Air journal A by XINRUI PENG

AIR Xinrui Peng Journel A

Contents Introduction A.1. Design Futuring Archigram: Plug in City China Pavilion

A.2 Design Computation Taichung Metropolitan Opera House Voussoir Cloud

A.3 Composition/Generation Museo Soumaya Kuwatt international airport

A.4 Conclusion A.5 Learning outcomes

Xinrui Peng Hi, I am Xinrui and my friends always call me Xin. I am from Shenzhen, China and came to Melbourne when I was in year 10. I am a second year architecture student in Melbouren University. Speaking about architecture, I have no idea why did I chose it in the first place. This doesn’t mean that I don’t like architecture. It’s just that I am a math, physics and chemistry person back in high school, even though my best subject in year 11 is Art and I droped it in year 12. I guess my favourite subject was physics and chemistry. Because I love experiment. I remember when I was little I ‘vs got lots of models of dinosaur. I love dinosours and their skeleton. I love the process of building a tyrannosaurus‘ skeleton. I guess that’s why I like architecture. I like the way we can design and construct from our design. The feeling of complete your work of designing is just so glorious, when others said: I love your work. Air is more exicting compare to earth, because the introducing of computing in the design. The process of the design has been changed and it linked with math and physics. Can you imaging your design is based on math equations and fomulars? What kind of form will that be? The form of math.

The photographs above is the work of Digital Design Fabrication. Creating a specfic personal space by using the definations of skin and bone. Our personal space is providing a comfortable zone between ourselves and the birds due to the fear of birds. We don’t want to hurt the birds and this is just providing a safety distance between each other. In DDF, we have used rhino to built the model and grasshopper to made the minimal surface. We’ve used laser cutter to cut the fabric and 3d printing to print the joints. From Earth, I ‘ve learnt that we can not only use rhino to do the design, it is nessary to consider the proporties of the materials and then doing the design, otherwise the structure that can exict in rhino can not warking in reality. On the right hand side is the work from Earth, a place that hiding secret. My secret is about the direction of the path. My structure is completly open to the seroundings, each person can enter the building through everywhere which means everyone’s journey of the exploring the building will be different. Once you have entered the structure, the walls will directs your path and the gaps between each wall will influences your way, because you may not want to just follow walls’ direction, youcan go through the gaps and enter to the other room.

A.1. DESIGN FUTURING Archigram: Plug in City Peter Cook

Buildings became moveable and changeable depends on the resident’s acquirement. The position of housing can be transferred with you when you changed your working place; shops can easily change its location; most importantly, the whole city can have moved away if there was natural disaster.

In this design, the definition of city and country had been challenged as well, the boundary between poor and rich vanished and the world became a whole. Archigram’s idea about machine and city do inspired the designing progress in the world. The design based on residents’ needs and services built up the city today.

FIG. 1

Archigram was a neo futurism lead to a radical movement in UK. They are supporting modular living units that could be moved around or ‘plugged in’ as desired by the occupants. The idea of city has been challenged, buildings cannot be considered as an isolated units and city becomes region.

Plug in city, created by Peter Cook in 1964, this provocative project suggested a hypothetical fantasy city, containing modular residential units that ‘plug in’ to a central infrastructural mega machine. It is a constantly evolving megastructure that incorporates residents, transportation and other essential services.

AD CLASSICS: THE PLUG-IN CITY / PETER COOK, ARCHIGRAM, 2017 <HTTP:// WWW.ARCHDAILY.COM/399329/AD-CLASSICS-THE-PLUG-IN-CITY-PETERCOOK-ARCHIGRAM/51D71B74E8E44ED538000023-AD-CLASSICS-THE-PLUGIN-CITY-PETER-COOK-ARCHIGRAM-IMAGE> [ACCESSED 10 AUGUST 2017]. 7

FIG. 2

There are similar ideas in Japan’s animations as well, plug in city is just like Howl’s Moving Castle, was produced by Miyazaki Hayao and inspired by Diana Wynne Jones ‘novel, which created a city that has legs and moves and different creatures live in this city castle with harmonious daily life.

FIG. 3 8

China Pavilion

Sustainable design was being strong emphasis within the structure by the exterior offering thermal insulation and natural ventilation. The inversed pyramid shape creates the self-shading from the sun, solar panels been added on the top roof and exterior walls affording electricity within the pavilion. A rooftop garden has also been introduced on the top of the pavilion with a rain water gaining system. The collected rain water can be used again for watering plants.

FIG. 5

The rooftop gardening are the green area and the rain water gaining systems are the white areas on the top roof.

Similar sustainable designs have been designed in many other modern designs as well. For example, MSD building has its own collecting rain water system for flushing the bathroom. Other then that, the local houses in Melbourne have its own collecting system and storage rain water at the outside of the house for reuse.

FIG. 4

The China pavilion at Expo 2010 in Shanghai, China, also known as the Oriental Crown, was the largest national pavilion and the largest display in the history of the World Expo, 2010. It designed by He Jingtang, the director of the Architectural Academy of the South China University of Technology,

This design combining both tradition and modern elements. It is 63-metre height with a resemblance to an ancient Chinese crown and its shape is like Ding-a vessel made for gods, so the pavilion can also represent the union between heaven and earth.

FIG. 6

“CHINA PAVILION SHANGHAI EXPO BY HE JINGTANG”, GALINSKY. COM, 2017 <HTTP://WWW.GALINSKY.COM/BUILDINGS/ CHINAPAVILION/> [ACCESSED 10 AUGUST 2017].

The solar panels on the external walls. The whole building is actually covered by solar panels and the electricity been created used within the structure.

SEBASTIAN JORDANA, “CHINA PAVILLION FOR SHANGHAI WORLD EXPO 2010”, ARCHDAILY, 2017 <HTTP://WWW.ARCHDAILY.COM/34037/CHINAPAVILLION-FOR-SHANGHAI-WORLD-EXPO-2010> [ACCESSED 10 AUGUST 2017].

A.2. DESIGN COMPUTATION Taichung Metropolitan Opera House Toyo Ito

Toyo Ito names this horizontally and vertically continuous network the ‘sound cave’, the façade of this opera house features a series of hourglass walls, which are infilled with gridded glazing to frame the views of the city within the terraces. The cavernous hollows inside the house contains everywhere, stairwells, lobbies and auditoria. “I aimed to create the architecture of this opera house in such a way that the inside and outside are continuous in a like manner to how bodies are connected to nature through organs such as the mouth, nose, and ears.” Said by Toyo Ito. These unusual form of curve is made from sprayed concrete – curving components has covered in a layer of unifying shotcrete.

The techniques of creating the shape of the structure is quite challenging, a building with such a structure containing threedimensional curved walls was tagged thought impossible - “but we are making the impossible possible”, said by Wu Chunshan, president of Lee ming construction.

FIG. 8 FIG. 7

These photographs display the cavernous form of an opera house by Japanese architect Toyo Ito, in Taiwan. It was first proposed by Taiwan government in 1992 and been final completed in 2016.

ANITA HACKETHAL, “TOYO ITO: TAICHUNG METROPOLITAN OPERA”, DESIGNBOOM | ARCHITECTURE & DESIGN MAGAZINE, 2010 <HTTPS:// WWW.DESIGNBOOM.COM/ARCHITECTURE/TOYO-ITO-TAICHUNGMETROPOLITAN-OPERA/> [ACCESSED 10 AUGUST 2017]. JESSICA MAIRS, “TOYO ITO’S TAICHUNG METROPOLITAN OPERA HOUSE IN TAIWAN NEARS COMPLETION”, DEZEEN, 2016 <HTTPS://WWW.DEZEEN. COM/2016/09/29/TOYO-ITO-LUCAS-DOOLAN-TAICHUNG-METROPOLITANOPERA-HOUSE-TAIWAN-CHINA/> [ACCESSED 10 AUGUST 2017]. 13

FIG. 9

FIG. 10

FIG. 11

A nearly 4 metres large-scale model has been made to prove the integrity of the building. From the photograph, we can see that the continuous surfaces with its open structure which creatively and actively increase the engagement of its surroundings in all directions and provides incredible opportunities of artists and visitors, stage and auditorium, interior and exterior.

ANITA HACKETHAL, â&#x20AC;&#x153;TOYO ITO: TAICHUNG METROPOLITAN OPERAâ&#x20AC;?, DESIGNBOOM | ARCHITECTURE & DESIGN MAGAZINE, 2010 <HTTPS:// WWW.DESIGNBOOM.COM/ARCHITECTURE/TOYO-ITO-TAICHUNGMETROPOLITAN-OPERA/> [ACCESSED 10 AUGUST 2017].

The computing of the model proves the shape of the design is actually working in reality. The process of the design will be within the computation because such curvy structure is hard and difficult to draw or even calculate the detail by hand. It is believed that computation has re-define this design practice. By making all the structure together and putting them in parametric sequences, the possible changes of the design has become much easier. All the data will be changed automatically as one of the variable changed, no matter how small the impact will be, it will always change. The various possibilities of the geometric shapes have been discovered, such as this endless curve structure. The wall becomes the ceiling, the ceiling becomes the ground and the ground finally becomes the wall. The method of computing has definitely created a more widely possibilities in design, this tool can help us to develop more incredible shapes and designs.

FIG. 12 14

Voussoir Cloud IwamatoScott with Buro Happold

FIG. 14

Voussoir Cloud is a landscape form of vaults with clusters of three dimensional petals’ columns, constructed by using paper – thin wood laminates, scored with a laser and folded along the curved seam into wedges. This light timber allows light to penetrate through which create the sense of beauty from this amazing geometric vault. The structure of this Cloud looks very curvy and light, these curvature produces a form that depends on the tension in the internal surface in order to hold its shape and allows for a structural porosity within the constraints of sheet material.

FIG. 15

FIG. 13

This architectural installation, Voussoir Cloud, was design by American architects IwamatoScott, located at the SCI – Arc Gallery in Los Angeles. The installation was created in collaboration with Buro Happold, engineering firm.

FIG. 16 ROB ONG, “VOUSSOIR CLOUD BY IWAMOTOSCOTT | DEZEEN”, DEZEEN, 2008 <HTTPS://WWW.DEZEEN.COM/2008/08/08/VOUSSOIRCLOUD-BY-IWAMOTOSCOTT/> [ACCESSED 10 AUGUST 2017].

The form developing of this installation is depending on the geometric performance of each units and their relation to the gallery walls. It is believed that Voussoir Cloud’ s structural and material strategies was very confusing intentionally. By introducing to the tool of computing, the development of its form has begun. Begin with a material operation, the process of design is focused on calibrating the relationship of digital model to physical result. From these figures, we can see some parts of process in digital tool, changing variables in the computer will resulting different geometric forms. The vast of calculations can be done by computer and the changes can be shown right after the fast calculate. Digital tools give more opportunities in the ongoing design and construction industries, it can create a model before the construction and people can learn, see and discuss about it. A smaller scale model can be done with it as well, the works and communications between architects and engineers will become more straight forward. It is hard to imagine that to design such complex structure only by hand and human calculations, computing is a suitable tool for architects to explore more possibilities.

FIG. 17

“’VOUSSOIR CLOUD’ BY IWANMOTOSCOTT WITH BURO HAPPOLD”, ARCHIVENUE, 2009 <HTTP://WWW.ARCHIVENUE.COM/VOUSSOIR-CLOUDBY-IWAMOTOSCOTT-WITH-BURO-HAPPOLD/> [ACCESSED 10 AUGUST 2017]. 18

A.3. COMPOSITION/GENERATION Museo Soumaya Fernando romero and Armando ramos The surface of this instruction is very smooth and curvy, the use of digital tool can create numerous possibilities of the shape of the surface. It is the architect, who decide which one to use. Physical model has been made before the construction as well, this action will create a positive relation and a better communication between the architects and the engineers. The surface of the installation has been first defined in the design process through the use of study models, and by creating a digital model to define the design surface, the physical model has been made through laser scanning. What’s more, it is not only the surface of this structure so complicated, there is a complex 3-D structure comprising different strut between the surface of the interior finish and the exterior panels – a geometrical firm for the façade structure to provide support for the façade panels.

FIG. 19

FIG. 20

FIG. 18

Museo Soumaya is an iconic art museum in Mexico. It was conceived as an iconic structure with two missions in the first design process: to host one of the largest private art collections in the world, and to reshape an old industrial area of Mexico City.

Mexico is a city with great tradition of craft with a deep understanding of space, light and material. Stone, wood and masonry have become the key element materials of its language, the structure like Museo Soumaya, this complexity had never been attempted in Mexico.

“MUSEO SOUMAYA / FR-EE FERNANDO ROMERO ENTERPRISE”, ARCHDAILY, 2013 <HTTP://WWW.ARCHDAILY.COM/452226/MUSEO-SOUMAYA-FREE-FERNANDO-ROMERO-ENTERPRISE> [ACCESSED 10 AUGUST 2017]. MUSEO SOUMAYA: FACADE DESIGN TO FABRICATION (GEHRY TECHNOLOGIES, 2013) <HTTPS://ISSUU.COM/GEHRYTECH/DOCS/ SOU_06_ISSUU_VERSION> [ACCESSED 10 AUGUST 2017]. DENISE ALLEN ZWICKER, “MUSEO SOUMAYA HAS A SECRET”, GEOMETRICA, 2015 <HTTP://GEOMETRICA.COM/EN/MUSEOSOUMAYA-HAS-A-SECRET> [ACCESSED 10 AUGUST 2017]. FERNANDO ROMERO AND ARMANDO RAMOS, “BRIDGING A CULTURETHE DESIGN OF MUSEO SOUMAYA”, ARCHITECTURAL DESIGN, 2.83 (2013), 66-69 <HTTPS://DOI.ORG/10.1002/AD.1556>. 21

FIG. 21

FIG. 22

FIG. 23

FIG. 24

FIG. 25

FIG. 26

The goal for the building’s façade is to be composed of hexagonal aluminium panels. The node in the façade is going to golds the centre of gravity of a individual hexagonal panel and three incoming struts. From the photograph on the right, we can see the process and the arrangement of the hexagonal panels has been created in digital tool and a picture of the finishing exterior hexagonal façade. It is believed that nearly all the shape and the form of this installation has been made and generated through the use of digital tools.

FIG. 27

FIG. 28

The architecture has becoming more complex in its form, but the way architects design and test their design has becoming more intelligence. Using tools and generating the ideas through these tools may produce more creativities and provides more designs for human.

FIG. 29

By using the new techniques which includes using laser scanning, parametric modelling and other algorithmic techniques to design and model the project in three dimensions. The exterior form of the museum is a double-curved surfaced that represents the concept of the museum as a container for the work and the nature of the collection of the floor has been represented by the size of each floor.

MUSEO SOUMAYA: FACADE DESIGN TO FABRICATION (GEHRY TECHNOLOGIES, 2013) <HTTPS://ISSUU.COM/GEHRYTECH/DOCS/ SOU_06_ISSUU_VERSION> [ACCESSED 10 AUGUST 2017]. FIG. 30 22

Kuwatt international airport Foster + Partners

Mouzhan Majidi, Chief Executive of Foster + Partners, commented, “The scale of the airport shows Kuwait’s great foresight in recognizing the benefits of strategic investment in future infrastructure. The environmental ambitions driving the project are equally impressive. We are pleased to have this opportunity to reveal our designs. The emblematic three-winged form will be as memorable from the air as from the ground – a new symbol of contemporary Kuwait, which resonates with its rich culture and history.” Mouzhan Majidi, Chief Executive of Foster + Partners, commented, “The scale of the airport shows Kuwait’s great foresight in recognizing the benefits of strategic investment in future infrastructure. The environmental ambitions driving the project are equally impressive. We are pleased to have this opportunity to reveal our designs. The emblematic three-winged form will be as memorable from the air as from the ground – a new symbol of contemporary Kuwait, which resonates with its rich culture and history.”

FIG. 32

FIG. 31 FIG. 33

The Kuwait International airport is in Kuwait and designed by Foster + Partners, has a triple rotational symmetry gate wings around the origin. The opining on top of the ceiling filter daylight and directly deflect solar radiation, thus, the photovoltaic panels can harvest solar energy. The concrete structure of the airport act as a thermal mass and cooling cascades water is surrounding with the baggage reclaim. “KUWAIT INTERNATIONAL AIRPORT | FOSTER + PARTNERS”, FOSTERANDPARTNERS.COM, 2017 <HTTP://WWW.FOSTERANDPARTNERS.COM/ PROJECTS/KUWAIT-INTERNATIONAL-AIRPORT/> [ACCESSED 10 AUGUST 2017].

FIG. 34

FIG. 35

FIG. 36

This idea starts from the dihedral group of order 6 consists of rotation of 120 degrees and mirroring’s along diagonals. This project is going to enabled the others to extent computer-aided design (CAD). These images are trying to show the numerous possibilities that CAD can creates for us. The job of the architects will be the designer of these rules and computer will show up the changes which architects is going to choose the most impressive one. Adding CAD in the design create a new way of thinking in architecture, things and designs are becoming different from the past. Situations can be modified through the generations of computating which redefine the process of design.

“SYMMETRY AS GEOMETRYKUWAIT INTER-NATIONAL AIRPORT”, ARCHITECTURAL DESIGN, 2.83 (2017), 28-31 <HTTP:// ONLINELIBRARY.WILEY.COM.EZP.LIB.UNIMELB.EDU.AU/DOI/10.1002/ AD.V83.2/ISSUETOC> [ACCESSED 10 AUGUST 2017].

FIG. 37

A.4. Conclusion

As the architecture became more and more complex, we have created the simple tool to achieve a gigantic outcome. The design of the structure can become more creatively, the design itself is not only the situation we have already imagined, it can also be the form that out of our mind and generated by the tools that we have created. The use of tools help architects to discover the form beyond their mind, the boarder of the possibility of design has been challenged.

A.5. Learning outcomes

By introducing the theory and practice of architectural computing, my understanding towards development has changed. At first, I thought computing is just simple-let the computer to do the calculation and to computerised the design process. Actually, computerising and computing is different. Computing has making the designing process different, it reshaped the way how people think and provide the outcome that may never come up to oneâ&#x20AC;&#x2122;s mind.

The process of the design has been changed as well, modelling has become a significant part in the progress of design. By making model digitally, the communication from the architect to the engineers become easier. The hypothesis about the construction can be resolved as well. The test of the function of the structure, weather and the reality can also achieve through the computer.

Figure 1: AD Classics: The Plug-In City / Peter Cook, Archigram, 2017 <http://www.archdaily.com/399329/ad-classics-the-plug-in-city-petercook-archigram/51d71b74e8e44ed538000023-ad-classics-the-plug-in-city-peter-cook-archigram-image> [accessed 10 August 2017]

References:

Images:

Figure 2: The Walking Castle, 2016 <https://wall.alphacoders.com/big.php?i=697787&lang=Chinese> [accessed 10 August 2017]

Figure 3: The Walking Castle, 2012 <https://wall.alphacoders.com/big.php?i=221014&lang= Chinese> [accessed 10 August 2017]

Figure 4: China Pavilion, 2009 <http://www.archdaily.com/34037/china-pavillion-for-shanghai-world-expo-2010> [accessed 10 August 2017]

“China Pavilion Shanghai Expo By He Jingtang”, Galinsky.Com, 2017 <http://www. galinsky.com/buildings/chinapavilion/> [accessed 10 August 2017]

Figure 5: Green Roof Of China Pavillion, 2017 <http://images3.arq.com.mx/noticias/articulos/8536-im150359pabellon.jpg> [accessed 10 August 2017]

Hackethal, Anita, “Toyo Ito: Taichung Metropolitan Opera”, Designboom | Architecture & Design Magazine, 2010

Figure 6: Solar Panels On China Pavilion, 2010 <http://www.galinsky.com/buildings/chinapavilion/> [accessed 10 August 2017]

<https://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/> [accessed 10 August 2017] Figure 7: The Taichung Metropolitan Opera House, 2016 <https://static.dezeen.com/uploads/2016/09/taichung-metropolitan-

Jordana, Sebastian, “China Pavillion For Shanghai World Expo 2010”, Archdaily, 2017 <http://www.

opera-house-toyo-ito-taiwan-architecture_dezeen_2364_ss_2-1024x732.jpg> [accessed 10 August 2017]

archdaily.com/34037/china-pavillion-for-shanghai-world-expo-2010> [accessed 10 August 2017] Figure 8: ‘Sound Cave’ Of Taichung Metropolitan Opera House, 2016 <https://static.dezeen.com/uploads/2016/09/taichung-

“Kuwait International Airport | Foster + Partners”, Fosterandpartners.Com, 2017 <http://www.

metropolitan-opera-house-toyo-ito-taiwan-architecture_dezeen_2364_col_21.jpg> [accessed 10 August 2017]

fosterandpartners.com/projects/kuwait-international-airport/> [accessed 10 August 2017] Figure 9-11: Physical Model Of Taichung Metropolitan Opera, 2010 <https://www.dezeen.com/2016/09/29/toyo-

Mairs, Jessica, “Toyo Ito’s Taichung Metropolitan Opera House In Taiwan Nears Completion”, Dezeen, 2016 <https://www.dezeen.

ito-lucas-doolan-taichung-metropolitan-opera-house-taiwan-china/> [accessed 10 August 2017]

com/2016/09/29/toyo-ito-lucas-doolan-taichung-metropolitan-opera-house-taiwan-china/> [accessed 10 August 2017] Figure 12: Model Making Of Taichung Metropolitan Opera, 2010 <https://www.designboom.

Merin, Gili, “AD Classics: The Plug-In City / Peter Cook, Archigram”, Archdaily, 2013 <http://www.archdaily.

com/cms/images/anita03/toyoito22.jpg> [accessed 10 August 2017]

com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> [accessed 10 August 2017] Figure 13: Voussoir Cloud, 2008 <https://static.dezeen.com/uploads/2008/08/isar_sciarc_3141s.jpg> [accessed 10 August 2017]

“Museo Soumaya / FR-EE Fernando Romero Enterprise”, Archdaily, 2013 <http://www.archdaily. com/452226/museo-soumaya-fr-ee-fernando-romero-enterprise> [accessed 10 August 2017]

Figure 14: Detail Of Voussoir Cloud, 2008 <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-withburo-happold/voussoir-cloud-by-iwamotoscott-with-buro-happold-6/> [accessed 10 August 2017]

Museo Soumaya: Facade Design To Fabrication (Gehry Technologies, 2013) <https://issuu. com/gehrytech/docs/sou_06_issuu_version> [accessed 10 August 2017]

Figure 15: Look Above Of The Voussoir Cloud, 2008 <https://static.dezeen.com/uploads/2008/08/isar_sciarc_2993s.jpg> [accessed 10 August 2017]

Ong, Rob, “Voussoir Cloud By Iwamotoscott | Dezeen”, Dezeen, 2008 <https://www.dezeen.

Figure 16: Closer Look To The Voussoir Cloud, 2008 <https://static.dezeen.com/uploads/2008/08/isar_sciarc_3003s.jpg> [accessed 10 August 2017]

com/2008/08/08/voussoir-cloud-by-iwamotoscott/> [accessed 10 August 2017] Figure 17: Digital model making of The Voussoir Cloud, 2008 < http://www.archivenue.com/voussoir-

Romero, Fernando, and Armando Ramos, “BRIDGING A CULTURETHE DESIGN OF MUSEO

cloud-by-iwamotoscott-with-buro-happold/ > [accessed 10 August 2017]

SOUMAYA”, Architectural Design, 2 (2013), 66-69 <https://doi.org/10.1002/ad.1556> Figure 18: Museo Soumaya, 2017 <http://www.archdaily.com/452226/museo-soumaya-fr-ee-fernando-romero-enterprise/52

“SYMMETRY AS GEOMETRYKUWAIT INTER-NATIONAL AIRPORT”, Architectural Design, 2 (2017), 28-31 <http://

9542d3e8e44ead2a000016-museo-soumaya-fr-ee-fernando-romero-enterprise-photo> [accessed 10 August 2017]

onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.v83.2/issuetoc> [accessed 10 August 2017] Figure 19,21-29: Museo Soumaya: Facade Design To Fabrication (Gehry Technologies, 2013) <https://

“’Voussoir Cloud’ By Iwanmotoscott With Buro Happold”, Archivenue, 2009 <http://www.archivenue.

issuu.com/gehrytech/docs/sou_06_issuu_version> [accessed 10 August 2017]

com/voussoir-cloud-by-iwamotoscott-with-buro-happold/> [accessed 10 August 2017] Figure 20: Weisman, Adam, Facade Of Museo Soumaya, 2017 <http://www.archdaily.com/452226/museo-soumaya-fr-ee-fernando-romero-

Zwicker, Denise Allen, “Museo Soumaya Has A Secret”, Geometrica, 2015 <http://geometrica.

enterprise/5295422ce8e44ed126000019-museo-soumaya-fr-ee-fernando-romero-enterprise-photo> [accessed 10 August 2017]

com/en/museo-soumaya-has-a-secret> [accessed 10 August 2017] Figure 30: Weisman, Adam, Interior Of Museo Soumaya, 2017 <http://www.archdaily.com/452226/museo-soumaya-fr-ee-fernando-romeroenterprise/5733737fe58ece515b00001a-museo-soumaya-fr-ee-fernando-romero-enterprise-photo> [accessed 10 August 2017]

Figure 31: “Kuwait International Airport | Foster + Partners”, Fosterandpartners.Com, 2017 <http://www. fosterandpartners.com/projects/kuwait-international-airport/> [accessed 10 August 2017]

Figure 32-33, 36: Kuwait International Airport, 2017 <http://www.archdaily.com/175164/kuwaitinternational-airport-foster-partners> [accessed 10 August 2017]

Figure 34-35,37: “SYMMETRY AS GEOMETRYKUWAIT INTER-NATIONAL AIRPORT”, Architectural Design, 2 (2017), 28-31 <http:// onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.v83.2/issuetoc> [accessed 10 August 2017]

B. CRITERIA DESIGN

MY FEAR OF NIGHTMARE

B. 1. PROGRESS

PROCESS OF HEALING FROM WOUNDS

Ruptured epithelium Blood vessel wounded

Spasm

Platelets

Blood vessel wall shrinks

Platelets formed thrombus like a band-aid to seal the wound

FIG. 2

FIG. 1

FIG. 3

Heal

Multiple Fribrin

Fribrin

Solid stuff to seal the wound and stop bleeding

Fribrin makes blood solid

FIG. 4

FIG. 5 ZHIHU.COM, 2015 <HTTPS://WWW.ZHIHU.COM/ QUESTION/35132414> [ACCESSED 12 SEPTEMBER 2017]. 38

WHAT IS IN THE BLOOD?

SELECTED ORDER FOR GRASSHOPPER Box

Radom point

By listing the item to distinguish the platels and other red blood cells

The point in the box represent the particles in the blood

Red blood cells 45%

Llist item

White blood cells >1%

Offset

Nurbs curve

Platelets

Interpolate

Represent the pathway that the fribin will follow FIG. 6

Curve closest point

Smaller than

Voronoi 3D

Represent the formation of the Fribin

Solid union

Cull pattern

mesh Multiple ways of generating the outcome.

Weaverbird’s Blur Mesh Weaverbird’s Loop Subdivision Mesh Cloest Point

FIG. 7

Delaunay Edges

PROCESS IN GRASSHOPPER Box

Voronoi 3D

Radom point

Llist item

Cull pattern

Nurbs curve Interpolate

Final outcomes

Solid union

mesh

Offset

Weaverbird’s Blur Mesh Weaverbird’s Loop Subdivision Mesh Cloest Point Delaunay Edges

STAGE OF PROCESS

TRANSLATION

ALGORITHM

RESULT

Box The blood particles

The point in the box represent the particles in the blood

Distinguish the identities of platelets

By listing the item to distinguish the platelets and other red blood cells

Platelets formed thrombus like a band-aid to seal the wound

Represent the pathway that the fribin will follow

Radom point Llist item

Nurbs curve Interpolate Curve closest point

Voronoi 3D Solid stuff to seal the wound and stop bleeding

Represent the formation of the Fribin

Cull pattern

Solid union mesh Weaverbirdâ&#x20AC;&#x2122;s Blur Mesh Fribrin makes blood solid

Multiple ways of generating the outcome representing different ways of healing (different shape and area)

Weaverbirdâ&#x20AC;&#x2122;s Loop Subdivision Mesh Cloest Point Delaunay Edges

This four different outcome is generated by different orders. Figure 1. is the form in the very beginning, the line that been chosen from the random point is on the edge of the box, this resulting from a flat surface of its form when it is on the edge. So an offset line has been added, which we can see in Figure 2. the shape of each cell is more three-dimensional. By using another order â&#x20AC;&#x2DC;weaverbirdâ&#x20AC;&#x2122; to generated the form instead of mesh, which we can see in FIgure 3. the edges of each cell has become more smooth. This is because each surface of the cell is consist of multiple tiny surfaces, this made the form becoming more gentle. By finding the mesh closest point, I find out a completely different way to form the product from the same previous instruct. As we can see in Figure 4. , Lines becoming the outcome. Its form is very different from the previous outcomes. Using the same method, dots can be generated at the intersection of the lines and we can also manipulate these dots as well.

B. 2. CASE STUDY 1.0 Spanish Pavilion

FIG. 10 FIG. 9

FIG. 8

The Spanish Pavilion constructed for 2005 World Expo in Aichi, Japan, with a strong central theme – cultural hybirdisation, represent the culturally and religiously of the Spain history. Its surface geometry, structure and spatial organisation have been utilised to achieve this. The lattice-like surfaces geometry is on behalf of both Christian and Islamic cultures with different shaped and coded with a different colour. The lattice envelope on the surface are derived from a hexagonal grid and so, by using recurring mutation of patterning and creating an unrepeating pattern in geometry and colour. Image patterning to generate the offset lattice and distinguish some more complex tiles. This reminds people’s mind about what is ornament. The Spanish Pavilion is using pattern as an ornament and its significative shapes and colours are making it interesting.

Gothic vaults, Islamic domes, such types of spatial organization are combined together showing the influence on the Iberian Peninsula. Lattices, as a traditional architectural element in Spain that both reflect the fusion between Christian and Islamic architecture. Moreover, new lattices on Spanish Pavilion has been introduced that consisted of different tiles. They are based in a hexagonal grid just like most of Gothic and Islamic tracery and coded with a colour. The colour of red and yellow reminds people the national flag of Spain. The colour that represent the spirit of Spain – reflecting the colour of wine, sun and sand. These universally colours which associated with Spain emotionally influenced people creating positive impact with Spanish Pavilion.

SIMON GLYNN, “SPANISH PAVILION 2005 EXPO AICHI JAPAN BY FOREIGN OFFICE ARCHITECTS”, GALINSKY.COM, 2005 <HTTP://WWW.GALINSKY. COM/BUILDINGS/SPAINAICHI/> [ACCESSED 10 SEPTEMBER 2017]. “SPANISH PAVILION AT THE 2005 WORLD EXPO, AICHI, JAPAN | FARSHID MOUSSAVI”, FARSHIDMOUSSAVI.COM, 2017 <HTTP://WWW. FARSHIDMOUSSAVI.COM/NODE/27> [ACCESSED 12 SEPTEMBER 2017]. 50

Original Geometry

A12

A123

A1234

A1357

A1358

A12355

A12356

0. Original 1. Internal Grid Points 3, x slider 1, y slider -1 and Internal Grid Points 4, x slider 1, y slider -1 2. Vertical arrays -0.5 3. Horizontal arrays Expression: n*(3*sqrt(sÂ˛-(s/2)Â˛)) 4. Vertical arrays Expression: n*(1.7*s) 5. Vertical arrays Expression: n*(1.5*s)^0.5 6. X cell arrays of range expression: x*y-2, Y cell arrays of tange expression: x*y+2 7. Cull pattern offset: 0.72 8. Cull pattern offset 0.18

Changed of distribution image

B12

B123

B124

B12467

B12468

B135

B1246

Number of grid cells in base plane x directions: 4 and y directions: 1

C135

C12

C12456

C123

C1357

C1234

C1358

Radical Grid

D12

D123

D124

D1247

D1248

D135

D1246

E. extrude along different curves

D12

D123

D168

D178

D14

D158

0. Original 1. Extrude along 2. Extrude along 3. Redical grid 4. Extrude along 5. Extrude along 6. Extrude along 7. Extrude along 8. move

z-axis x-axis curve curve curve curve

1 2 3 4

The four selected outcomes of the matrix outcome from case study 1.0, the patterning of lines makes them stand out from the others. These outcomes are generated from two dimensional patterning geometries, imaging the potential possibilities that this can be used in three dimensional and in a designed scale instead of applied in a flat surface. The three sections can provide the opportunity to embody the desire in consideration of future design. The potential image mapping manipulated the linework of these outcomes, creating an interesting light and dark effect along with the performance for adapting group A, B, C and D. For further development, new patterning and the shape can be changed and discovered. The generating method of the lines can be undertaken as well. The ways of putting this pattern in three-dimensional can be considered as well with further exploration like group E. By developing it into a three-demensional content creates a big difference in the outcome compare to the others. The results are becoming more interesting and worth further developing. It definitely creates more opputunity and possibilities towards the subject.

B.3. REVERSE ENGINEERING Case Study 2.0 United Visual Artists - Canopy

Canopy in Toronto is called Maple leaf square inspired by the experience of walking through the dappled light of a forest. The polygon shape represents leaves which we can see the whole canopy is made by the abstracted form of the geometry of leaves with nonrepeating pattern.

FIG. 12

Lights will be penetrating through the canopy to the street during the day. When it’s dark, particles of artificial lights are born, irregularly lighting through the grids. As we can see that some of the grids are covered by surfaces, as a result of this an interesting lighting pattern has been created in the night, moving around their environment. This gives the feeling of the representative of natural lighting dapping through the forest. Leaves forming a shelter to block the light, causing the anomaly pattern of lighting. By creating the forest effect, the Maple Leaf Square encourages people to have the feeling of connecting to, immerse themselves within, and almost escape momentarily from the hard environment of the city. It located in the sidewalk and can be seen from the air by both the pedestrians and passing vehicles. Although the piece of this canopy looks hard, rigid, regular and mechanical, the overall impact creates from it is softer and more organic. FIG. 11

Authors: United Visual Artists Commission by: Cadillac Fairview, Lanterra Developments and Maple Leaf Sports

“CANOPY BY UNITED VISUAL ARTISTS - DESIGNPLAYGROUNDS”, DESIGNPLAYGROUNDS, 2017 <HTTP://DESIGNPLAYGROUNDS.COM/DEVIANTS/ CANOPY-BY-BY-UNITED-VISUAL-ARTISTS/> [ACCESSED 8 SEPTEMBER 2017].

FIG. 13

Canopy is acting like a meditation on the essential commonality between what we think of as ‘artificial’ and ‘natural’ process – the effect of a forest with dappled light modulated by passing weather systems; in both cases, this canopy resulting a large, long-lived complex system – the ‘city’ and the ‘forest’. FIG. 14

NICO SAIEH, “MAPLE LEAF SQUARE CANOPY / UNITED VISUAL ARTISTS”, ARCHDAILY, 2010 <HTTP://WWW.ARCHDAILY.COM/81576/MAPLE-LEAFSQUARE-CANOPY-UNITED-VISUAL-ARTISTS> [ACCESSED 8 SEPTEMBER 2017]. 64

Reverse engineering process

Creating of the basic similar pattern of this canopy is quite successful. The key idea of non-repeating polygons representing the differences of leaves. It is also good to create the sense of thickness of each polygon. The inner steps in each polygon is trying to show the difference percentages of the cover of the ‘leaves’. However, a rectangular border is positively encouraged to the canopy. Moreover, the randomness of selections of ‘leaves’ are not showing well in this script. There should be some parts of ‘leaves’ fully covered with surfaces. Further exploration is been encouraged.

Steps

Set a plane with random points

Create a 2D voronoi pattern and offset it

Extrude it and then extrude again with flatten

Cap holes and solid differences to make the ‘lids’

Offset to the inner surface and move within the y-axis

Extrude and extrude it with expression of -x

Cap holes

09 Solid differences to make the inner lid

Final outcome

B.4. SCRIPTING THE PROCESS Series #1

1.1

1.2

1.3

1.4

1.5

D = 1.01

D = 4.61

D = 9.65

D = 17.2

D = 27.2

1.6

1.7

1.8

1.9

1.10

D = 36.7

D = 47.9

D = 67.4

D = 94.0

D = 147.2

1.0 Original Selected mesh from B1. Changing the distance of the mesh that created from Weaaverbirdâ&#x20AC;&#x2122;s mesh window. Range: from 1 to 150.

B.4. SCRIPTING THE PROCESS Series #2

2.0 Original

2.1

2.2

2.3

2.4

2.5

D = 7.01

D = 12.8

D = 24.7

D = 44.8

D = 52.8

2.6

2.7

2.8

2.9

2.10

D = 60.8

D = 78.4

D = 80.2

D = 118.4

D = 195.2

Selected mesh from B1. Surfaces are only composed with triangles. Changing the distance of the mesh that created from Weaaverbirdâ&#x20AC;&#x2122;s mesh window. Range: from 1 to 200.

B.4. SCRIPTING THE PROCESS Series #3

Changing the potions of points

3.0 Original

3.1

3.2

3.3

3.4

3.5

Number of points: 5

Number of Pt: 5

Number of Pt: 7

Force: 0.43 Decay: 0.43

Field lines are generated from certain based points. Changing the positions of the point and the numbers of the point.

AND

3.6

3.7

3.8

3.9

3.10

Changing the Strength and

Strenght = 0.17

S = 0.84

S = 1.00

S = 1.65

S = 2.00

Decay of the field.

Decay = 0.76

D = 0.76

D = 0.12

D = 1.77

D = 0.79

B.4. SCRIPTING THE PROCESS Series #4

4.0 Original

4.1

4.2

4.3

4.4

4.5

N = 23

N = 33

N = 53

N = 73

N = 93

4.6

4.7

4.8

4.9

4.10

N = 33

S = 0.64

S = 0.75

S = 0.85

D = 0.22

D = 0.36

D = 0.50

D = 0.63

D = 0.32

Numbers of random points: 13 Force: 0.43 Decay: 0.43

Field lines are generated from random points. Changing the numbers of random point. AND Changing the Strength and Decay of the field.

B.4. SCRIPTING THE PROCESS Series #5

5.0 Original

5.1

5.2

5.3

5.4

Reduced point

Adding a 50 radius

Decay = 5

D = 10

X in graph mapper: 5 Y in graph mapper: 10

Field lines are generated from the mesh closet points from B1. Changing decay. AND Changing the x and y value in graph mapper.

5.5

5.6

5.7

D = 20

Changing the graph mapper from 1<x<100 and 1<y<100

5.8

Series #2.5

First and second series are mainly focus on the possible surface which my process produced. Because it is about the healing of the blood vessel, the surface of the product is acting as the ‘skin’ of the blood vessel at this stage. The changes of shape of the surface is representing different areas of blood vessels. By changing the decay value of the surface, each part of the it starting to generate an increasing gap between each other. Because each piece starting to vanish and become smaller, I thought the surface will disappear if the value reached a certain point. However, the pieces starting to suspend in the opposite direction to the previous vanished ones. This resulting a further interesting pattern compare to the previous one. Each piece is growing and overlapping with each other, this is completely out of my imagination. Furthermore, this product is consisting of different ‘stones’, the triangular overlapped surfaces on the unrepeating ‘stones’ form the sense of beauty of both irregular and regular. Irregular the general shape and the regular sense of pattern.

Series #3.1

Third series is going to have some more changes and I am thinking back to my process. I realised that not only the surface can represent the ‘skin’, maybe line work can achieve that as well. This time, I was putting the amount of points to represent the platelets in the blood and by using magnetic field to formulate line works. Regenerating the same ideas of platelets formed fibrin and multiplied each other to form the final product in order to prevent the leakage of blood. Magnetic field is changing points into lines which is the meaning of fibrin’s multiplication. The final line work that been created can be seen as the product of the points (platelets). In this chosen diagram, the field is connecting with the two sets of points in parallel locations. It is clear that these is strong interactions between each location. They are attracting towards each other like the interactions between the cuts of the skin. 79

Series #4.5 These two are chosen from the same series. Once again, they share the similar process with series 3 but the method of generate the original points are different. Series 3 is putting these points by myself, instead of that series 4 is as same as series 1 and 2, points are randomly selected from a boundary box. By doing that, the line works been created is further interesting than the other series and that is the reason why I like it. This time, instead of the interaction between two sets of points, all of the points creates interactions with each other. Thus, the field around every point is unique and changeable.

Series #4.1

From the diagram, we can experience the stairs â&#x20AC;&#x2DC;like, wavy sense of feeling from those line works. Because they are all curvy and kind of forming a circle, it looks like those lines are surrounding with some centre. Actually, they are not like that, points are at the locations od massive lines, as we can see they are actually spread out in the area but it gives the feeling of the whole thing is rotating with a same sort of centre. The dramatic sense of feeling is the reason that I like those particular ones. They are beautiful line works.

B.5. PROTOTYPE Plan view

Prospective

The original I am particularly chosen this as one of my prototype. By lofting the surface, I found out that they can create beautiful slopes of shape. I am trying to look at them separately and it comes out more possible combinations of them. These are the different views of several combinations I have made. I am proposing them as a series of benches in the middle of the parks area.

This is one of the them in the botanic garden. Back to my process, I am trying to produce something that can healing people in certain ways. Its location in the garden is making people closer to the nature and making them out of the noise of the city can make people forgot about the massy of work in the city. Feeling relax and ease sitting or lying on the bench, or watch some movies or videos. The shape of circle also creates curvy benches. When people are sitting together, this will decrease the distance between them and encourages them to facing each other. Families can feel tighter and even more, maybe they can start the conversation to solve the family issues, it they have one. Circles also means good and harmony, particularly means reunion in China. In Chinese New Year, we eat rice dumpling at the midnight to represent the strength and unite of the family because rice dumplings are in the shape of perfect circles. This means in the next following year; all the family is going to be one unity with each other. Same meaning has been driven to the prototype as well. The union of the family will give people courage and healing their heart in some ways.

Details

Details of this is viewing from an inner angle inside the structure towards the outside. It is clear that the shape of the structure creates the sense of enclosing around the people. Wavy shape of line work is surrounding with the people and those curvy lines does not create strict or negative effect towards people, but adding a smooth, relax and ease sense of feeling towards the people who sitting there.

B.6. PROTOTYPE

Detail of an individual

The original

This one is driven from the previous surface development. Interesting overlapping of corners of the triangles forming a hexagon shape of holes. Each ballsâ&#x20AC;&#x2122; like structure is different and covered with these triangles. I have rearranged the positions of the balls and trying to make it more architecture sense of style.

rearranged the position

Thinking back towards my process again, it is about healing people. So, I was thinking that what else can we do if we get hurt, we will need to solve the problem or we need to cure our wounds. What can we do to prevent from getting injured? A protection! This time, I am thinking about to create a structure that can acting as a protection for people from getting hurt. This comes up this prototype of bridge. The arrangement of the product becomes a cover of a bridge along Yarra river. This is not a real protection that really protect drivers from danger above, it is just a symbol that a web like barrier which can provide a suitable nice distance for people inside from the outside. A thing that makes people relax and feeling comfortable when theyâ&#x20AC;&#x2122;ve staying there. For those people who wants protections, a shelter like structure for them will increase the confidence. This is a great examples for them to rethinking about what they need to do next â&#x20AC;&#x201C; create a barrier from themselves to the others may protecting them from getting hurt, but is that a really good thing?

B.7. LEARNING OUTCOME

Grasshopper for me in the start of the semester is a cool tool to create some cool stuff. It creates and pushes the designing of architecture to an unlimited level, it can design from the sustainable building to the even cost estimation. The skills of using grasshopper gives me the opportunity to use this designing tool to formulate parametric stuff. It is possible to generate every form in rhino through grasshopper and most excitingly everything can be changed in grasshopper within rhino. In the previous study case of Spanish pavilion as an example of it. Before grasshopper, I never think that this would happen, grasshopper gives me the chance to experiencing more approaches of design. As the result of introducing grasshopper to me, the product that been produced in part B are generated from nothing in rhino. The form, lines and points are all produced from grasshopper. The form will be unpredictable compare to the compositional design. Because all the points are being generated from grasshopper, all the random points form massive curve. The selection of the curves which I wanted is quite changeling. Several selections have been generated again and again in order to reduce the amount of curves.

B.8. APPENDIX

References:

Images:

Figure 1-5: The Healing Process Of Injured Blood Vessel, 2015 <https://www.zhihu. Zhihu.Com, 2015 <https://www.zhihu.com/question/35132414> [accessed 12 September 2017]

com/question/35132414> [accessed 11 September 2017]

Glynn, Simon, “Spanish Pavilion 2005 Expo Aichi Japan By Foreign Office Architects”, Galinsky.Com,

Figure 6: Platelets, 2017 <https://southtexasblood.org/plateletpower> [accessed 12 September 2017]

2005 <http://www.galinsky.com/buildings/spainaichi/> [accessed 10 September 2017] Figure 7: Caughey, Robert, BLOOD CLOT FORMATION, SHOWING TRAPPED RED BLOOD CELLS OR ERYTHROCYTES “Spanish Pavilion At The 2005 World Expo, Aichi, Japan | Farshid Moussavi”, Farshidmoussavi.

IN FIBRIN, 2017 <http://www.art.com/products/p361002835-sa-i4011936/robert-caughey-blood-clot-formation-

Com, 2017 <http://www.farshidmoussavi.com/node/27> [accessed 12 September 2017]

showing-trapped-red-blood-cells-or-erythrocytes-in-fibrin.htm> [accessed 14 September 2017]

“Canopy By United Visual Artists - Designplaygrounds”, Designplaygrounds, 2017 <http://designplaygrounds.

Figure 8-9: Spanish Pavilion Expo 2005 - Haiki, Aichi, Japan., 2013 <http://architecture-library.blogspot.

com/deviants/canopy-by-by-united-visual-artists/> [accessed 8 September 2017]

com.au/2013/12/spanish-pavilion-expo-2005-haiki-aichi.html> [accessed 8 September 2017]

Saieh, Nico, “Maple Leaf Square Canopy / United Visual Artists”, Archdaily, 2010 <http://www.archdaily.

Figure 10: Spanish Pavilion EXPO 2005, 2005 <http://www.ceramicarchitectures.com/

com/81576/maple-leaf-square-canopy-united-visual-artists> [accessed 8 September 2017]

obras/spanish-pavilion-expo-2005/> [accessed 11 September 2017] Figure 11: United Visual Artists, Maple Leaf Square Canopy / United Visual Artists, 2010 <http://www.archdaily. com/81576/maple-leaf-square-canopy-united-visual-artists/uva_canopy_ _1> [accessed 10 September 2017] Figure 12: United Visual Artists, Maple Leaf Square Canopy / United Visual Artists, 2010 <http://www.archdaily. com/81576/maple-leaf-square-canopy-united-visual-artists/uva_canopy_ _7> [accessed 14 September 2017]

C. DETAILED DESIGN

C.1. DESIGN CONCEPT On the presentaion

In the presentation, the concept of my design was to create a place to heal and reduce the negative emotions that caused by stress. The design was a place that will putting people in the nature, by increasing the senses, such as to standing in a higher place would provide a better eye site and may have greater chance to feel the breeze of the wind. I was hoping that the increasing of the senses will encourages people to better engaging with the nature, in order to forget the unhappiness of the life and troubles. According to the feedback that was given from the presentation, the images I presented and the idea of standing in a higher place did not form a strong concept that encourages people to more engaging with the nature. Speaking to the ways of engaging the nature, if nature is right in front of you will be more convincing. By standing in a higher place seems like in the opposite way â&#x20AC;&#x201C; could be isolated from the nature. Also, the greenish color was trying to make the construction itself mixing with the nature and being a part of it. This seems not quite successful. The color of green cannot represent nature, I am thinking that if the construction was fully covered by plants will better mixing with nature.

On the presentaion

Intersections of Yarra River and Merri Creek. Selected location for the big construction. Selected location for the small construction.

A BBQ area A path for cycling and walking. People loved to be passing along the river to enjoy the river views. 100

A viewing location for the water falls. 101

It seems like this is creating a feeling of been seperated from the ground/ nature.

102

103

The greenish surface of the construction ndoesnâ&#x20AC;&#x2122;t create the feeling of nature, it just a bit odd.

104

105

Something from the Presentation.

106

107

Something from the Presentation.

108

109

This is my favorite picture from the all, I found out that it doesnâ&#x20AC;&#x2122;t have the sense of engaging with the nature. I like it because I do enjoy standing in a higher place and looking down to the surroundings. I found out this instead of creating the linkage to the nature, it separated you from the nature, from the surroundings. The separation has the idea of leveling up the people who are standing in the top. It represents the sense of secure and power, implies the power of control â&#x20AC;&#x201C; the confidence of the encountering or ongoing nightmare.

110

111

Changes of design concept

After the discussion in the presentation, I am reconsidering the main concept of the design. Back to the very first of the concept. I was suffering from the pain which caused by my nightmare. I think the reason why I have nightmares is because of my stress and I want to figure out a way to reduce the stress and pain. The design of my product has a spinning shape that wants to form a circle. The shape of circle has the representation of harmony. I think circle can be the representation of all, just like the representation of yin and yang. The light and the dark side forming a circle to the end and create the harmony of both lightness and darkness. Most of all, the edge is smooth and soft that without rigids. An â&#x20AC;&#x2DC;friendlyâ&#x20AC;&#x2122; environment is present from the construction that formatting the idea of smoothing the troubles and stresses. The main concept of this project is trying to heal my fear of nightmare. By achieve this concept, I think the platform which been created from my design has the idea of being secure. The higher place where people stays is the strongest part in the design. The higher level implies the larger power because you are tall with a better eyeâ&#x20AC;&#x2122;s view, it feels like to have the power of in control of everything. The buildings, streets, cars and people are all below you, it implicates that you are on top of them. As a result, the emphasis of a psychological power is inside of the person on top. Thus, gaining this power and staying in a place with the secure feeling will benefits the negative emotions that created from fear.

112

113

C.2. TECTONIC ELEMENTS

Following the same process from the selected part B, some

12 S E R I E S

more variations of product has been formed. Each product has been pulled up and been separated in order to find

Overall

the proper shape of the final construction. Considering the suitable shape for each design, interesting pieces has been selected and compared to each other.

Series 7.

114

Series 8.

Series 9.

Series 10.

Series 11.

Series 12.

Series 1.

Series 2.

Series 3.

Series 4.

Series 5.

Series 6. 115

S E R I E S 1.

1.1

1.2

1.3

-Selected pieces of small elements have been picked up from the large variation. -I like the curvy form that has been created from the strength of field and I am trying to find some interesting shape from the massive creations of shapes.

116

1.4

1.5

1.6

1.7

117

SERIES 2.

2.1

2.3

2.2

-Alternated from the changing of the strength and decay of field. -This has a generally flat and expanded form. The forms look quite easy and flat.

118

2.4

2.5

2.6

119

SERIES 3.

3.1

3.2

3.3

-Alternated from the changing of the strength and decay of field. -I quite like this one, the original form of this is quite interesting and this is because each element has a playful and interesting shape that corporates

3.4

3.5

3.6

together to form a sort of wind-like shape. As you can see those small pieces are quite different with their forms and each of them are all quite unique.

120

121

SERIES 4.

4.1

4.3

4.2

-Alternated from the changing of the strength and decay of field. -This alteration once again is creating something quite flat and normal. Each element is quite peaceful and dull. Surfaces are just lying there with no interaction.

122

4.4

4.5

123

SERIES 5.

5.1

5.2

-Alternated from the changing of the strength and decay of field. -This is the less complicated one that has been created from all these variations. Small C shape curves are coming from this, the small elements are quite similar to each other.

124

5.3

5.4

125

SERIES 6.

6.1

6.3

6.2

-Alternated from the changing of the strength and decay of field. -Some middle sections are forming a vertical wall that gives the whole structure a sense of volume. Besides that, the small elements in the middle of the big structure is quite

6.4

6.5

6.6

changeable and interesting. I like the changing levels of cures and creating a sense of movement. I like how those curves are twisting around and I think they are dancing in the air.

126

127

S E R I E S 7.

7.2

7.1

7.3

-Alternated from the changing of the strength and decay of field. -Once again, more twisted curves form of shape has been creating, however the form of these shapes is quite similar to the previous work.

128

7.4

7.5

7.6

7.7

129

SERIES 8.

8.3

8.2

8.1

-Alternated from the changing of the strength and decay of field. -I think the small elements in this variation has the sense of

8.4

8.5

8.6

thickness. The surface is creating a bending-shape which makes it looks thicker. I donâ&#x20AC;&#x2122;t like the overall big structure, but the small element been driven from the big is quite interesting with beautiful shape. And they looked unique to each other.

130

131

S E R I E S 9.

9.2

9.1

9.3

9. -Alternated from the changing of the strength and decay of field. -Changeable shape has been driven from this variation. Each element seems to be an individual with different characteristics.

132

9.4

9.5

9.6

9.7

133

S E R I E S 10 .

10.2

10.1

10.3

10.

-Alternated from the changing of the strength and decay of field. -This variation has got many layers, it is surprisingly that the small elements are not as â&#x20AC;&#x2DC;flatâ&#x20AC;&#x2122; as I thought. Although the surrounding layers of the big structure is quite simple

10.4

10.5

10.6

10.7

and smooth, the inner elements is quite dramatic.

134

135

S E R I E S 11.

11.1

11.2

11.3

11.

-Alternated from the changing of the strength and decay of field. -This variation has generated some incredibly different shape from the others. Each element is quite identical as an individual. I like the form

11.4

11.5

11.6

11.7

that has been driven, they are not as simple as previous work and with strong characteristics.

136

137

S E R I E S 12 .

12.1

12.3

12.2

12.

-Alternated from the changing of the strength and decay of field. -The edge of some of the element is crossed a huge

12.4

12.5

12.6

level comparing to the previous work. The vertical section of each element seems to be expended.

138

139

3.6

1.7

I like the shape of these two elements. It is driven from series 1 and has

I think this form above is gorgeous, I love this form. How it remains the spine of

been stand out since then. The general form is simple – a spine and

a circle; the smoothie, curvy surface is beautiful. The form itself is interesting.

a circle, but the overall form makes it become more interesting. The

Different layers have been created and with the changing curves, the edge of

detail of curve, the angle and the bending shape decorates the simple

the form is changeable and create the sense of movement. With the ‘move-

form. I am trying to combine these two together to create a level-up

like’ edges, I think it makes it look like a moving cloud. However, something

platform that provide view point for the people who passing by. Above

important is that I am trying find a suitable shape that could forming a platform,

all the other spinning element from all those previous series, this chosen

I think some part of this shape is been isolated and people cannot actually step

one is the most elegant one. It has a beautiful shape and I like it.

on it – look into the very middle layer of this form. It is beautiful as a platform; however, it seems like nobody can go there through the created spine. If it’s not

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created to the spine, adding some stairs or something will just ruin the platform. 141

9.7

I think this form is very different from all the others. I think it created a spaceship-like structure and I really like it. I like the columnlike form that has been driven from the big mass. All the other form has the spine-like shape in general and this one has completely not a single taste of it which makes it become special to me.

11.3

This is one of my favorite as well, I think it is an another very unique one. The shape itself is very simple but nice with the interesting surroundings. It forms a nature slope to the very top of the structure. The middle top section of the structure can perform as the highest platform and the spinning path can also considered as a leveling up platform as well. I want to create something as a pausing point for those people, a point where they can stop their speed and relax and viewing out of the world. The place where is safe and sound that can reduce the stress and increase the confidence, even working as a symbol. The higher place indicates the higher power, it indicates people can gain as much power as they need to overcome their fear.

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The small one is going to located closer to the intersection of Merri Creek and Yarra River. It is acting as a platform to form a viewing point to the intersection. People can go to the top of the structure to its platform. The platform is acting as a safety place that level up people and separated them through the surroundings. In order to counter with fear, the separation from the surroundings indicate the separation from fear. A higher place is implying power to this particular person that you are safe and protected because you have got better eye sight to prevent danger. The higher place you stand is indicate an increase sense of protection. Thus, encounter the fear.

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Small Harbor Plan 1:100 @ A3

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Small Harbor Elevation 1:100 @ A3

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The big construction is located in the middle of the green area. A side is facing to the streets and cars and another side is facing to the river. Once again it is acting as a platform for people to passing by and stop and see the view. The increasing level of the platform indicates the gaining of power and the increasing of the sense of protection. The higher place you stand, the satisfied safety felling you are. When you are in a higher ground, you have been separated from others, this implicated the barrier between you and your fear.

Big Harbor Plan 1:150 @A3 148

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Big Harbor Elevation 1 1:150 @A3

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Big Harbor Elevation 1 1:150 @A3

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Process of model making

Selected form of surface.

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Surface turns into solid.

Ready for 3D Printing.

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C.3. FINAL DETAIL MODEL

I have decided to leave the surface color of all of my design in green. I still think green is the best color for it. It is a cover for the construction that will not make the construction itself been stand out. My design is not about showing off, so it doesnâ&#x20AC;&#x2122;t have to be quite stand out. It has the idea of creating a platform at top in order to increase the sense of protection. So, a friendly construction with covered with green will be the best result.

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C.4. LEARNING OBJECTIVES AND OUTCOMES

The work that has been done in studio Air is unlike all the other studios before, the idea of the starting point of the design is very new to me. Transmitting fear in to process and then turn it into a healing construction for the fear is quite challenging. The confidence to address oneâ&#x20AC;&#x2122;s personal fear, the interrelationship with the fear and the process of making it into something architecture is very interesting. Turning something maybe unrealistic idea into something quite architecture is very new to me. Plus, the using of digital tools. By mixing math and variables together and creating multiple forms from dozens of possibilities is a very interesting experience. These alliterations, I could say, is out of the imaginations of oneâ&#x20AC;&#x2122;s mind. Tools create something far out of your mind of design and you can pick up something you like from those is very convinces. This is more like someone is doing all the jobs for you, the building job, and you just need to guide the way they build and pick the one you like. The working process of using digital tools is a great experience. How tools can benefit the working progress and release the fastest result. The maintain, or I could say, the creation of the process for the digital tools is the most important thing. Turing something into a code that can fit the order but also represent the thing of oneâ&#x20AC;&#x2122;s idea is a necessary job in the design of air. Putting something meaningful into the order of digital tools is making the work valuable. A meaningful process means that even if you get lost in those orders, you can still find a way out and leading the following program to your process, your ideas. Comes to the design, you can have the general idea of what you going to build and then build the certain things, or you can also first build something and then putting something useful to it as well. Either way of design will work. Sometime just need to jump out of the mind to think about what is good and fit for your design. I learnt that discussing with your group will really help you at the point when you want to define your work. By showing your work to the crowds and listen to their incredible opinions will encourage us to comeout a better idea.

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Studio Air 2017

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