B.4. B.2. Case Study Development 1.0 .21Technique Design Computation
RE-CONSIDER SELECTION CRITERIA
ased on Kalay’s reading, there are four basic phases of design process are very useful in aiding us to brainstorm the design ideas and judge on how realistic it is to be constructed: • • • •
problem analysis solution synthesis evaluation communication
At the problem analysis stage, we referred to the restrictions of the brief given as well as getting information of site conditions such as the weather, topography, views and proximity to existing buildings. We found out the North and East parts of the site are blocked by buildings and hence, the only broader views are from the West to the South of the site. Besides, the flat site allows a wider opportunity for the designers but somehow, there is a restriction of no more than 125 meter in height of the sculpture. In regarding to the weather, we have to concern on the effect of strong wind to the sculpture, whether to use it as our design enhancement or to protect our design from being destroyed by it. At the end, we came out with the idea of using the impulse of the strong wind onto our geometry’s surface in order to create the dynamic effect that we would like to have in our design. Due to the restriction of view, we decided only would focus on the South and West parts of the site.a new atmosphere to this huge historically industrial site.
For the development of our technical definition, we slowly evolve the definition starting from geometry, patterning, vector, rest length and lastly anchor point. This is to investigate the relationship between different geometries and the patterning onto it when there are some external variables such as the location of the fix structures (anchor point), the wind force ( vector) and etc. Looking at the final state of the iterations we made, we realised that it is hard to put rigid patterning form on a relaxed surface. Overlapping would occur at some points. Nevertheless, in term of spatial quality and aesthetical value, they are much captivating compared to the initial ones. Thus, when reached the evaluation phase, we have to think rationally and a trade-off has to be made for the design’s betterment. For our rough idea, it seems to be contradicting to have a moving geometrical form with patterning on it, since there would be no constant position for the surface to fit the patterning material. As what the iterations shown, it is impossible to use the rigid patterning material similar to case study 2 on the flexible geometrical form of case study 1. Thus, we shifted the idea of instead treating the patterning material as an additional component, we prefer to make it as the skin of the geometry itself.
At the next step of solution synthesis , we looked through few precedence. We intended to integrate the geometrical idea of case study 1, Green Void-LAVA and the patterning effect of case study 2: AU Office and Exhibition Space. This could provide a unique aesthetical sense to our sculpture. When the users view from outside, the attractive patterning would grab their attention; When they view from inside, the dynamic movement of the façade would create an interesting spatial quality due to the movements of the geometry.