Yifei Qiu 825853 Studio AIR by YIFEI QIU

STUDIO AIR 2017, SEMESTER 2, DAVID WEGMAN YIFEI QIU 825853

FIGURE 0

PART A A.0. INTRODUCTION A.1. DESIGN FUTURING Case Study 1 Case Study 2

A.2. DESIGN COMPUTATION Case Study 1 Case Study 2

A.3. COMPOSITION / GENERATION Case Study 1 Case Study 2

A.2. CONCLUSION A.2. LEARNING OUTCOMES A.2. APPENDIX

A.0. INTRODUCTION

Hi, I’m Yifei Qiu or you can call me Johnson; a second year architecture student in Melbourne university. As an international student speaking English as a second language; life could be hard in a foreign region. But, thing doesn’t always goes bad... I was born in a relevantly developed area in China; the capital Beijing. Since I was very young I started to show a great passion and interest to all those huge constructions happening around me in my city everyday; at least that was what my parents told me... And I always enjoyed playing with Lego toys to build my ‘fortresses’ and ‘skyscrapers’ (which I believe every single children will enjoy). Apart from all the ‘sayings’ or expectations from my parents; I do find myself very interested in constructing stuffs and planning stuffs. (For some of you may be familiar with Cities: skylines and SimCity; they are awesome games!) I joined a high school in Melbourne when I was 16; despite that my English was not as good as the local students; thanks to the compact education in my hometown, I was still able to receive top marks in mathematics and physics. I once thought that my dream was to become a businessman; but that dream collapsed after I got 37% for my business management course in high school. Ever since then my dream started to lean towards physics and constructions.

CONCEPTUALISATION

You may wonder why I am talking so much about physics and maths, meanwhile I’m an architect student. To be honest, choosing architecture was a total mistake. ‘Thanks to’ my language, the word ‘construction’ and ‘architecture’ are very similar to each other in Chinese; as you may guess I was originally interested in construction. But thanks to my language again, this mistake has introduced me to a completely new region which I have barely heard about before. After one year of learning, I found this major quite interesting (Not expecting it to be that hard and ‘devastating’ though) and decided to finish the course. I am not a passionate architect I guess; at least not as passionate as some of my friends whose parents are both architects and have been preparing to become an architect the entire life time. But I am interested in this course right now and I am looking forward to what can be produced throughout the course.

In the previous semester, Iâ&#x20AC;&#x2122;ve done Studio Earth and Digital design and fabrication. Both developed my skill of hand making models and digitally representing my projects. Especially digital design and fabrication helped me a lot in terms of getting familiar with Rhino and fabricating with the Fab lab. There are still a lot for me to learn in this semester.

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A.1. Design Futuring

A.1. Case Study 1

‘Dynamic Tower‘ , David Fisher , 2008 In this controversial time of the age, architects are constantly challenged that whether their thoughts; their designs are really contributing or ‘touching’ more ‘desirable’ future of the human-race; since the work they generate as architects; buildings; are extremely powerful mediums in terms of expressing and passing out ideas that they are involved so deeply in everyone’s daily life. Referring to the reading ‘Speculative Everything’ by Anthony Dunne & Fiona Raby; it is suggested that every single design can be seen as an orientation of the future, and architects as designers should be responsible to their designs and question themselves that is the design expressing the future they are looking to or not. Although the future is unpredictable and uncertain, we can still hold on to the ‘present’ we are living in right now and lead the way to a more preferred future.

CONCEPTUALISATION

Inspired by the innovation to the future, I looked at the ‘Dynamic tower’ which is also known as the ‘Rotating Skyscraper’ designed and brought out by architect David Fisher in 2008. The tower was set to contain 80 individual levels that can rotate in their own directions and not interrupting each other. The first 20 floors of the tower will be office areas while the rest 60 floors will be a mixed residential area with hotel rooms, apartments and luxury villas. Although the Dynamic Group and David has recently announced that the tower will be completed in 2020 but the actual construction hasn’t started yet.[1] According to David, the design of this project was partly inspired by his highness Sheikh Mohammed Bin Rashid Al Maktoum who said that ‘Do not wait for the future to come to you…face the future.’ [2] The design of the rotating tower brought an entirely new dimension to architecture; time. As time goes on, the tower will continue to rotate and forming new shapes every single second; the tower will no longer present a stereotyped image to the public but a frequently changing movement or impression. The idea of the tower breaks through the traditional impression of a building that it changes its presence all the time throughout the period; which this tower is no longer ‘aging’ but ‘growing’ as time goes on.

Also after studying process designing with Grasshopper in Rhino which computer software provides you a flow of designs and shapes that you can choose from them. In my opinion, the Dynamic tower is presenting the process of designing to an extreme; and even a bit ‘over the line’. David is actually letting the building itself (or may say computer programs) as long as the residents to decide and design the external performance of the building; in other words, the building is processing and ‘designing’ itself all the time. To this extend, it can also be argued that the architect is relying too much on the outside supplements and gradually losing the control to his own work; which is still a constant going debate nowadays.

FIGURE 2

FIGURE 3 [1]: BUYCKSKE RUBEN, “DUBAI | DYNAMIC TOWER”, SKYSCRAPERCITY.COM, 2008 <HTTP:// WWW.SKYSCRAPERCITY.COM/SHOWTHREAD.PHP?T=651041> [ACCESSED 10 AUGUST 2017]. [2]: BUYCKSKE RUBEN, “DUBAI | DYNAMIC TOWER”, SKYSCRAPERCITY.COM, 2008 <HTTP:// WWW.SKYSCRAPERCITY.COM/SHOWTHREAD.PHP?T=651041> [ACCESSED 10 AUGUST 2017]. [3]: KELLY MCLAUGHLIN, “ROTATING DUBAI SKYSCRAPER TO BE BUILT IN 2020”, MAIL ONLINE, 2017 <HTTP://WWW.DAILYMAIL.CO.UK/NEWS/ARTICLE-4231698/ ROTATING-DUBAI-SKYSCRAPER-BUILT-2020.HTML> [ACCESSED 10 AUGUST 2017]. [4]: JACK ROGERS, “DUBAI SET TO RECEIVE ROTATING SKYSCRAPER BY 2020 – WHAT’S ON DUBAI”, WHAT’S ON DUBAI, 2016 <HTTP://WHATSON.AE/DUBAI/2016/02/ THERES-GOING-ROTATING-SKYSCRAPER-DUBAI-2020/> [ACCESSED 10 AUGUST 2017].

In terms of sustainability, the Dynamic tower was designed to be completely self-supplementary that winds turbines ad solar panels are design to be places between each level and on the roof of each level; also, David suggested that due to the rotation of the tower, solar panels can be more efficient that the building can now follow the sun. It is said that the turbines and solar panels are expected to generate 1,200,000 kilowatt-hour of energy each year which is enough to power up five other similar sized buildings in the vicinity. [3] Also, this building will be the first prefabricated skyscraper in the world if constructed; 90% of the tower can be constructed in a factory with less workers (600 people in the assembly facility and 80 technicians on the construction site instead of 2,000 workers on a similar size traditional construction site) less time and in a much safer environment with much better technology. Each floor of the tower is constructed with 40 prefabricated modules around a concrete core which must be constructed at the site. David believe that it will only take less than one week to assemble each level of the tower. [4] I found the construction of this tower is a bit similar to the idea in the ‘Plug-in City’ by Archigram which they presented a blueprint of a city with plug-in units. The design of the Dynamic tower has been brought out for a long time but still not built yet, I personally doubt the liability of the project and the high-tech support it requires to finish, but I really admires the idea behind the design and inspired by this new vision to architecture.

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FIGURE 1

A.1. Case Study 2

Wangjing SOHO , Beijing, China, Zaha Hadid, 2014

FIGURE 4

For another example, I looked at the Wangjing SOHO project in Beijing by Zaha Hadid opened to the public in 2014. The project contains three major towers with 2 lower towers and one taller tower that is 200 meters high. [5] Wangjing SOHO is a luxurious designed complex that has a combination of rental, office and residential areas. The project was once called an ‘experiment’ to examine the new age in China. And it was designed in post-Olympics period in China which Zaha Hadid intended that she wanted to explore what can really present this vast developing country in her project.[6]

CONCEPTUALISATION

[5]: WANGJING SOHO T3”, SKYSCRAPERCENTER.COM, 2017 <HTTPS:// W W W.SK YSCR APERCENTER.COM/ B U I L D I N G / WA N G J I N G - S O H O -T 3 / 13 0 0 6 > [ACCESSED 10 AUGUST 2017]. [6]: QINGPEI DONG沛, “THE CHANGING FACE OF BEIJING ARCHITECTURE- WANGJING SOHO CHINA.ORG.CN”, CHINA.ORG. CN, 2011 <HTTP://WWW.CHINA.ORG.CN/ TR AVEL /2011-12 /05/CONTENT_ 24 074 572. HTM> [ACCESSED 10 AUGUST 2017]. [7]: ”WANGJING SOHO”, EN.WIKIPEDIA. ORG, 2017 <HTTPS://EN.WIKIPEDIA. ORG/WIKI/WANGJING_SOHO> [ACCESSED 10 AUGUST 2017]. [8]: “WANGJING SOHO, BEIJING”, DESIGN BUILD NETWORK, 2014 <HTTP://WWW.DESIGNBUILDN E T W O R K . C O M / P R O J E C T S / WA N G J I N G SOHO-BEIJING/> [ACCESSED 10 AUGUST 2017].

The project was well-known for its elegant and clean curve design that was described in the German weekly news magazine that ‘resembling curved sails that appear to swim across the surface of the Earth when viewed from the air’; and the Archi daily also describes it as ‘three curved towers whose ‘shimmering’, metallic skin unifies the complex as each volume appears to ‘dance’ around each other’. [7] In my opinion, the project is a great example of parametric designing that these elegant curvatures it presents was simply out of my imagination. The Zaha Hadid Architects also stated that the software-driven panel-generation method was used to facilitate the rationalization of manufactured sheet metal panels and to comply with higher demands in terms of cost requirements and manufacturing complexity. [8] Although the shape of the project was very impressive and well-known; personally, I’ve been to one of the apartment blocks in the complex and as a Chinese resident, I found that the orientation and design of the apartment blocks was not quite meeting the demand of the local citizens. For example, in Chinese culture people prefer their apartments to be very bright and light no matter what season they are in; the metallic panels on the external side of the towers was designed to provide shading in summer and allow sunlight penetration in winter; this is an excellent passive design or sure, but as referring to the local culture, not everyone is architects and engineers and I’ve been hearing from my friend that their rooms are too ‘dark’.

FIGURE 5

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CONCEPTUALISATION

A.2. Design Computation

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A.2. Case Study 1

LOOP_3 , Co-de-iT Research Work, 2012

“Without mathematics we cannot penetrate deeply into philosophy. Without philosophy we cannot penetrate deeply into mathematics. Without both we cannot penetrate deeply into anything.” [9] -Leibnitz

CONCEPTUALISATION

Loop_3 is a self-standing object produced by students from Loop_3 design team in Università di Bologna for an installation on invitation by the 1st Architectural Biennale of Thessaloniki – “Architecture and the City in South-Eastetrn Europe” (18.01-26.02 2012). The project was set to act as a platform to present photos and models from other architect and was assembled manually by the students. [10]

[9]: LEIBNI COM, 2012 COM/WOR [ACCESSED

[10]: “LOOP < H T T P : // WORDPR [ACCESSED

[11]: ALES 2012, PP. C O M /A L E [ACCESSED

FIGURE 6

ITZ, ”LOOP_3”, CO-DE-IT. 2 <HTTP://WWW.CO-DE-IT. RDPRESS/LOOP_3.HTML> D 10 AUGUST 2017].

P_3”, CO-DE-IT.COM, 2012 / W W W. C O - D E - I T. C O M / R E S S / L O O P_ 3 . H T M L > D 10 AUGUST 2017].

SSIO ERIOLI, LOOP_3, 2 - 5 <HTTPS://ISSUU. E 2 X 7 2 / D O C S / L O O P_ 3 > D 10 AUGUST 2017].

FIGURE 7

People always think that mathematics and arts are two completely different concepts that one stands for logic and regularities and the other stands for radical and expressiveness. But the computational designing techniques nowadays shows a future path that combines the ‘rationals’ and the ‘perceptuals’. The design of Loop_3 project was based on mathematical trigonometric functions that was explored through parametric deign and further developed into patterns that can compact complex shapes in a rational way and explore their spatial interactions in a systematic way. It was stated in the project’s presentation slides that mathematic provides a control to the complexity of these curvatures and shapes that is been generated and thus ‘random’ becomes controllable. The way this project is generated is not only a performance of parametric design but also an interpretation of ‘letting math to do the art’. Also, the project combined the functions it needs to contain perfectly into the shape and design of it without any changes. It is notable that the mathematical functions also acted as a sorting devise to deploy different functions to the design. [11]

CONCEPTUALISATION 15

A.2. Case Study 2

One Main , dECOi Architects The project was designed for the penthouse offices of an investment group in green building and clean energy technologies. As the tile of the client of this project indicates, the design aims to restrict the embodied energy and develop a sustainable design. The project was divided into two major parts, ceiling and floor which are both articulated as continues surfaces infected by their functions. But more importantly, not only the internal claddings and floors, every single partition in the project (Except for chairs due to liability reasons); from desks to benches, even door handles were designed and fabricated by the design group; which, are manifested from local sustainable forest and assembled with non-toxic water-basic glue. These timber objects and components are all fabricated by a single 3-axis milling machine from plywood boards with only 10% of the materials are wastage. The milling machine was mainly programmed using the ‘weeping’ tool and can cut through following the curve path. Although the entire project generated over 1 million linear feet of cut and was nested onto over 1200 sheets of plywood boards, there were not a single section and plan was generated, only the 3D instructional files. The computation of the project not only generated the dynamic form of the ceiling and partitions, but also at the same time helped to create a much more sustainable design. [12] [12]: “DECOI ARCHITECTS » ONE MAIN”, DECOI-ARCHITECTS.ORG, 2014 <HTTP://WWW.DECOI-ARCHITECTS.ORG/2011/10/ONEMAIN/> [ACCESSED 10 AUGUST 2017].

FIGURE 8

FIGURE 9

CONCEPTUALISATION 17

CONCEPTUALISATION

A.3. Composition / Generation

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A.3. Case Study 1

Double Agent White , Marc Fornes / Theverymany’s, 2012 The double agent white was the first project of a series of fabricated projects that aims to explore double agent system by Marc Fornes / Theverymany. As the computational technology develops; software and scripts has been constantly contributing a lot to form finding and simulating building information in a more precise and accurate way. For example, by introducing BIM (Building information modelling) architects are able to simulate the conditions and information of a building within a 3-D model instead of traditionally estimating the situation on site. However, the double agent system in another revolutionary step forward; while the technology was able to simulate the process of sketching and practicing; now with the double agent system, machines are able to work simultaneously as a ‘team’; which is the process of ‘teamwork’. [13] [13]&[14]: JESSICA ESCOBEDO, “DOUBLE AGENT WHITE IN SERIES OF PROTOTYPICAL ARCHITECTURES / THEVERYMANY - EVOLO | ARCHITECTURE MAGAZINE”, EVOLO.US, 2012 <HTTP://WWW.EVOLO.US/ARCHITECTURE/DOUBLE-AGENT-WHITE-IN-SERIES-OF-PROTOTYPICAL-ARCHITECTURES-THEVERYMANY/> [ACCESSED 10 AUGUST 2017].

CONCEPTUALISATION

FIGURE FI1

10 GURE 11

The double agent white is a representational outcome from a double agent system. The project is continuous surface composed of an intersection of 9 unique spheres with ornamental apertures on it. The project used Object Oriented computing to generate developable parts for fabrication so that the object can be decomposed into large units without disturbing the structural continuity; and this also benefits to logistical efficiency. The two agents of the project have different objectives which the first program was set to generate the overall geometry with minimum number of elements able to be cut within the material given; while the second program was set to craft out the ornamental apertures on the surface and worked simultaneously with the first set so that the final outcome was generated. As the computation can produce very dynamic form and benefit to reach much higher complexity in designs, I argue that, in this particular project I am seeing a lack of idea and thoughts in the design itself, the project is more like a complete experiment of how the program can perform. On the other hand, this project was still very early work since the double agent has been introduced, thus I still believe that it will make great changes to the architecture in the future [14]

CONCEPTUALISATION 21

A.3. Case Study 2

ICD / ITKE Research Pavilion, ICD / ITKE, 2010 In 2010, the ICD and ITKE produced a temporary research pavilion to demonstrate the lasts developments in material-oriented computational design. Traditionally, in digital design the form and the force in side of the material are divided into processes of geometric for generation and simulation of the specific material. But in the real physical world, they cannot separate the relationship between form and the materiality since there must be forces applied in order to create forms. But here the research pavilion shows the result of a material based computational design which the form is generated directly informed by physical behavior of the material. The research pavilion was entirely constructed with bent plywood strips, the strips were robotically fabricated as planar elements and connected to each other in a way that the internal bent and the tensioned regions remain balanced. These bent and tension are controlled automatically and generated 80 different strip patterns. The supervision of computer allows the structure to be constructed with very extreme material which the plywood sheets used for the pavilion are only 6.5 millimeters thin. Also, the form of the pavilion was based on the material behavioral features embedded in the parametric systems. Digital designs are often critiqued unrealistic in some way ang that is because you cannot observe how materials would behave in front of a screen. With the materiality been considered in a software not only increased the liability of the designs but also allowed people to examine extreme structural systems without huge physical experiments which are expensive and time-consuming. [15] [15]: “DECOI ARCHITECTS » ONE MAIN”, DECOI-ARCHITECTS.ORG, 2010 <HTTP://WWW.DECOI-ARCHITECTS.ORG/2011/10/ONEMAIN/> [ACCESSED 10 AUGUST 2017].

CONCEPTUALISATION

FIGURE 12

FIGU

URE 13

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A.4. Conclusion

The time is changing and the era is moving; architecture is in a revolutionary time right now. With all the developing technology evolving, the aims and the concepts in architecture may vary a lot. Many buildings are permanent, or may say as long as the structure holds itself, the building stays still; but architecture is not â&#x20AC;&#x2DC;stillâ&#x20AC;&#x2122; at all. Through out the history styles and approach toward architecture has been constantly changing a lot; from the very basic living needs to ornamental and religious approach; from functionality to simplistic forms. Just as in 20th century, architecture is a symbol of the worldâ&#x20AC;&#x2122;s pathway; in this new era, the design we are producing needs to be responsible to our future. Also, with the more and more electronic devices been introduced to architects, the way of form finding and producing designs has changed rapidly. Compared to the traditional way of designing, nowadays people are able to design much more faster and more precisely with the help of software and scripts. At the same time, designing digitally also helps people to come up with forms and structure that they may never imagined before. The role of architects starts to shift from an pure creator to a supervisor of the process. But on the other hand, architects need to work out a balance that the machine is working for them but not taking control of their project or restricting the ideas.

CONCEPTUALISATION

A.5. Learning Outcome

Going through these precedents helped me a lot in terms of understanding the role of computation within the architecture region. They also introduced to me how can we apply and use these software to contribute to our design. Before getting my hands on digital design softwares like grasshopper, I’ve only been using these digital tools to represent or to imitate my ides and designs; but these precedents have taught me that using the tools correctly the tools can ‘design’ things for you. Also, before doing this subject, I was always wondering how architecture will develop in the future as I’ve studied a lot about the history of architecture and don’t really know how to look forward yet. Many of the examples and the reading I’ve gone through in this subject gave me some hint about the future, although it is not predictable, but I think I now have some more idea on what can I do in the future.

CONCEPTUALISATION 25

A.6. Appendix Image References: Figure 0: DIANA QUINTERO DE SAUL, 2017 <https://dianaquintero-uts.blogspot. com.au/2017/04/differentiated-gyroids.html> [accessed 10 August 2017]. Figure 1: Dynamic architecture, 2016 <http://whatson.ae/dubai/2016/02/ theres-going-rotating-skyscraper-dubai-2020/> [accessed 10 August 2017] Figure 2: worldarchitecturenews, 2008 <http://www.skyscrapercity. com/showthread.php?t=651041> [accessed 10 August 2017] Figure 3: worldarchitecturenews, 2008 <http://www.skyscrapercity. com/showthread.php?t=651041> [accessed 10 August 2017] Figure 4: Zaha Hadid Architects, 2014 <http://www.zaha-hadid.com/ architecture/wangjing-soho/> [accessed 10 August 2017]. Figure 5: Zaha Hadid Architects, 2015 <http://www.archdaily.com/774575/zahahadids-wangjing-soho-wins-emporis-skyscraper-award> [accessed 10 August 2017]. Figure 6: Simone Rinaldi, 2012 <http://www.co-de-it.com/ wordpress/loop_3.html> [accessed 10 August 2017]. Figure 7: Simone Rinaldi, 2012 <https://www.flickr.com/ photos/58547161@N04/8158811727> [accessed 10 August 2017]. Figure 8: dECOi Architects, 2016 <http://www.decoi-architects. org/2011/10/onemain/> [accessed 10 August 2017]. Figure 9: dECOi Architects, 2016 <http://www.decoi-architects. org/2011/10/onemain/> [accessed 10 August 2017]. Figure 10: 2012 <http://www.evolo.us/architecture/double-agent-white-in-seriesof-prototypical-architectures-theverymany/> [accessed 10 August 2017] Figure 11: 2012 <http://www.evolo.us/architecture/double-agent-white-in-seriesof-prototypical-architectures-theverymany/> [accessed 10 August 2017] Figure 12: ICD, 2010 <http://icd.uni-stuttgart.de/?p=4458> [accessed 10 August 2017] Figure 13: ICD, 2010 <http://icd.uni-stuttgart.de/?p=4458> [accessed 10 August 2017]

CONCEPTUALISATION

Bibliography: “Decoi Architects » One Main”, Decoi-Architects.Org, 2014 <http://www. decoi-architects.org/2011/10/onemain/> [accessed 10 August 2017] “DUBAI | Dynamic Tower”, Skyscrapercity.Com, 2017 <http://www. skyscrapercity.com/showthread.php?t=651041> [accessed 10 August 2017] Erioli, Alessio, Loop_3, 2012, pp. 2 - 5 <https://issuu.com/ ale2x72/docs/loop_3> [accessed 10 August 2017] Escobedo, Jessica, “Double Agent White In Series Of Prototypical Architectures / Theverymany - Evolo | Architecture Magazine”, Evolo.Us, 2012 <http://www.evolo.us/architecture/double-agent-white-in-series-ofprototypical-architectures-theverymany/> [accessed 10 August 2017] “Loop_3”, Co-De-It.Com, 2012 <http://www.co-de-it.com/ wordpress/loop_3.html> [accessed 10 August 2017] MCLAUGHLIN, KELLY, “Rotating Dubai Skyscraper To Be Built In 2020”, Mail Online, 2016 <http://www.dailymail.co.uk/news/article-4231698/ Rotating-Dubai-skyscraper-built-2020.html> [accessed 10 August 2017] Menges, Achim, “ICD/ITKE Research Pavilion 2010 | Institute For Computational Design And Construction”, Icd.Uni-Stuttgart.De, 2010 <http://icd.uni-stuttgart.de/?p=4458> [accessed 10 August 2017] Rogers, Jack, “Dubai Set To Receive Rotating Skyscraper By 2020 – What’s On Dubai”, What’s On Dubai, 2016 <http://whatson.ae/dubai/2016/02/theresgoing-rotating-skyscraper-dubai-2020/> [accessed 10 August 2017] “Wangjing SOHO”, En.Wikipedia.Org, 2017 <https://en.wikipedia. org/wiki/Wangjing_SOHO> [accessed 10 August 2017] “Wangjing SOHO T3”, Skyscrapercenter.Com, 2017 <https://www.skyscrapercenter. com/building/wangjing-soho-t3/13006> [accessed 10 August 2017] “Wangjing SOHO, Beijing”, Design Build Network, 2014 <http://www.designbuildnetwork.com/projects/wangjing-soho-beijing/> [accessed 10 August 2017] Qingpei Dong “The Changing Face Of Beijing Architecture- Wangjing Soho - China.Org.Cn”, China.Org.Cn, 2011 <http://www.china.org.cn/ travel/2011-12/05/content_24074572.htm> [accessed 10 August 2017]

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CONCEPTUALISATION

PART B. CRITERIA DESIGN

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CONCEPTUALISATION

B.1. Process

CONCEPTUALISATION 31

B.1. Fear

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CONCEPTUALISATION 33

B.1. Process

CONCEPTUALISATION

CONCEPTUALISATION 35

FEAR: Been Noticed Conventional TV Signal Flow

Before the latest LED television or the LCD (Liquid Crystal Display) television was invented, televisions have been operating by electron guns firing electrons towards a fluorescents screen to display images. I found that the process of a traditional TV translating TV signals to images very interesting to me.

CATHODE-RAY TUB

The tube is just like a glass box with so that it ensures that no other ele gets trough to the screen.

TV SIGNAL

ELECTRON GUN

ANTENNA

The antenna on the roof top first pick up the TV signal been broadcast through the city.

The video signals than go into a el gun circuit where the signals are co into blue, green, and red pulse

FILTER CIRCUIT

ANTENNA SOCKET

The signal travels to the socket and been transferred into the back of the television.

CONCEPTUALISATION

TV signal carry graphics and sounds of ma filter circuit can separate the signal of your from the rest and send them further. The c rates the audio signal and the video signa different devices.

hout air; ements

lectron onverted es.

any channels, the r chosen channel circuit also sepaal as they require

ELECTROMAGNET RING

The electrons go through a magnet ring where they can be directed to sweep back and force in a line on the screen. Objects input

Transport/Move

MASK & SCREEN

The electron beams are ejected toward the screen, a mask is installed at the back of the screen to ensure the electrons hit directly the correct position.

Transform/Rotate

Split/Separate

Split & Project

Guide/Direct

CARTOON!!! Filtrate

Display

CONCEPTUALISATION 37

B.1. Process Exploration Stage of Process All the TV signals come out

Translation Signal moves/transport

of the television tower travel and meet all around the city.

Signals keep on travel through

Amplifying

the antenna into the antenna socket. In the socket the signals are been identified. Signals then go into the inner circuits of the TV, in these

Separating

circuits the signals are separated into different channels and video/audio elements. Separated signals then go into the electron gun circuit and made

Generating

to generate electron to display.

The generated electrons are been shoot out toward the screen to display images.

CONCEPTUALISATION

Shoot

Algorithm

Result

Move/curve generation

Piping (Mimic the wave form of a TV signal)

Divide by domain & Surface Boxes

Morph boxes

Move

CONCEPTUALISATION 39

B.1. Process Exploration Electrons are shot toward the

Filtrate/direct

screen and travel through a filter which ensures them to hit the screen on the right spot.

Final outcome with the script at the stage. 40

CONCEPTUALISATION

Culling (Different patterns)

Iâ&#x20AC;&#x2122;ve also changed the original curves around noticing that signal waves doesnâ&#x20AC;&#x2122;t move in a straight line. CONCEPTUALISATION 41

B.1. Process Exploration Stage of Process Many TV signals are traveling

Translation Engaging/Meeting

in the same area and they meet and interact with each other all the time.

Multiple signals are gathered

Amplifying

by the antenna and amplified together into the TV.

The circuit inside the television choose the specific

Generating & separating

signal of a channel that was chosen and convert it.

Signals often have to collide with each other when travelling and they need to prevent any disturb to other channels and signals.

CONCEPTUALISATION

Colliding

Algorithm

Result

Different curve generation (With mathematical relations)

Piping

Box generation (Several steps)

Culling (True & False gates)

CONCEPTUALISATION 43

B.2. Case Study 1 - Reverse Engineering Biothing - Seroussi Pavilion

FIGURE 1

The Seroussi Pavilion by Biothing was one of the outcomes in a series of experiments they were producing in 2009. The structure was generated with self-modified vector patterns that was based on magnetic fields distributed on curves. The pattern was initially set in plan and then elevated via micro-arching sections through frequencies of the sine function; which gives the structure a overall sense of growing and developing.[1] [1]: “‘BIOTHING’ – A TRANSDISCIPLINARY LOBRATORY FOUNDED BY ALISA ANDRASEK”, NORA SCHMIDT, 2009 <HTTP://WWW.DAILYTONIC. COM/BIOTHING-A-TRANSDISCIPLINARY-LOBRATORY-FOUNDED-BY-ALISA-ANDRASEK/> [ACCESSED 13 SEPTEMBER 2017].

CONCEPTUALISATION

The Grasshopper script of the Seroussi Pavilion produces a great collection of curves which are based on magnetic fields that are generated along existing curves and uses divide components to distribute the fields. These generated curves can be varied by adjusting their sine function relations, field distribution and many other integers. I found this project particularly interesting that the final outcome of the scripts looks like a series of blooming flowers or fireworks; which I thought can be relevant to my own process since both of them aims to develop from less to more.

CONCEPTUALISATION 45

B.2. Case Study 1 - Reverse Engineering Biothing - Seroussi Pavilion: Script Exploration

Field Distribution

Curve Distribution

Curve Length

CONCEPTUALISATION

CONCEPTUALISATION 47

B.2. Case Study 1 - Reverse Engineering Biothing - Seroussi Pavilion

Sine Function Graph Relationship The curves are generated via the relations of a sine graph; by adjusting the sine graph; it will vary the curvature of the structure.

These two are I found

favourab

Inverting the

can create that the s

flipped ent

interesting

can be gen adjusting 48

CONCEPTUALISATION

o outcomes particularly

ble for me.

e sine graph

e the effect tructure is

tirely. Some

g outcomes

nerated by the graph. CONCEPTUALISATION 49

B.2. Case Study 1 - Reverse Engineering Biothing - Seroussi Pavilion

Initial Curves The Seroussi Pavilion script is based on existing curves to generate the magnetic field and the following curves. Changing the intial curve inputs can provide a big variation to the outcomes.

CONCEPTUALISATION

CONCEPTUALISATION 51

B.2. Case Study 1 - Reverse Engineering Biothing - Seroussi Pavilion Adding random factors In the original script of the projects, all of the integers such as curve length or curve number are all set by the designer. I wanted to test further what can the script create and gradually letting random components to control the integers.

CONCEPTUALISATION

CONCEPTUALISATION 53

B.2. Case Study 1 - Reverse Engineering Biothing - Seroussi Pavilion

I found these two outcomes pretty interesting that they can represent the major changes I have made to the script which were the sine graph relations and random components. All the integers for the outcome on the left are connected to a random component in grasshopper; from divide to length; and it gives out a structure that have great variation. The reason I liked the other outcome is that it looks like the sine graph relation was changed entirely but in fact I just dragged the graph for a little bit and it gave out a result that looks very different to the original one.

CONCEPTUALISATION

CONCEPTUALISATION 55

B.3. Case Study 2 - Reverse Engineering DCM with Robert Owen - Webb Bridge

FIGURE 2

The project was a prize wining design for Melbourne docklands area as an cycle/ pedestrian foot bridge across Yarra river and also as one of the art works in the area. The project was aimed to create a connection from the northern sides area of docklands to newly-developed southern residential area. The project was also called to reuse the remaining section of the old Webb stone bridge and thus the bridge contains two distinct sections: the 145m long existing structure and a new 80m long ramped link; [2 ]which can also refer to the use of the bridge: connect old to new. The web-like structure of the bridge was entirely made out of steel units and was pre-fabricated and assembled on site. [2]: “WEBB BRIDGE”, DENTON CORKER MARSHALL IN COLLABORATION WITH ARTIST ROBERT OWEN, THE AUSTRALIAN INSTITUTE OF ARCHITECTS, 2005 <HTTPS:// DYNAMIC.ARCHITECTURE.COM.AU/GALLERY/CGI-BIN/AWARDSSEARCH?OPTION=SHOWAWARD&ENTRYNO=20053006> [ACCESSED 13 SEPTEMBER 2017].

CONCEPTUALISATION

FIGURE 3

FIGURE 4

CONCEPTUALISATION 57

B.3. Case Study 2 - Reverse Engineering DCM with Robert Owen - Webb Bridge

CONCEPTUALISATION

CONCEPTUALISATION 59

B.4. Scripting The Process - Script 2 Initial Idea For the second script; similarly to the first script, I started out with a point and then moved it to create a straight line for me to develop. Instead of piping it differently or give it some curvature, I focused on how different signals or different elements in the signal inter-react with each other; which I translated as an second comprehensive curve generated around the initial curve in the script. Instead of filling the surface with geometries, I used bonding box to actually turn the curve into multiple geometries and then in order to distinguish different signals and elements, these geometries are then culled other curves. 60

CONCEPTUALISATION

CONCEPTUALISATION 61

B.4. Scripting The Process - Script 2 Changing the Initial Curves and Culling Amount Instead of using straight lines, I decided to give the script some more variation that I created some curves to further develop on. At this stage I also tried to play

5.400

around with the culling integer which the boxes are deleted depending on their distance to the culling curve and these integers can decide the amount of remaining geometries. Three curves in total and two of them are manual inputs; the other one was generated according to one of the curves. The two manual input curves I want them to represent different signals flowing in to air from different channel, and the generated curve represent the difference between the audio signals and video signals in a signal from a channel. 62

CONCEPTUALISATION

8.400

6.400

7.400

9.400

10.400

7.400

CONCEPTUALISATION 63

B.4. Scripting The Process - Script 2 Changing the Radius of Box Generation Bonding box gives out a sets of boxes in a huge square box, and that was not what I wanted also with the curves I created there will be too many boxes to work with.

Thus the geometries are restricted to the curves by giving gates that only allow boxes within certain distance to a curve can exist. Changing these integers can give thicker or thinner â&#x20AC;&#x2DC;signals.â&#x20AC;&#x2DC; 10

CONCEPTUALISATION

CONCEPTUALISATION 65

B.4. Scripting The Process - Script 2 Changing the Box Size The box sizes are determined by a mathematical relation with an adjustable input. Due to the property of the relation the closer the integer gets to 1 the finer boxes are generated. Although

0.200

finer and smaller box can make the structure more detailed and with better curvature, but they are really hard to work on as too many objects are processed at the same time. These box sizes can also determine the actual overall sizes of the structure later on.

CONCEPTUALISATION

0.700

0.400

0.800

0.600

0.900

0.600

CONCEPTUALISATION 67

B.4. Scripting The Process - Script 2 Changing the True/False Condition The structure started with a sets of boxes generated via a bonding box as mentioned.

1 Not 2 And 3 None

And the amount of boxes that can stay are determined by couple of ‘Not‘ and ‘And‘ gates. These gates work just as a remote controller of the television which they can decide which

1 Not 2 Not 3 Not

signals to amplify which means which channel to watch and they also decide how these signals can inter react with each other. 1 And 2 And 3 Not

CONCEPTUALISATION

1 Not 2 And 3 And

1 Not 2 Not 3 And

1 Not 2 And 3 Not

1 And 2 And 3 And

1 And 2 Not 3 And

1 And 2 Not 3 Not

CONCEPTUALISATION 69

B.4. Scripting The Process - Script 2 Changing the Function Relations Among the two channels Iâ&#x20AC;&#x2122;ve represented, only one channel can be chose and deconstruction at a time in a television. And that is why only one of the

-rsin(t/2), -r/2cos(t)

input curves can be chose to generate a second curve around it which represent different elements in the signal. The generated curve was based on two trigonometry relations to determine the horizontal and vertical frequencies. And the reason I chose trigonometry is relating to how actual signal moves around in a wave from with particular frequency.

CONCEPTUALISATION

-rsin(2t), -r/2cos(2t)

-rsin(t), -r/2cos(t)

-rsin(t/2), -r/2cos(t/2)

-rsin(3t/5), -r/2cos(3t/5)

-r/2sin(3t/5), -r/2cos(3t/5)

-rsin(3t/5), -r/2cos(3t/5) CONCEPTUALISATION 71

B.4. Scripting The Process - Script 2 Changing the r Input Value The r value of the sine and cosine relation determines how far the generated line is to the original line. This not only varies the curvature of the lines but also

1.431

give thinner and thinner box layers when the distance gets small; since that the two curves trim each other and the closer they are the interception field will be larger and remaining boxes will be fewer. 7.431

CONCEPTUALISATION

3.431

5.431

9.431

19.431

7.431 CONCEPTUALISATION 73

B.4. Scripting The Process - Script 2 Changing the t Input Value Changing the t input value in the sine and cosine function which varies the frequency of the generated curve which can visually be noticed from

t=1

the culling result. And it gives out interesting outcomes.

t=12

CONCEPTUALISATION

t=4

t=8

t=16

t=20

t=4 CONCEPTUALISATION 75

B.4. Scripting The Process - Script 1 Changing the Range of Move Component The other script uses random components to control the move command which can give a effect of a field of possible moves and can produce a volume with small objects. As the range of the random component gets smaller, it start to produce denser groups. X: -60,60 Y: -60,60 Z: 26,90

X: -30,30 Y: -30,30 Z: 56,90 76

CONCEPTUALISATION

X: -50,50

X: -40,40

Y: -50,50

Y: -40,40

Z: 36,90

Z: 46,90

X: -20,20

X: -10,10

Y: -20,20

Y: -10,10

Z: 66,90

Z: 76,90 CONCEPTUALISATION 77

B.4. Scripting The Process Changing the Culling Distance The moved objects are culled according to its distance toward a geometry that is placed in the middle or outside which response to the filtrate step in the television. In this case Iâ&#x20AC;&#x2122;ve put a square box in the middle of these objects and cull the group with a sliders which indicates the distance from the objects to each plane of the box. 20

CONCEPTUALISATION

CONCEPTUALISATION 79

B.5. Prototype Proposal 1 The first proposal was chose from the second script which was newly developed. The outcome was a combination of the each good outcome to me in the previous testing and which to me is visually attractive and can symbolize signals best. I like the dynamic shape of the outcome and it also sort of symbolizes my struggle when I am facing my fear. The structure if looking from one side which shown on the image below seems to be a very enclosed structure that the boxes covers most of the parts. But looking from the other side, different to the previous view, the structure is completely open to the outside. To me this sort of indicates that when I have something to present or to show to a crowd and Iâ&#x20AC;&#x2122;m confident about my work; a part of my heart is looking forward to show others my works but also there are parts in my hearts that is afraid of standing in front of so many people and they are always debating inside of my heart. The structure itself is twisting and turning which to me it can symbolize all that struggle and debate within me whenever I get to present something especially in design classes. At this stage, I didnâ&#x20AC;&#x2122;t think much about linking the actually architecture and the use of it back to my fear; just by looking at the shape of it I imagine it to be a pavilion which can be quite private or quite open depending on which place or perspective you take.

CONCEPTUALISATION

CONCEPTUALISATION 81

B.5. Prototype Proposal 1 - Outdoor Pavilion In this structure there are open spaces that people can chat with each other; there are also places that have interesting shapes that kids can play around on them and there are also relevantly enclosed space inside of the pipe like structure where people can read with some good sunlight.

CONCEPTUALISATION

CONCEPTUALISATION 83

B.6. Prototype Proposal 2 - Reading Chimney The second proposal came form one of the outcome of the first script. In the first script part of the object group are trimmed which create a hollow area inside of the group. But the outcome still can not be read as a structure, thus I took a little part of the outcome and added a shelter on top of the objects which form a interior space. The objects created by the script can become bubble like objects that are hanging inside of the structure and can act like a curtain for people to sit inside to have their relevantly undisrupted space in a public space.

CONCEPTUALISATION

CONCEPTUALISATION 85

B.7. Learning Outcome In the learning process of part B, I am very glad that this part of the study increased my technical skill a lot. Not only by the online tutorials, but also by the passion of this project as this is based on our own fear and experience, when I encounter things that I didnâ&#x20AC;&#x2122;t know, my interest will encourage me to research and learn new knowledge. Also, I was very fascinated by what grasshopper can produce, even though a very simple process can be translated in grasshopper into very complex and interesting scripts; also I was math and physics people before thus I am very surprised when I put many mathematical and physical elements into the grasshopper the results can be quite dynamic and meets my aesthetic in some way; which I never thought math and physics can have anything to do with design. Furthermore, by looking deep into my fear I started to understand the core behind my fear and I found that when I start to look deeper and deeper into my fear I started to not being so afraid of it anymore, I guess when I start to understand something, they will become not so scary as they were before. After part B a found that Iâ&#x20AC;&#x2122;ve been going deep into the technical things into grasshopper and now it is the time to try and find the meaning for my outcomes as a architecture and to address it with my fear think about the meaning, the use of the results I have. I have been missing these kind of thinking in my part B and this will be my future focus in my following parts of the subject.

CONCEPTUALISATION

B.8. Appendix Bibliography: “‘Biothing’ – a transdisciplinary lobratory founded by Alisa Andrasek”, Nora Schmidt, 2009 <http://www.dailytonic.com/biothing-a-transdisciplinarylobratory-founded-by-alisa-andrasek/> [accessed 13 September2017]. “Webb Bridge”, Denton Corker Marshall in collaboration with artist Robert Owen, The Australian Institute of Architects, 2005 <https://dynamic.architecture.com.au/gallery/cgi-bin/ awardssearch?option=showaward&entryno=20053006> [accessed 13 SEPTEMBER 2017].

Image References: Figure 1: “‘Biothing’ – a transdisciplinary lobratory founded by Alisa Andrasek”, 2009 <http://www.dailytonic.com/biothing-a-transdisciplinary-lobratoryfounded-by-alisa-andrasek/> [accessed 13 September 2017] Figure 2: Webb Bridge, Ms Shannon McGrath, Australian Institutes of Architects, 2005 <https://dynamic.architecture.com.au/gallery/cgi-bin/ awardssearch?option=showaward&entryno=20053006> [accessed 13 September 2017] Figure 3: Webb Bridge, Ms Shannon McGrath, Australian Institutes of Architects, 2005 <https://dynamic.architecture.com.au/gallery/cgi-bin/ awardssearch?option=showaward&entryno=20053006> [accessed 13 September 2017] Figure 4: Webb Bridge, Ms Shannon McGrath, Australian Institutes of Architects, 2005 <https://dynamic.architecture.com.au/gallery/cgi-bin/ awardssearch?option=showaward&entryno=20053006> [accessed 13 September 2017]

CONCEPTUALISATION 87

CONCEPTUALISATION

PART C. DETAILED DEISGN

CONCEPTUALISATION 89

C.0. Site Analysis

The Site for the large installation is chosen at a open ground near the intersection of the Merri Creek and Yarra River. After a site visit, I found out that this grass land is also an intersection of the different walking trails in the Merri Creek Park. People can be lead to this site by the walking trails and gather around.

CONCEPTUALISATION

Large Installation

Small Installation

The site for small installation is a lowland on the Yarra River bank along on of the walking trail. The site is relevantly hidden from the open grass land and other walk paths. Which I thought would help benefit the concept of my deign that will be introduced later on. The sit also has a good view towards the intersection of the two rivers.

CONCEPTUALISATION 91

C.1. Design Concepts In part B, I focused on trying to turn the outcomes of algorithm into something useful and architectural. And in part C I focused on the relationships between the functionals and the concepticals. Which can be interpreted into the simple line below; from fear evokes the use; and then the use evaluate the fear and heal the fear ultimately.

Fear

Use

Fear

From fear (Attention) to process (TV Signal) From process (TV Signal) to use (amphitheatre)

From 2D; TV (Fake; Pre-recorded) to 3D; Shows (Real, Live) 92

CONCEPTUALISATION

The concept of the large and the small installation is a contrast between representing the fear and escaping away from the fear. The amphitheatre is a direct translation to show to the public what my fear is and to get people to involve in my fear. While the small installation is a hide-out from my fear which interoperate my old way of healing my fear.

CONCEPTUALISATION 93

C.1. Design Concepts - Concept development While considering the two different way of interoperating my fear, I came up with another experience that I also go through in my daily life; which lead me to my further development of my concept. The scenario is; whenever I get to present something; I go through this selfcontradicting emotion of being afraid of gaining so many peopleâ&#x20AC;&#x2122;s attention and also being excited about showing my works. I intend to show the struggle where on one hand I am looking forward to show others my accomplishment; and on the other hand I am held back naturally by my fear. I wanted to show the two sides of my emotion when I encounter my fear.

CONCEPTUALISATION

- Concept development: Healing

Also, when developing this idea of an amphitheatre I realized that, escaping away from my fear is not a cure, keep hiding away will not help over come the fear but only makes you fear more of it. Only by really facing the fear directly; as in an amphitheatre; when you have to engage with your fear and practise; that is the true heal; the true cure to your fear.

CONCEPTUALISATION 95

C.2. Design Development After part B; gaining suggestion from the presentation I have made several changes to the algorithm so that it can produce more variation of outcomes for me to chose from. The major change was changing the original input curves so that the curves can perform different interaction qualities.

Original Curves In Part B

Attempt 01

Curves were changed from discontinues to closed curves and from small to large to test out the outcomes.

CONCEPTUALISATION

Attempt 0

Attempt 03

Attempt 04

Attempt 05

CONCEPTUALISATION 97

C.2. Design Development Curve Set: Attempt 01 Outcome with original Integers from Part B

CONCEPTUALISATION

CONCEPTUALISATION 99

C.2. Design Development Curve Set: Attempt 01

Changing the distance factor. 14, 7.4

Changing t Relation. 4*t 100

CONCEPTUALISATION

Changing Box size. 0.3

Changing r Relation. -r/2, r/4 CONCEPTUALISATION 101

C.2. Design Development Curve Set: Attempt 01

102

CONCEPTUALISATION

This curve set is another orientation of the original curves which are representing the signals of a television. This outcome was a favourable outcome among the testing.

CONCEPTUALISATION 103

C.2. Design Development Curve Set: Attempt 02 Outcome with original Integers from Part B

104

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CONCEPTUALISATION 105

C.2. Design Development Curve Set: Attempt 01

Changing the distance factor. 12, 8.4

Changing t Relation. 4*t 106

CONCEPTUALISATION

Changing Box size. 0.7

Changing r Relation. -r/2, r/4 CONCEPTUALISATION 107

C.2. Design Development Curve Set: Attempt 03 Outcome with original Integers from Part B

108

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CONCEPTUALISATION 109

C.2. Design Development Curve Set: Attempt 01

Changing the distance factor. 12, 7.4

Changing t Relation. 4*t 110

CONCEPTUALISATION

Changing Box size. 0.8

Changing r Relation. -r/2, r/4 CONCEPTUALISATION 111

C.2. Design Development Curve Set: Attempt 04 Outcome with original Integers from Part B.

112

CONCEPTUALISATION

In Attempt 4 & 5 I tried to scale up the curves and regularize them to see the effect they can produce. But the outcomes ended up too linear and has lost the complexity it originally has.

CONCEPTUALISATION 113

C.2. Design Development Curve Set: Attempt 05 Outcome with original Integers from Part B.

114

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CONCEPTUALISATION 115

C.3. Proposal 1 Small Installation The overall shape of the small installation was taken from a part of the outcome of the third attempt curve set. Then the taken out part is flipped and trimmed off a bit to finally meet the functionality of the proposal. The Small installation is a seating bench on The Yarra bank; with a hide-out space beneath it. The hiding space can not be seen from normal view and people will occupy it as a normal bench; since the opening of the space is facing the Yarra river and back to the walking trails.

116

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CONCEPTUALISATION 117

C.3. Proposal 1 Small Installation

118

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CONCEPTUALISATION 119

C.3. Proposal 1 Small Installation

120

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CONCEPTUALISATION 121

C.3. Proposal 1 Small Installation

Plan

West Elevation 122

CONCEPTUALISATION

Section

North Elevation CONCEPTUALISATION 123

C.3. Proposal 1 Small Installation

Due to the site of the small installation is a low land in the area. And the walk path leads to it is roughly one meters higher than the ground level of the site. I found out that this could be a perfect condition for my proposal; a bench which people can hide beneath it. Due to the landscape the bench can be low enough for people to sit on top of and hight enough for people to hide behind at the same time.

124

CONCEPTUALISATION

Normally, people walking from the walk path can only see this as a bench.

CONCEPTUALISATION 125

C.3. Proposal 1 Small Installation The small installation represents a very personal cure to my fear; Based on my own feelings. People can hide beneath the bench and enjoy their uninterrupted time. They can hear people walking pass; they can hear people chatting to each other; they can hear people sitting or hanging around the bench; but others donâ&#x20AC;&#x2122;t know there is a person hiding in the dark. This sort of situation makes me feel satisfied and safe; that I can be well aware of people around me and they can be complete unaware of my existence. I can get to know what people are doing without risk being noticed; this makes me feel satisfied. I intend this proposal to express my emotion of escaping away from the crowd when facng my fear.

126

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CONCEPTUALISATION 127

C.3. Proposal 1 Small Installation

128

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CONCEPTUALISATION 129

C.3. Proposal 2 Large Installation

130

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CONCEPTUALISATION 131

C.3. Proposal 2 Large Installation

132

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The large installation is an amphitheatre that is located on a open grass land in the site. The final form is constructed with two different parts from two outcomes produced by the algorithm. The two parts are placed on top of each other to create a cave like interior space.

CONCEPTUALISATION 133

C.3. Proposal 2 Large Installation

Plan

134

CONCEPTUALISATION

Section

CONCEPTUALISATION 135

C.3. Proposal 2 Large Installation

North Elevation

136

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East Elevation CONCEPTUALISATION 137

C.3. Proposal 2 Large Installation

138

CONCEPTUALISATION

The Idea of an amphitheatre is to direct translate my fear into reality architecture; while my fear is attention and an amphitheatre itself is a ‘attention concentrator’. People can perform on the stage to feel the fear. But then I started to question myself, will I go onto the stage to perform? And the answer from me is NO. Thus I realized that just being an amphitheatre is not enough. The place need to be as ‘concentrated’ as if there is a show going on even if not many people are occupying. So that people like me can stand on the stage and feel the environment without actually performing in front of people. It can be a place where people come and challenge themselves to face their fear like mine and to get over the fear. In order to create the sense of ‘concentration‘, I tried to apply different layers of colour to the structure; from light colour in the middle to dark colour on the side. By doing this people can feel the contrast between the glowing stage and the sitting areas. CONCEPTUALISATION 139

C.3. Proposal 2 Large Installation As previously mentioned, the structure can be a space for people like me to challenge themselves and get over their fear. But people wonâ&#x20AC;&#x2122;t always success. At the back of the structure; right behind the stage area; there is a dark, narrow cave-like space. This space was not designed from the very beginning, the algorithm accidentally formed it; but it reminded me of my own experience of failing to perform on a stage. When I was in primary school I used to be a member of the school dancing team. And during one performance my socks peeled off and it striped me down; the stage was filled with laughter; at that time I hope so strongly that I could find a hole and just hide inside forever. Thus, I decide to keep this space behind the stage and express the struggle Iâ&#x20AC;&#x2122;ve been experiencing. And also referring back to the small installation a hide-out space.

140

CONCEPTUALISATION

CONCEPTUALISATION 141

C.3. Proposal 2 Large Installation

142

CONCEPTUALISATION

The Interior of this amphitheatre that although people are just sitting doing their own stuff, it feels like they are looking at you.

CONCEPTUALISATION 143

C.3. Proposal 2 Large Installation

144

CONCEPTUALISATION

Final Model

CONCEPTUALISATION 145

C.4. Learning Outcome

It has been a challenging but exciting semester. Technically, the skills taught in this subject are quite difficult to master and learn, but they are very useful for my further studying especially grasshopper. Grasshopper is just giving me way more possibility in Rhino and digital modelling. I used to think Rhino is very limiting interns of modelling complex objects, but now Rhino can even produce its own form for me. Also, the theme of this class was very interesting to me. Starting from something very personal and private, it can evolve into something a group of people or even a society can use and admire. I really like to design stuff referring back to ourselves that to me it gives the design meaning and spirit, and I like it that way. It was a hard but also fun subject and I hope I could touch on these kinds of designing methods again in my further study.

146

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CONCEPTUALISATION 147