although this method of form-finding can generate an impressively strong structure which is faithful to its material, some contingencies may happen in the real life. Those unpredictable forces can lead to a structural failure when they have not been considered during digital simulation. Additionally, would this extremely pure material form-finding design preform or grow to a more overwhelming outcome with certain human interfere at the design stage?

http://icd.uni-stuttgart.d

1. ICD/ITK Research Pavillion 2010, http://icd.uni-stuttgart.de/?p=4458 2. Ibid.

3. Ibid.

de/?p=4458

B3.1 LOGIC/ PROCESS

Starting point

Invisible force

Create one starting point

Merge tw

& Invisible force (point charge)

Generate parabolic strips with graph mapper

Create undulated curves by m with amplified range (SET A&

site vector of am

wo fields

moving points on cuve B are to be set in oppo-

mplitutude)

Cull evern number of points as starting points of strips (SET A) Cull Odd number of points as starting points of strips (SET B)

Move curves along Y axis of each curve Loft (SET A $ B are loft along opposite direction )

B4 TECHNIQUE: DEVELOPMENT

Specie 1.0: Graph Mapper Input Adjusting the graph mapper and using differnet graph type Specie 2.0: Initial Form Control Changing the magnitude of starting point and adding additional points at the very begining of the defination, which have the overal influence to the whole structure. This whole species is not successful as its fomrs are too constrianed with limited opportunities to explore further. This may be because the position of starting points and the strength is not set proporly.

Specie 3.0: Invisible Force Control Changing the inisible forces a the very begining which will also impact dramatically on the form.

Specie 4.0: Base Geometry Type Replace the original circle with other geometries. Adjusting the resultant overal shape by the amount of charges, radius, curve section, curve divide segment and field line steps.

Specie 5.0: Intergrated with different command In this part, additional commands will be applied to push the performance to its limit. This is a test of com bineing various system and tchiniques which may generate interesting outcomes.

ITERATION PART THREE DIEMENTIONAL

Specie 1.0 Change Graph Mapper Input Perlin Mapping Number of Curve Devided Points N= 5

Specie 2.0 Initial From Control

Another Extreme situation, if the strength of the starting point is too high, the influence of the invisible foce is negligible.

Specie 3.0

Invisible Force Control

(Splin force/ Line Charge )

Specie 3.1

Invisible Force Control

(Splin force/ Line Charge )

When there is no strength the overal forms is purely d at exterior.

h of the starting point charge, defined by the invisible forces

Pop3D N= 47

Pop3D N= 5

ITERATION PART THREE DIEMENTIONAL

Specie 4.0 Base Geometry Type

Specie 5.0 Weaverbirds (After produceing nurb surfaces

of my form, Brep/Mesh command is used to create mesh surface.

Weaverbirds can be used to create interesting surface with another extra details. )

Wbloop L=2.2 + Wbthicken D=5.4

Specie 5.1

Weaverbirds

Weavrbird frame

Specie 5.2

Weaverbird

WbCarpet (the form is alike previous interatoin, however, ascomputes a mesh with higher genus, there will alwqsy be qyad in the cetre)

Adding polygon

Wb carpet D=29 + Wbstellate D=20

in the carpet demand

Specie 5.3

Delaunary Edges/ Pipe

SELECTION CRETERIA

FLUIDITY OPPORTUNITY RELAVANCY CONSTRUCTABILITY

Strip Denstiy The density of the strips could be one of the highlighted feature for strip and folding system as it is the strips that create surface-like geometry. It will serve structual functions as well as aesthetic. The transformation from 2D strips to 3D dienmentional shapes are therfore to be assessed.

FLUIDITY OPPORTUNITY RELAVANCY CONSTRUCTABILITY

This form which is created by randomly changing its base geometry and height is actually a surprising outcome.

Those fine flowing lines stripping from the top, or can be seen as grow from the bottom is a harmonious form which can be a reference to our column deisgn. However, as the strips are too thin and weak, it may not be stable and strong enough to be self-supported.

FLUIDITY OPPORTUNITY RELAVANCY CONSTRUCTABILITY

This form is created by a combination of Weaverbirds commands. the sparking out narrow pyrimid growed from frames composite a feather-like pattern, which is organic in its way. Those tip ends create a fluffy outline of this form. This interesting appearance is relavant to our design as we analysis Flame Robin as one of our inspiration. But those sharp tilted ends reduce its fludity, cutting forms into pieces.

FLUIDITY OPPORTUNITY RELAVANCY CONSTRUCTABILITY

This form also used the overlaid techniques from Weatherbird commands which add another decorated layer on the strips surface. The heiarchy of ornament is faily important to our facade and column design. Moreover, as the patterns are all planar, it is also easy to fabricate. The level of details that can be addded in the future is somehow determined by the width and shape of the strips. Because in reality, the finer things are the harder fabrication would be (no matter digital fabricatoin or by hand). This is one of its limitations.

WEEKLY ALGORITHN SKETCHBOOK

B5 TECHNIQUE: PROTOTYPES Translating digital design to physical fabrication is a crucial part which can proof whether our design are to be constructed in reality. As material properties, internal, external forces, cost and other unestimated factors can not be predicted during computation design, a carefully designed form may be fail in the fabricatoin.

The prototype phase provides great opportunities for us to test things out before final model. Through this phase, we touched digital machine fabricatoin as well as traditional hand-made fabrication. Materials incluidng 1mm MDF, cardboard and Polypolylines are also tested. Regardless of the outcome of the prototype, the information gathered should tailor our final design.

In these series prototypes, we willl test the 3D printing, connnections, and optical illusion effects of our design at this stage.

PROTOTYPE A 3D PRINTING According to the studio Synopsis, our final design will be focus on creating a new order of our time and represented the new order by designing a column and a new facade of Northcote Town Hall.

Due to the considerations of constructbility and aethetics, 3D printing becomes one of the best methods to convert our design intentions from degital to physical. It is an addictive process where successive layers of materials are laid upon one another to make three dimensional solid objects from a digital file. 3D printing enable us to produce complex forms as our deisgn will be consists of intricate details which may not be fabricated accurately by hand. We selected PLA as our materail as it is affordable compard to powder printing.

As this is our first try to 3D printing, there are several problems occured during the process. However, the overal outcome is generally satisfied.

2. Make sure there is no open nakededges in our mesh using â&#x20AC;&#x153;Mesh repairâ&#x20AC;? command. we also filliped the mesh surface when its inner part is exposed as 3D printercannot print object form inside out.

3. After consulting with the Fablab Staf, we decided to print our columns upside down as our column is wider at the top, which can create a stable foundation together with the ground surface in Makerbot app.

This also ensure a clean fomrs for our 3D printing.

Capital Digital design from rhino compared with 3D printing fabricated outcome.

1. As the minimum dimention the 3D printing can print is 2mm, therefore, we simplified our forms and widened our top elements (pipes) to 40 in grasshopper slider. The thickness of ribbes along the curve is also thickened to fit its minimum requirement.

PROTOTYPE B Laser Cutting Apart from 3D printing, laser cutting are also one of the fabrication method we can take advantages from.

Patterns are designed and laid euqally in the rhino file template before fabrication Compared to 3D printing (prototype), this type of fabrication not rely totally on machines, but fabricated by it then assembled by hand. By laser cutting elements, it saves our time. However, due to the laser cutting process , edges of our models are burnt and the notching of each strip will also be widened. Moreover, since laser cut wokrds on a plan, angled and curivlinear profile of our strips can not be fabricated. Thus our interlocking is not perfectly notches.

Assemledge sequences

PROTOTYPE B &C& D Testing Connection Details In order to find a realtively firm connection of our model, three differnet types namely interlocking, bolts and glues are tested.

Connection 1 MDF/ Waffle Grid with Interlocking

connection 3 Basalwood with Glue

connection 2 Screenboard/Grid system with Bolts

PROTOTYPE E Testing Optical effect Due to our design intention, the overal affect of a buildings is what we are interested in. Therfore, prototype E is produced to test this dynamic effect. Two layer are created: regular screen and irregular strips. Interlocking techiniques is used during this model as it enable us a free form with rigid anchor points.

Layer 1: Balsawood strips/screen with glue

Layer 2: Wavy pattern

Optical Effect Top (screen run horizontally) Bottom (screen run Perpendicularlly )

B6 TECHNICAL : PROPOSAL As Farshid Moussavi pointed out: â&#x20AC;&#x153;architecture tightly connects to culture by continually capturing the forces that shape society as material to work withâ&#x20AC;?

[1], we began to question about the traditional embedded meanings of architectures. Do they continuously evolving with the changing society? Do people actually understand the meaning they trying to convey? Or if not, do they still relevant to our time?

1. Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14

STUDIED PLANT AND ANIMAL Common ever;asting Daisy & Flame Robin

Abandoned the previous overlaid ornament language spoken by modernism and postmodernism, a new definition of ornament which deeply considered the previous questions is created. That is, Modern architectural ornament should reflects cultural values not by transmitting conventional intents, but by transmitting timeless perceptual experiences and “effects”.

The function of an ornament may not be constrained by its practical use. If such ornament expresses meaning and is understood by the wide public, the “meaning” is the function of ornament. Thus such ornament relates to culture can be constantly reinterpreted and understood by the wide public, which creates an architecture that remains resilient in time.

Driven by this idea, we studied the behaviour of a local plant (Common everlasting daisy) and animal (Flame Robin) of Merri Creek which is tightly connect to the site. Combing both of their unique behaviour, a picture which talks about our design is proposed: The seeds generated next generation as soon as it touch the ground.

While orange flame birds nesting on the trees (grow from the plant) which striping down to the ground.

https://www.gardeningwithangus.com.au/chrysocephalum-apiculatum-silver-sunburst-everlasting-daisy/

STUDY FROM BOTANIC OF MERRI CREEK BEHAVIOUR DRAWING

Chrysocephalum apiculatum (Common Everlasting Daisy) Researched Behaviour: An evergreen daisy of which stems form roots where they touch the ground

https://rachelhollis.com/product/flame-robin-fine-art-giclee-print/

STUDY FROM WIDE LIFE OF MERRI CREEK BEHAVIOUR DRAWING

The Argonistic Behaviour of Flame Robin Researched Behaviour: An Australian specy who residents mostly near areas where burnt by bush fires. Male birds have brilliant orange-red (plumage) chest and throat.

STUDY FROM WIDE LIFE OF MERRI CREEK BEHAVIOUR DRAWING

The Argonistic Behaviour of Flame Robin Researched Behaviour: An Australian specy who residents mostly near areas where burnt by bush fires. Male birds have brilliant orange-red (plumage) chest and throat.

Scanned by CamScanner Scanned by CamScanner

Scanned by CamScanner

Scanned CamScanner Scanned byby CamScanner

Scanned by CamScanner Scanned by CamScanner

DESIGN SKETCH

OPTICAL ILLISION EFFECT Additionally, optical effects are our interest to fulfil the idea to create a design remains resilient in time. Therefore, three layers are designed by us. Therefore, a wavy moving effect can be identified by these overlapping unique screens of our faรงade.

layer 2: Optical Illusion/Shadding

layer 1: Decombant Stems/Agonistic Behaviour

layer 3: Roots/ Reproduction

PRECEDNECE RESEARCH Voussoir Cloud Architect: IwamotoScott Date: 2008

http://concrete-geometries.org/project/voussoir-cloud-2/

Biothing Pavillion Architect: Alisa Andrasek (principal designer) Date: 2016

https://www.arch2o.com/seroussi-pavilion-biothing/

PRECEDNECE RESEARCH Fence, Sturdy Veil, Varied And Partial Views, Knot Holes, Milling Patterns

1st Layer: Equally lined aluminium sheet

2nd Layer: Wood grain patt

https://www.designboom.com/architecture/ball-nogues-studio-not-wholefence-11-11-2014/

Milling two layers perpendicular to each other

tern with knots

Viewed frontly: effect can be seen through the tiles

https://www.designboom.com/architecture/ball-nogues-studio-not-whole-fence-11-11-2014/ Viewed obliquely: effect are blocked by vertical tiles.

FACADE ELEVATION

FACADE PERSPECTIVE

COLUMN CAPITAL DETAIL

COLUMN SHAFT DETAIL

B.7 LEARNING OBJECTS AND OUTCOMES OBJECT 1 “interrogat[ing] a brief ” The brief of our tutorial is really unique when compared to the others. As a student who is a bit old school, I not really understand why and what we are going to do for the studio. I am also doubt whether we will be able to generate our final column and order design. However, as weeks progressed, I eventually get to understand some part of the digital design and its technology (it was too board and ever-changing). My thoughts and altitude towards digital design began to shift as well. Now after several studies and technique development, my teammate and I began to facilitate our design proposal.

OBJECT 2 developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; Design iterations would be one of the most interesting but challenging practice during the learning process. It is always very controlled at the beginning, while the further practice, the more creative I will be. The design methodology is no longer “top-down”, but “bottom-up” to free the algorithm to find its form. Design iterations provides me opportunities to manipulate various distinct definitions and methods. The outcome of some are really unexpected and stand out from the rest, while it is also surprised to find that similar outcomes are generated through quite distinct methods. Numerous iterations can be created and eventually form their unique species, which may due to the limitation and behaviour properties of certain commands. It was also extremely useful to keep track of the parametric changes. Iterations made it easy to refer back to the design when needed.

OBJECT 3 Objective 3. developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; We explored a wide range of media by now during the course. We are not only learning digital modeling skills including Rhino and Grasshopper, graphical communication skills through journal and sketchbook, but physical modeling with prototyping. However, the recent interim presentation is really the valuable chance for us to translating ideas into 3D media in a concise manner. A solid and persuaded design should be presented in such a way that we can eventually sell our product to people.

OBJECT 4 developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; Computation design we are going through in the studio tends to isolated us from the actual site. There is less emphasis on a completed site analysis and understanding of surrounding conditions, which may result in a bit unrealistic design that sits back away from the local environment. However, although there may not be a completed analysis of the whole site, we draw our inspiration from local materials like plants and animals. This will help us to gain a specific deep understanding and analysis of certain material in the local atmosphere, which is another way to perceptive our site.

OBJECT 6 developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

After several weeks of learning, we have already generated several designs and distinct individual understanding of the digital design. It is a bit difficult stage to learn how to combine various good points of different proposals and what to abandon to sacrifice for a flow design. After a draft proposal was determined, we are also aware that there will be changes in the future as we go further.

OBJECT 5 develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; The best way to understanding a system or a architectural project is to analysis and learn from it. Our attempt on the reverse engineering of the Biothing Pavilion and Pavilion requires the basic understanding at the modular level. Apart from that, we also closely analysis the process of this project, from the design intent to the realization. This allows us to understand contemporary architectural projects through conceptual, technical and design aspects.

OBJECT 7&8 My computation skills has definately improved through week by week videos and practices. It enable me to see the limitations and potentials of digital design. Although i am still not very familiar with grasshopper as it contains too much information and distinct logic flow compared to my previous studying, I am trying to test different possibilities and try not be limited by my cognitive way of thinking. The collection of grasshopper exercise of my journal and algorithmic sketchbook has the potential to be presented in my future portfolios. These computational communiques will continue to develop as deeper engagement with computational design in the future.

Bibliography

Admin, Alisa Andrasekâ&#x20AC;&#x2122;s Algorithmic Seroussi Pavillion, (2010), https://www.arch2o.com/seroussi-pavilion-biothing/ ICD/ITK Research Pavillion 2010, http://icd.uni-stuttgart.de/?p=4458 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14

c

PART Detailed Concept

C1 DESIGN CONCEPT C1.1 REFLECTION ON FEEDBACK Bassed on Inerim presentation, three main problems were addressed and being taken into careful consideration in part c development.

1) Design: • Columns: Problem: Is a detailed and overoverwhelming capital design necessary if it may be hidden into the facade?

Solution: Weaken the capital design. Instead of considering it as a independent part of the column, let the column “finds“ its capital through design.

• Facade: Problem: Why do we need three distinct layers? are they meaningful or necessary?

Solution: Think deeply about the meaning of each layer. Although the second louver layer is interesting for the optical effect that it creates, it has no embeded meaning or inherent connectoins with the overal design. So this layer is abandoned i npart c. However, as the first layer(rigrous birds) and the third layer (stems and roots) are the basic and vital elements of our concepts. They are to be remained.

2) Fabrication •

Testing the models under conditions would also have helped the outcome.

3)Connectoins • Problem: The facade and columns speaks quite foreign languages, how to strengthen the connections between them?

Solution: Considering the desian gas a whole, trying to use similar techniques or details to bridging two elements, unifying the design.

C1.2 THE SITE The meaning of classical order has long been misunderstood through the history. Its original “sacrificial” representation has been forgotten and gradually replaced by another interpretation as a symble of power and granduar (reference). Northcote Townhall, the arts and community center in Northcote area, is however, exactly of classical Roman order, speaking the language of ancinet “bloody sacrifise”. Regardless of this misrepresentation, as a cultural centre in the community, Northcote Townhall made the similar mistakes that most of the 19th and 20th century modernism would do: appreciating little of the existing site and condition but with some historical reference which is barely relevant to its cult and the time.

Classical order speaks language of the past.

Site location

Northcote Townhall

C1.2 CONCEPTS

Natural system Northcote Townhall

“Architecture tightly connects to culture by continually capturing the forces that shape society as material to work with.” ------Farshid Moussavi.

Holding the wish to overcome the issues that the Northcote Townhall had, a new order, facade and column deign are propsed by us. Northcote Townhall is located in the Merri Creek area, which is part of the most important parkland system in the metropolitan region, hosting significant threatened ecosystems and species in Australia. Natural system with great amount of indigenous plants and fauna nurioush and form the site for what it is. Therefore, our new order driven its inspiration exactly from the local flora (Common Everlasting Daisy)and fauna (Flame Robin) of Merri Creek in order to stand as a sign of its culture and nature. Therefore, the new Northcote Townhall was given a new meaning that tightly connected with Merri Creek and its surroundings, becoming a resident who “grows” from merri Creek rather than a foreigner.

As addressed in part B, interesting behaviours of Common Everlasting Daisy and Flame Robin are studied respectively and selected to be the vital elements of the facade and column design. Those behaviours are combined to create a new order: Nesting---when vigrous flame robin gathering and nesting around the burt bushes and finally calling it home.

C1.2a CONCEPTS DEVELOPMENT The order consists of two seperate but inherently associated layers : 1) Generating (Chrysocephalum apiculatum or Common Everlasting Daisy) • stems rapidly when touching the ground • seeds are widely distributed • can be easily burt by fire

Abstract Drawing 1: Chrysocephalum apiculatum (EverLasting Daisy)

Algorithmic Sketch: Exploring the bahaviour of Common Everlasting Daisy of Fast growing/wide distribution/seeds distribute buy wind&insects

2) Nesting (Flame Robin) â&#x20AC;˘ agonistic displays: a breast-puffing display where it puffs its breast feathers to defend their territory. â&#x20AC;˘ become more abundant in area where burt by bushfires

Abstract Drawing 1: Flame Robin

Algorithmic Sketch: Exploring the bahaviour of Flame Robin of Algonistic/Gathered around burnt areas

C1.2b FACADE CONCEPT DIAGRAM

A new world

Randomly picked up the locations of the seeds

Positive spaces to explore

Gathering near area burt by bushfire

Increasing the number of s

Grwoin

seeds(widly spreading)

ng

Seeds grow and generate at nodes

Some areas are burt by bushfires

Defining the territory

Nesting

C1.2c CONCEPTS DEVELOPMENT

The Column, is created as a final realization of the “Nesting“ concept.

Not like the seperated layers of the facade which overlapping each other in a obvious way, the column merged two behaviours, two layers in a more subtle manner. The “birds” and thier “nests” eventually became a unified intergration.

Birds Behaviour

Base curve: the starting base where nests are generated form

[Plants Behaviour]

Flower Behaviour

Emerged

Logic Process

Draw the base curve by tracing an image exported

Duplicate the base curve to 11 curves. Adjusting the distance betwen one another by Command “Random“ and changing the scale and size of each curve randomly.

Generating “Loops” of points by “Anemone” plugin.

Flipdata matrix before connecting points into nurb-

Applying distinct spinforces to different locations before simulate the “loop”, creating whirly flowing path

curves.

of points.

L l

Loft the curves after sorting the order of them by “Sort list”, cap the loft brep before transforming it into mesh.

Transfer swirly nurbcurves into discrete curves

Indicate starting points on the surface of the mesh by “Populategeo”

Pipe at last

C1. 3 FORM FINDING The column design of this project would adopt the material system of strip and folding which was previuosly explored in part B. New techniques are also introduced at the exploration stage to fullfill design concepts. The final form generated through various algorithmic iterations,which concerning carefully about fluidity, constructibility, relavancy and opportunity.

Specie 1.0 Base curve/form

Specie 1.0 Base curve/form

SUCCESFUL OUTCOMES

Fluidity Relevancy Opportunity Cconstructability

This form is considered to be the most successful iteration from various possibilities. While testing, the process was a combination of both generation and composition, which went from randomly twisting and moving base curves to consciously enlarging the top and bottom parts of the column. This was aimed to connect to the facade more cohesively.

Furthermore, its twisted wavy form is generated by algorithm which is interesting and have the potential to be developed to a more complex and promising outcome. The overall form is flow and dynamic which moves smoothly in space, extending its unlimited gesture to the equally flowing facade. In terms of constructability, there is no over twisted section and sharp ends, which can cause future failure

Elevation

Perspective

C1. 3 FORM FINDING

Specie 2.0

Density of seeds (Populate Geo)

Populate Geo N= 100

Populate Geo N= 200

Populate Geo N= 400

Populate Geo N= 1000

Specie 3.0 Spin force Strength

Spinforce 1: N=1000 Spinforce 2: N=1000 Spinforce 3: N=1000 Spinforce 4: N=1000

Spinforce 1: N=1000 Spinforce 2: N=-1000 Spinforce 3: N=1000 Spinforce 4: N=-1000

Spinforce 1: N=382 Spinforce 2: N=-460 Spinforce 3: N=788 Spinforce 4: N=-342

Spinforce 1: N=725 Spinforce 2: N=-632 Spinforce 3: N=1362 Spinforce 4: N=-30

Populate Geo N= 2000

Spinforce 1: N=68 Spinforce 2: N=-986 Spinforce 3: N=1786 Spinforce 4: N=-342

Populate Geo N=3500

Spinforce 1: N=1234 Spinforce 2: N=-1784 Spinforce 3: N=268 Spinforce 4: N=-374

Populate Geo N=8000

Spinforce 1: N=2783 Spinforce 2: N=-98 Spinforce 3: N=268 Spinforce 4: N=-374

Populate Geo N=20000

Spinforce 1: N=-2783 Spinforce 2: N=-3200 Spinforce 3: N=1786 Spinforce 4: N=-4320

Specie 4.0

Spin force + Point Charge

(Original Nurbcurve)

Specie 3.0 Spin Force+Point Charge

(Original Nurbcurve)

SUCCESFUL OUTCOMES

Aesthetics Relevancy Opportunity Constructability

The final form was a balance between complexity and fabrication. Its dense discrete lines create clean geometries (rectangles or squares). Apart from aesthetic consideration, the most important selection criteria of this stage is its constructability. It is surprising that the algorithm finds its main structure by its own.

There are dense and repeated polylines and geometry run through the column which can be identified as the structure. Then the other fine geometries and lines are regarded as the substructure which hold no weights from one another. This form was regarded as a better developed one as it is continuous grown from bottom to the top without any broken or slim sections like the others. This is fairly important as the structure can fail without a strong core. However, the final form was also just a selection from the existing iterations that we had at the design stage. We are aware that these dense fine geometries will become a challenge for fabrication. Future development through evaluations and simplification will be taken.

C 1.4 Final Column Elevation and Detail Design

Column Top View

Column Elevatin

C 1.4 Final Design Column Capital Design

C2. PROTOTYPE

Several prototypes were made in this stage before the presentation model. As required in our studio synopsis, a 1: 20 column and 1 1:1 chunk model are expected at the final stage. Therefore, the prototype phase testing two models simoutaniously. It is a process of a combination of digital and handcrafted fabrication.

For 1:1 chunk model, different materials incluing balsawood, steel wires and cotton strings are tested, examining especially thier formability and performance. Fully translating the digial design to physical fabrication in our case is fairly difficult. The overal form is a bit obscure containing numerous geometries and lines which are hard to fabricated within a limited time through limited resources. Therefore, models are simplified and carefully analysised while assemblinng.

For 1: 20 column model, 3D printing is selected to be the fabrication method hoping to achieve a appealing outcome within limited time. However, the real physical world was also very differnet from what we saw on the screen. Numerous aspects should be taken into consideration, especially like materiality, internal and external forces. Unfortuantely, because of lack of these consideration during degital design stage, the whole experiments with column were unsucessful.

With the idea of constructing various types of models of different scales by simple repeatitive elements, connections which are 3d printed are also designed and tested to generate a strong, firm and seamless performance.

C2.1 PROTOTYPE 1 Material Testing

In this section, Balsa wood and steels wires are tested as they have the potentail to become the major elements of the final model. They are selected also because of thier lightweightness (related to the design performance), ease for construction and formability.

1. 6mm Balsawood with Wood Glue

Results: Balsawood is of lightweightness which reach the demands of our deisgn performance. The length of each is also easily controlled by hand. However, this outline of this system is somehow too bold and cannot provide a clean joints finish which is not of presentation quality.

2. 0.75mm Steel with Glue Gun

Results: one of the biggest problem during this prototyping is how to straignthen the curvy wire. Therefire, several methods are tested. It produced a fairly succesful results for a single steel elements, however, as the steel is of hign formability, it will be easily resahped during modeling. Super glue and PVA was firstly itroduced, but they cannot provide a strong connectoin. Glue gun was then used which held elements stronger and tighter. Nevertheless, the overal performance is untidy. The glue is too noticable to be also a good presentation model.

The model is also too fine to be identified.

Uncleaned and curvy finishes.

Straighthen method 1 : by hand

Results: Generally accepted.

Straighthen method 2

Curve the top of the steel wire and looped it firmly around the door handle.

Wrapped the another end of the wire tightly around the section of the pilers

Results: fairly straight and even stronger.

Twisted till it was traignthen.

Comparision

C2.2 PROTOTYPE 2 Material Testing Learning from the previous prototypes, a combination of both balsawood sticks and steel wire is settled to be the final model material. We believe, the boldness of balsawood sticks and fineness of steel wire can create distinct density and depth, which exactly represent the relationship between strucutre and substructure discussed in c.1. However, the easy-foldable steel wire still cannot provide expected strigntness and clean finish at the corner, cotton string is introduced.

Steel wire after strengthen

Bending and slightly curling performance

Bending and

d slightly curling performance

Straight clean lines by cotton strings.

C2.3 PROTOTYPE 3 Connections

Connections of various scales are also tested. The dimension of the connection is crucial at this stage, The hollow sections should be a slightly larger then the slotting componants. Several prototypes failed as they are either a bit larger or smaller.The smallest width of the connections are 2 mm which is the minimium dimention the 3D printer can print (the printer we used for fabrication). As the balsawood sticks which are used for fabrication is of circular section, a round profile is desgined to best fit for a seamless detail.

1. Connection 1: 50 mm Connection 1 is a testing of size of connections. The depth of how much balsawood sticks slotted into connections will have a large impact on the stability of the structure. Therefore, a 5 mm high and 5mm wide connection is firstly designed.

Results: Balsawood Sticks is perfectly fit and holds firmly in the connection.

2. Connection 2: 30 mm Can we make it smaller so that the connections are somehow invisible?

Results: the 3mm connection also fits tightly and seamlessly with the balsawood sticks.

This connection can be taken into the final model fabrication.

C2.4 PROTOTYPE 4

3D printed column

3D printing method was chosen to fabricate the overall form of the column in 1:20, whereas FMD (Fused Deposition Modeling) printer was chosen upon its availability, cost-efficiency and speed compare to other fabrication method such as welding at this stage. However, To optimize the print quality, details of the original design is reduced as compensation.

Numerous problems occured even altering and changing during different stages.

1. Lines and curves must be piped to create a mesh. The initial attempt was to pipe all the lines into cylindrical NURBS, then round-capped all pipes to form the joints. All objects are joined by Boolean-union command and then meshed.

Round cap

Results: failure of producing tremendous inside (back faces) out or tore mesh faces due to unknown errors, and the file was insufficient to be processed in Makerbot app.

2. The second attempt used the Grasshopper mesh-pipe component to create cuboid pipes. Mesh faces were then reduced to 2 on each face.

Results: the model was hugely simplified. However, the digital model was still found to be sophisticated, resulted in a problematic generation of support elements in Makerbot app. The form is mostly “hollow”, which sophisticates the support generation, and results in lots of errors. The small radius of the pipes also makes it impossible to accommodate any sufficient infills.Most of the elements are in acute angle results and in discrete components with a minimal tip-to-tip contact (because the nozzle goes layer by layer, to print a strip in angle would be difficult, if the previous layer cured too fast, or too slow, the print would fail). In addition, there was no infill, a layer or two “shells” with minimal connections is difficult to remain its structural integrity.

3. To furtherly ease the printing process, the digital model was split into top and bottom. As the nozzle would print layer by layer, a reduction of layer would result a better control in generating the support elements.

Results: unfortunately, the file was rejected by NextLab as the file was deemed too risky to handle by the printer.

Reflection: To achieve the goal under a reasonable balance among cost, time and quality, SLA (laser cured resin) or DLP (UV cured resin) can better resolve this print job. Compare to FMD printer which is capable of printing large closed geometry, resin printer is more powerful to print hollow-grid or framed structure with finer details.

C3 FINAL DETAILED MODEL

After experiments and prototyping, all major componants of final model are selected. The final model was finalizied through three stages which was gradualy refined through density increasing and colour spraying. The model is spayed to be black for aethetic and structural propurse: to hide unclean finishes and strenghthen the cotton string. Some problems also occured while assemblying, including inappropriate colour using for cotton strings.

This could be firstly test during prototyping stage.

Except from these, the whole fabrication process at this stage is fairly quick and smooth.

C3.1 CONNECTION DESIGN

30 mm

Simple small connections joining elements from 8 directions to accomadate different locations. Intersection angles are designed to be 45 degrees joining the discrete geometry in design.

10.4 mm (Radius of circular hollow section: 3.2 mm)

Direction 1

Direction 1 + Direction 2

Direction 1 + Direction 2 + Direction 3

Direction 1 + Direction 2 + Direction 3 + Direction 4

C 3.2 FABRICATION DIAGRAM

Single connection

Slotting Balsa sticks into connections

Joinning

Assemblying

C 3.3 FABRICATION PROCESS

1. Laid out 3D printed connections

4. Clean the models carefully from inside to outside by scissors and cutting knife

2. Laid out 3D printed

5. Modles are a

d connections

3. Take out the supports from 3D printing

alid out.

6. Slotting 6mm Balsawood sticks into the connections

C 3.3 FABRICATION PROCESS

7. Assmebly first layer of model piece by piece

10. Joning two layers of model by connections

7. Assmebly first layer o

11. Wrapping strings major componants wh chored by s

of model piece by piece

carefullly around each hile straigntening. Ansuper glue.

7. Assmebly first layer of model piece by piece

12. Wrapping cottom strings layers by layers.

C 3.3 FABRICATION PROCESS

13. After finishing a whole role of cotton string , model is ready to be sprayed painted for the first time.

16. Apply several light mist coats spray with smooth, even strokes parallel to the surface.

14. Model is taken to th

17. Let the model dry with vent

he spray room.

y out in the spray room tilation on.

15. Hold spray can upright to 10 to 25 cm from the surface.

18. Black cotton string is introduced after first spray, as it is noticed that spraying cannot provide even finishes on strings easily.

C 3.3 FABRICATION PROCESS

19. After model is fully dried out, another layerof cotton strings were applied using the same techniques.

14. Model is taken to th

he spray room.

15. Evenly spraying the model for several times until the performance is satisfied.

C3.4 FINAL MODEL

C3.4 FINAL MODEL DETAILS

C3 FINAL MODEL DETAILS

C 3.5 FINAL DESIGN

SOUTH ELEVATION

EAST ELEVATION

C 3.5 FINAL DESIGN

C 3 FINAL DESIGN

PERSPECTIVE

C 3.6 FUTURE DEVELOPMENT

After the final presentation , our facade and column still lacks of composition and conti I think this may be improved by adding extra layer to the outside of the column usi â&#x20AC;&#x153;stemsâ&#x20AC;? layer. Although it seems to be obvious overlapping layers again, the total des

Extra layer of column

inuity between the different elements. ing the same language of the second sign may be more unified in this way.

C4 LEARNING OBJECTIVES AND OUTCOMES OBJECT 1 “interrogat[ing] a brief ” After the interim presentation, I had a clear idea on every aspect of the brief. I continued to develop our design from the valuable feedback received during the interim. After numerous practicing and experimenting, Grasshopper has become one of the most useful and handy technique for me as it enables me to finish our design process from behavior studies, form finding to final optimizing staged based on the brief.

OBJECT 2 developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; The column design after interim was totally different from our previous one. However, the techniques that I have learnt and practiced from part B was translated and applied powerfully to the new design. With the behavior and site analysis, I got clearer about what the form should be like. Countless interesting outcomes are generated by altering the parameters and definitions during form finding process. Although the ideology of this design is “bottom-top”, that is let the algorithm finding its own form, human brain still plays a vital role during the design process. Whether the outcome is accepted or not largely based on my own judgement considering many aspects including aesthetic, fluidity, constructability, relevancy and opportunity. However, the limitation of imagination of human being will somehow restrict the possibilities of a better design, digital tool, Rhino and Grasshopper in this case, on the other hand pushed my design to some new unexpected level. Therefore, digital tool is more than like an assistant tool during the design process.

OBJECT 3 Objective 3. developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; The subject was extremely intensive, forcing us to use multiple skills simoutaniuosly. Apart from developing existing skills and knowledge I had, 3D printing was the most important fabrication tool that I learnt from this semester. I am now get familiar with this new fabrication method, which carefully presenting the digital design in a physical form in reality. However, due to the limitation of 3D printing and my inadequate knowledge, it may not be able to fully translate digital design directly to a real world, which is the biggest problem during my final model realization.

OBJECT 4 developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; There is a clear relationship between computation design in architecture and air. Computation design enable us to generate incredible complex and overwhelming outcomes but somehow impossible to fabricate due to lots of limitations. It is important to correctly estimate the fabrication possibility while designing. Although the final form was selected under the consideration of constructability, it is really time assuming and there is limited resources I can reach as a student and sometimes work alone. During the fabrication phase, I also learnt to using prototypes to test and refine designs. By this way, my design could be brought into reality.

OBJECT 5 , 6, 7 & 8.

I have seen myself improving a lot when using grasshopper. A few weeks ago, grasshopper was totally Greek for me that I can only apply very basic practice during testing. It is somehow impossible to even start a new design by my own without any video tutorial and friends’ help. However, at this stage, I have learnt a lot and become more confident about doing my own design. It is now not very difficult to imaginary a definition or algorithmic process by looking at the image or digital model that my friends created. Interesting and powerful plug-ins are also practiced during the later stage, which really stimulated my interests of exploring the unlimited and surprising possibilities that digital design can provide. However, my skill and understanding of digital tools are still very limited and basic, that some serious technical problems for me can be easily solved by my tutor and other friends. My new logic system of thinking relates to the algorithm is still weak, this can be one of the biggest obstacle to improve my digital skills to a great extent.

The final presentation witnesses a realization from ambiguous experiments to a clearer and more confident design proposal, which improved a lot compared to the interim. However, the fabrication process especially for the 3D printing column stepped back and received more problems than before. Computation indeed opened a new way of thinking and designing, which no longer restricted by my cognitive mind. There are numerous possibilities can be generated. However, they are “paper architecture” or not cannot be controlled by computer generation. Human interventions is considerably significant during design. A refined work can only be produced by balancing the two different methods altogether. This is the most important lesson that I learnt from realizing our final project.