Dan ying 692092 final journal

STUDIO AIR Ying Dan692 092

4

CONTENT

A2

A3

A4

Designing Futuring 4

Design Computation 12

Composition/Generation 18

Algorithm Sketches 26

1. Metropol Parasol

2. The Seattle central library

1. 41 Cooper Square

2. Yokohama International Passenger Terminal

1. La Sagrada Familia

2. The Eden Project

3. Learning outcomes & Conculsion

A1

5

BiographyI am currently a third year architecture student. I am from China and lived in Melbourne

for the last four years. I noticed how the city has changed over last a few years and start

to understand how urban planning and building design can play a big role in city devel-

opment, so I decided to study architecture and really get to know the principles behind

design.

Over the past couple of years, I have managed to learn and use a range of architectural

design tools. Hand-skectching and computer modelling programs have been used as

valuable materials as a part of my design. ‘Rhino’ in particular, I was impressed with

how 3D modelling can be done on computer easily, it saves time than traditional hand

drawing and its malleable. ‘AutoCAD’ plays a big role in my design approaches as well, in

terms of making plans and accurate sections. Now, Studio Air has introduced me a new

perspective of parametric design by using ‘Grasshopper’. Digital architecture is taking

over hand-sketching in the design industry, I believe these skills would be an essential

tool for me throughout my university studies.

Therefore, I look forward to master the skills so that I am able to achieve and create

more in my design and broaden my knowledge of digital architecture.

6

A.1 DESIGN FUTURING

Over the last few years, the world is moving at incredibly rapid rate alone with problems and con-

cerns in relation to design practice. According to Fry, we are now moving towards a state of defutur-

ing due to the condition of unsustainability, which could take futures away from mankind and other

living species¹.

Future arrives by design, in other words, we can only survive and get to the future by design. Design is

ambitious, therefore, design is not just specifically refer to arts, environments or urban planning, but

the act of prefiguration. Dunno suggests that we should use design as catalyst to get more thinking

and discussing happening about what kind of future we want. Design in all objects of daily use that

should be economical, durable, convenient, congenial to every one, which also requires a new type

of practice that recognizes design’s importance in overcoming different problems. Simultaneously,

the new practice in the arts, music, literature, and architecture, that shall inspire the new era².

The two following precedents aim to reveal how architecture can influence on ways of thinking and

patterns of living, as well as observe the approaches they used to expand future possibilities through

architecture.

1. Tony Fry, Design Futuring (Oxford: Berg, 2009).2.Tony Fry, A New Design Philosophy: An Introduction To Defuturing (UNSW Press, 1999), p. 116.

"Teach A Woman To Fish: Tara Donovan At The Parrish Art Museum", Hamptons Art Hub, 2015 <http://hamptonsarthub.

com/2015/08/18/teach-a-woman-to-fish-tara-donovan-at-parrish-art-museum/> [accessed 20 March 2016].

7

Amy Frearson, "Metropol Parasol By J Mayer H | Dezeen", Dezeen, 2011 <http://www.dezeen.com/2011/04/26/metropol-parasol-by-

j-mayer-h/> [accessed 20 March 2016].

8

Nowadays, the building has became the most desire

destination for tourist and a prefect leisure area for the

locals, which help actives the local economy and mar-

ket. The building defines a unique relationship between

the historical and the contemporary city³, and it can be

considered as a “good design” where culture and design

alternatives integrated.

“Metropol Parasol” as the redevelopment of the Palaza

de la Encarnaclon in central Seville, is the world’s big-

gest wood structure which held together by extra-strong

glue. The building is a unique urban space located at the

centre of dense historical ruins, where allows a range of

social activities and human interaction. The idea was

to create “shade” in the city that exposure to excessive

heat. The consideration of materials allows the building

maintain light-weighted and ensure nice natural light

and ventilation. Some of the local residents were wor-

ried that the building is out of place and not suitable

for their city, but some of them believed that their city

should movie with the times.

A.1 CASE STUDY Metropol Parasol, Seville, Spain. Architects: Jürgen Mayer H, Andre Santer, Marta Ramírez IglesiasCompeletion: April 2011

3. “J. MAYER H. BUILDINGS METROPOL PARASO”, Jmayerh.de, 2016 <http://www.jmayerh.de/19-0-Metropol-Parasol.html> [accessed 19 March 2016].

"Metropol Parasol", Wikipedia, 2016 <https://en.wikipedia.org/wiki/Metropol_Parasol> [accessed 20 March 2016].

9

What I like about this project is how the architects learnt

from other contemporary libraries that used high mod-

ernist flexibility and put it into their own design process.

Since people can not predict what can happen in the

future, they decided to put those uncertainties in boxes

designed specifically for it, as well as put the our essen-

tial needs on the top of the boxes, which became the

design alternative of the this public library. The building

creates not only the “free space” for people, but also, be-

came a secure shelter for homeless people. As Fry said,

people design the world and the world design us. This

building follows a new type of practice and designs the

place where the future can arrive ⁶.

Libraries since the inception of Carnegie tradition in

America, had second responsibility which was for social

roles. With that being said, the architects group chal-

lenges the high modernist notion of flexibility, which

follows the core idea of within any single space, any kind

of activity can happen⁴. The first thing that architects

considered in their design process was the uncertainty

of the future, they do not know the future of the library,

or the future of the book.Therefore, they focus on creat-

ing singular spaces that are generic and almost anything

can happen within the space, which means the library

was staring to engulf different kinds of activities with

social responsibilities by expansion of the book. The

Seattle library became an institution which no longer

exclusively dedicated to the books⁵.

A.1 CASE STUDY The Seattle central library, Seattle, WA, USA Architects: OMA+LMN Project Year: 2004

4. Peter J Taylor, Modernities (Minneapolis: University of Minnesota Press, 1999),p 18, 32.5. “Seattle Central Library / OMA + LMN”, ArchDaily, 2009 <http://www.archdaily.com/11651/seattle-central-library-oma-lmn> [accessed 19 March 2016].6. Tony Fry, Design Futuring (Oxford: Berg, 2009).

10

Seattle Library, "Seattle Central Library", OpenBuildings, 2016 <http://openbuildings.com/buildings/seattle-central-library-pro-

file-1297> [accessed 20 March 2016].

"BKK: Seattle Central Library - OMA", Pinterest, 2016 <https://www.pinterest.com/pin/565483296932262908/> [accessed 20 March 2016].

"Seattle Central Library | LMN Architects", LMN Architects, 2016 <https://lmnarchitects.com/project/seattle-central-library> [ac-

cessed 20 March 2016].

11

12

A.2 DESIGN COMPUTATION

"Tara Donovan : The Silver Coat", Thesilvercoat.com, 2016 <http://www.thesilvercoat.com/tara-donovan/> [accessed 20 March 2016].

7. Generatorx, “Computational Design”, Generatorx.no, 2012 <http://www.generatorx.no/generatorx-introduction/> [accessed 19 March 2016].8. Yudong Liu, Developing Digital Architecture (Basel: Birkhauser, 2003).

13

Regrading the new type of design practice we need to

find in oder to overcome the problems, the current de-

velopment of computational design in architecture has a

profound effect on design thinking and approaches in a

long term. Digital technologies allows designer to express

and produce complex forms and explore different shapes

and materials, which ensure the design and production

of non-standard buildings, based on irregular geometry.

Computational methods have enhanced creativity and

provide design solutions that could not be achieved by

conventional means. Digital design marked the start of a

new architectural vocabulary.

“Computational design involves the employment of com-

putational methods to design problems, whether related

to presentation, analysis or aesthetic expressions ⁷.” Tech-

nology removes possible barriers that could hinder the

execution of ideas, opens up new perspective also speeds

up the design process for creative people ⁸.”

"Tara Donovan : The Silver Coat", Thesilvercoat.com, 2016 <http://www.thesilvercoat.com/tara-donovan/> [accessed 20 March 2016].

14

However, performalism means freeing exterior from the

interior, Copper square uses “double skin ¹⁰” to reduce

heat radiation during the summer and preserve heat

during the winter, in order to increase building’s perfor-

mance.

41 Cooper Square is an academic laboratory that

encourages innovative education in Art, Architec-

ture and Engineering. Cooper Square is the prod-

uct of digital age, unfold the way of computational

design and environmental sustainability have influ-

enced on our design approaches.

We are entering an era of performalism, which de-

fines changes in form conception in contemporary

architecture ⁹. Form is once again under consider-

ation. We all know Louis Sullivan’s famous state-

ment, “form follows function”, where building’s

function determine the structural dimensions.

A.2 CASE STUDY 41 Cooper Square, New York, USA Architects: Morphosis architectsConstruction:2006 - 2009

9. Yasha J Grobman and Eran Neuman, Performalism (London: Routledge, 2012), pp. 98-105.10. ”41 Cooper Square | Morphopedia | Morphosis Architects”, Morpho-pedia.com, 2016 <http://morphopedia.com/projects/41-cooper-square> [accessed 15 March 2016].

"41 Cooper Square", Wikipedia, 2016 <https://en.wikipedia.org/wiki/41_Cooper_Square> [accessed 20 March 2016].

15

"Patricia Poon's View Of 41 Cooper Square | The Cooper Union", Cooper.edu, 2016 <http://cooper.edu/gallery/patricia-poons-

view-41-cooper-square> [accessed 20 March 2016].

16

"YOKOHAMA, INTERNATIONAL FERRY TERMINAL", Flickr - Photo Sharing!, 2016 <https://www.flickr.com/photos/48222546@

N00/3565676145> [accessed 20 March 2016].

17

design alternatives of higher complexity and quality.

“Yet in order to resolve the complex interplay between

these concerns, the profile of the building needed to be

explored on the computer through an ever more finely

calibrated series of sections. This project was not only

born of the digital-it was realized through the digital”.¹²

The Yokohama Ferry Terminal is an remarkable exam-

ple of computational design. The design transforms the

ground into an functional surface through simple topol-

ogy, in order to articulate both passenger ferry terminal,

and a mix of civic facilities for citizens ¹¹. The project was

driven by digital technologies.The design group prefer

design with CAD rather than physical models, which en-

sured designers to test different forms and shape surfac-

es through various types of information, thus producing

A.2 CASE STUDY Yokohama International Passenger Terminal, Tokyo, JapanArchitects: FOA(Foreign Office Architects)Completed: 2002

11. “Yokohama International Port Terminal - Foreign Office Architects”, Arcspace.com, 2007 <http://www.arcspace.com/features/foreign-office-ar-chitects/yokohama-international-port-terminal/> [accessed 19 March 2016].12. Neil Leach, Designing For A Digital World (Chichester: Wiley-Academic, 2002), pp. 6-14.

"Yokohama International Port Terminal - Foreign Office Architects", Flickr - Photo Sharing!, 2016 <https://www.flickr.

com/photos/scottnorsworthy/8271979357> [accessed 20 March 2016].

18

"Made", Mymodernmet.com, 2016 <http://www.mymodernmet.com/profiles/blogs/list/tag/made> [accessed 20 March 2016].

19

A.3 COMPOSITION/GENERATION

In the lecture we looked at the development of parametric design over

time, the shift from composition to generation in design methods can

be identified. If composition is traditional way of design, then what is

generation in design approaches?

“Generative design” as a concept was introduced to design process

through computational design, which is so abstract and at the cutting

edge of architecture that Wikipedia barely has words to explain from a

professional point of view. Generative design is based on parametric

modelling, generated by algorithms in computer programs. However,

generation in design methods is not necessarily computational. The

most important thing that distinguish generative design from normal

practice is the “feedback” loop ¹³, which means there must be inputs

and outputs of the model. Architects are able to predict the outcome

based on the data and their own unique algorithmic thinking, so that

design process can be relatively shorter and more efficient.

Parametric design plays a big role in generation. It minimizing the ef-

fort design process needed and observe result immediately. However,

the range of computational design approaches can be misleading and

sometimes confusing, the design might also turn into date driven de-

sign, which could be the opposite of what people actually want.

13. “What Is Generative Design? - Diagramming Machines”, Diagramming Machines, 2012 <http://www.reneepuusepp.com/what-is-generative-design/> [accessed 9 March 2016].

"Made", Mymodernmet.com, 2016 <http://www.mymodernmet.com/profiles/blogs/list/tag/made> [accessed 20 March 2016].

20

Sagrada Familia as the “most extraordinary personal interpretation of Gothic architec-

ture since the middle age”¹⁴, carries the distinctive spirit of an era. The building is in-

complete and with missing documentations, which can be a big challenge for everyone

that working together on this building. Nowadays, Sagrada Familia has adopted digital

design approach and new construction technologies, which used for architects and

craftsmen to analysis the fascinating geometries of the building, as well as enhance the

architecture form and carry on the original design of the building.

A.3 CASE STUDY La Sagrada Familia Architect: Antoni GaudiConstructsion began in 1882

"La Sagrada Familia - Google Search", Google.com.au, 2016 <https://www.google.com.au/search?q=la+sagrada+famil-

ia&espv=2&biw=927&bih=886&site=webhp&tbm=isch&tbo=u&source=univ&sa=X&sqi=2&ved=0ahUKEwi35sqEn87LAh-

21

3D printing was introduced to the project as well, which uses in modelling process and

form complex hyperboloids and ornaments. With all kinds of new technologies, the

building is able to finish in 2026.

14. Paul Goldberger, “Barcelona”, National Geographic, 1991.

"La Sagrada Familia - Google Search", Google.com.au, 2016 <https://www.google.com.au/search?q=la+sagrada+famil-

ia&espv=2&biw=927&bih=886&site=webhp&tbm=isch&tbo=u&source=univ&sa=X&sqi=2&ved=0ahUKEwi35sqEn87LAh-

22

The Eden project creates two large biomes, which

are Tropical biome and Mediterranean biome. In

oder to meet the needs for these two entirely differ-

ent biomes, architects will need to find new design

alternatives and technology. Each dome contains

hundreds of hexagons and pentagons, which sup-

ported by steel frame with two layers overlap. The

special design of geometry bring efficiency to the

building. The material also maximises the surface

area and minimises the complected perimeter de-

tailing. The building is moving towards environmen-

tal sustainability and building efficiency. In this case,

computerization creates a inspirational platform for

exploring geometries, also a shortcut of defining the

architecture form

A.3 CASE STUDY The Eden Project, Cornwall, UKArchitects: Grimshawcomplete: 05/2000

"The Eden Project: The Biomes < Projects | Grimshaw Architects", Grimshaw-architects.com, 2016 <http://grimshaw-architects.

com/project/the-eden-project-the-biomes/#> [accessed 20 March 2016].

23

"The Eden Project: The Biomes < Projects | Grimshaw Architects", Grimshaw-architects.com, 2016 <http://grimshaw-architects.

com/project/the-eden-project-the-biomes/#> [accessed 20 March 2016].

24

Architecture no longer just about creating shelter, instead ar-

chitecture design is influencing on mankind’s future. We need

to have new design practice to develop our future which is sus-

tainable, and desirable.

Organisation is integral to architecture. Understanding the

complexity of organisation structures across disciplines, will

help us to design. Computational approaches is closely linked

to organisational complexity and the potential to give control

to the designer and ensure collaboration between multiple

disciplines ¹⁵, which could encourage new design alternatives

and opportunities.

Even thought, people argued that computer is lack of creativ-

ity, and it is not capable of creating new architecture alterna-

tives. Designers use computational approaches to achieve the

outcomes immediately, test different forms without limits. Our

design is not the product of digital innovation,rather, we de-

sign through digital to get the result that is satisfying and mov-

ing towards a better, sustainable future.

CONCLUSION

15. Tim Schork, “Modes Of Compostion”, 2016 <http://mesne.net/blog/wp-content/uploads/2010/05/Schork-Modes-of-Composition_A-Computational-Approach.pdf> [accessed 7 March 2016].

25

Through the Part A precedent study, we truely developed

our critical thinking and analysing skills. The discussion on

computerization brings me to reconsider computational de-

sign approach. Personally, I prefer computational approach

in my design, because it is efficient, changeable, and often

comes with unexpected outcomes. However, in the peri-

od of digital design, there is still no single tool, or software

can achieve complexity that architecture form creates. The

growing needs of the industry requires designer to gain skills

and some degree of understanding of parametric design in

order to design widely. The tools changes the way we work

also influence our design thinking. Each tool has their own

ways and roles of woking, alone with limitations. For exam-

ple, when you can not achieve certain form using a particu-

lar tool, at the end, you often forced to change your original

thought and your design move to a direction that was not

intended.

LEARNING OUTCOME

26

A.4 ALGORITHM SKETCHES

27

"Massive Undulating Styrofoam Cup Cloud", My Modern Met, 2012 <http://www.mymodernmet.com/profiles/blogs/tara-donovan-styrofoam-cup-sculp-

ture> [accessed 20 March 2016].

28

WATER FROPS

"Climate Change Forum – Lessons For Renewal", University of Newcastle Blog, 2013 <http://

blogs.newcastle.edu.au/blog/2013/05/30/climate-change-forum-lessons-for-renewal/> [ac-

cessed 20 March 2016].

30

DUBAI TOWER

Shah Wali, "Famous Buildings Of The World: Dubai Tower, UAE", Famousbuildingsoftheworld.

blogspot.com.au, 2016 <http://famousbuildingsoftheworld.blogspot.com.au/2011/05/dubai-

tower-uae.html> [accessed 20 March 2016].

33

"City Skyscrapers HD Desktop Wallpaper : Fullscreen : Dual Monitor",

Wallpaperswide.com, 2016 <http://wallpaperswide.com/city_skyscrap-

ers-wallpapers.html> [accessed 20 March 2016].

URBAN DESIGN -- DOWNTOWN

34

"Hufton + Crow | Projects | Galaxy Soho", Huftonandcrow.com, 2016 <http://www.huftonandcrow.com/projects/gallery/

galaxy-soho/> [accessed 20 March 2016].

GALAXY SOHO -- BEIJING

35

WRONG APPROACH !!!

36

BIBLIOGRAPHY

"41 Cooper Square | Morphopedia | Morphosis Architects", Morphopedia.com, 2016 <http://morphopedia.com/proj-

ects/41-cooper-square> [accessed 15 March 2016]

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search?q=tara+donovan&rlz=1C5CHFA_enAU579AU579&espv=2&biw=1329&bih=687&tbm=isch&tbo=u&-

source=univ&sa=X&ved=0ahUKEwjmtbvl08zLAhXIJKYKHd9mDq8QsAQIGg#imgrc=F6TJj-lTn5Cp6M%3A> [accessed

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Fry, Tony, Design Futuring (Oxford: Berg, 2009)

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[accessed 19 March 2016]

Goldberger, Paul, "Barcelona", National Geographic, 1991

Grobman, Yasha J, and Eran Neuman, Performalism (London: Routledge, 2012), pp. 98-105

"J. MAYER H. BUILDINGS METROPOL PARASOL", Jmayerh.de, 2016 <http://www.jmayerh.de/19-0-Metropol-Parasol.

html> [accessed 19 March 2016]

Leach, Neil, Designing For A Digital World (Chichester: Wiley-Academic, 2002), pp. 6-14

Liu, Yudong, Developing Digital Architecture (Basel: BirkhaÌˆuser, 2003)

"Seattle Central Library / OMA + LMN", ArchDaily, 2009 <http://www.archdaily.com/11651/seattle-central-li-

brary-oma-lmn> [accessed 19 March 2016]

Schork, Tim, "Modes Of Compostion", 2016 <http://mesne.net/blog/wp-content/uploads/2010/05/

Schork-Modes-of-Composition_A-Computational-Approach.pdf> [accessed 7 March 2016]

"What Is Generative Design? - Diagramming Machines", Diagramming Machines, 2012 <http://www.reneepuusepp.

com/what-is-generative-design/> [accessed 9 March 2016]

37

Taylor, Peter J, Modernities (Minneapolis: University of Minnesota Press, 1999)

"Yokohama International Port Terminal - Foreign Office Architects", Arcspace.com, 2007 <http://www.arcspace.com/features/foreign-office-ar-

chitects/yokohama-international-port-terminal/> [accessed 19 March 2016]

PICTURES :

"41 Cooper Square", Wikipedia, 2016 <https://en.wikipedia.org/wiki/41_Cooper_Square> [accessed 20 March 2016]

"BKK: Seattle Central Library - OMA", Pinterest, 2016 <https://www.pinterest.com/pin/565483296932262908/> [accessed 20 March 2016]

"City Skyscrapers HD Desktop Wallpaper : Fullscreen : Dual Monitor", Wallpaperswide.com, 2016 <http://wallpaperswide.com/city_skyscrap-

ers-wallpapers.html> [accessed 20 March 2016]

"Climate Change Forum â€“ Lessons For Renewal", University of Newcastle Blog, 2013 <http://blogs.newcastle.edu.au/blog/2013/05/30/cli-

mate-change-forum-lessons-for-renewal/> [accessed 20 March 2016]

"Hufton + Crow | Projects | Galaxy Soho", Huftonandcrow.com, 2016 <http://www.huftonandcrow.com/projects/gallery/galaxy-soho/> [ac-

cessed 20 March 2016]

"La Sagrada Familia - Google Search", Google.com.au, 2016 <https://www.google.com.au/search?q=la+sagrada+familia&espv=2&bi-

w=927&bih=886&site=webhp&tbm=isch&tbo=u&source=univ&sa=X&sqi=2&ved=0ahUKEwi35sqEn87LAhWCkZQKHUN8A8oQsAQILA#tbm=is-

ch&q=la+sagrada+familia+interior&imgrc=xtrbzskgFCfBEM%3A> [accessed 20 March 2016]

"Made", Mymodernmet.com, 2016 <http://www.mymodernmet.com/profiles/blogs/list/tag/made> [accessed 20 March 2016]

"Massive Undulating Styrofoam Cup Cloud", My Modern Met, 2012 <http://www.mymodernmet.com/profiles/blogs/tara-donovan-styro-

foam-cup-sculpture> [accessed 20 March 2016]

"Metropol Parasol", Wikipedia, 2016 <https://en.wikipedia.org/wiki/Metropol_Parasol> [accessed 20 March 2016]

"Patricia Poon's View Of 41 Cooper Square | The Cooper Union", Cooper.edu, 2016 <http://cooper.edu/gallery/patricia-poons-view-41-cooper-

square> [accessed 20 March 2016]

"Seattle Central Library | LMN Architects", LMN Architects, 2016 <https://lmnarchitects.com/project/seattle-central-library> [accessed 20 March

2016]

"Tara Donovan : The Silver Coat", Thesilvercoat.com, 2016 <http://www.thesilvercoat.com/tara-donovan/> [accessed 20 March 2016]

"Teach A Woman To Fish: Tara Donovan At The Parrish Art Museum", Hamptons Art Hub, 2015 <http://hamptonsarthub.com/2015/08/18/teach-

a-woman-to-fish-tara-donovan-at-parrish-art-museum/> [accessed 20 March 2016]

"The Eden Project: The Biomes < Projects | Grimshaw Architects", Grimshaw-architects.com, 2016 <http://grimshaw-architects.com/project/

the-eden-project-the-biomes/#> [accessed 20 March 2016]

"Yokohama International Port Terminal - Foreign Office Architects", Flickr - Photo Sharing!, 2016 <https://www.flickr.com/photos/scottnorswor-

thy/8271979357> [accessed 20 March 2016]

"YOKOHAMA, INTERNATIONAL FERRY TERMINAL", Flickr - Photo Sharing!, 2016 <https://www.flickr.com/photos/48222546@N00/3565676145>

[accessed 20 March 2016]

Frearson, Amy, "Metropol Parasol By J Mayer H | Dezeen", Dezeen, 2011 <http://www.dezeen.com/2011/04/26/metropol-parasol-by-j-may-

er-h/> [accessed 20 March 2016]

Library, Seattle, "Seattle Central Library", OpenBuildings, 2016 <http://openbuildings.com/buildings/seattle-central-library-profile-1297> [ac-

cessed 20 March 2016]

38

CONTENT

B2

B3

B4

CASE STUDY 1.0 42

CASE STUDY 2.0 55

TECHNIQUE DEVELOPMENT 59

B1 RESEARCH FEILD 40

39

B6

B7

84 TECHNIQUE PROPOSAL

90 ALGORITHM SKETCHES

B5 71 PROTOTYPES

40

B.1 RESEARCH FEILD: PATTERNING

Pattern is often used symbolically to represent many things: people, beliefs, the natural world, his-

tory, tradition. Colors and shapes have specific meanings, and are passed down from generation

to generation. Looking back in history, the human body was perhaps the first surface that received

designed patterns1, then patterns have been introducing for covering architectural surfaces. Archi-

tectural patterns thus have a broad and deep lineage. In this journal patterns will be explored in the

narrow sense of patterns that used particularly in architectural designs.

During the modernism movement, the avant-garde brought up the idea of “folding in architecture”,

the initially faceted surfaces soon evolved into smooth nurb-surfaces. Towards the end of the 1990s

new possibilities of patterning were discovered by applying the technique of texture mapping onto

the warped nurbs. Built projects achieved these effects by projecting video images onto curve-linear

surfaces, or by embedding digital display systems within the surfaces.2 Architectural patterning had

arrived within the style of parametricism which brings endless possibilities and more exciting explo-

rations to architectural design.

1: Patrik Schumacher, "Parametric Patterns", Architectural Design, 79 (2009), 28-41.

2: Patrik Schumacher, "Parametricism: A New Global Style For Architecture And Urban Design", Architectural Design, 79

(2009), 14-23.

41

S-media-cache-ak0.pinimg.com, 2016 <https://s-media-cache-ak0.pinimg.com/originals/7e/c6/8a/7ec68a18f6ddaf804a5a621

e1ea63ad8.jpg> [accessed 29 April 2016].

42

B.2 CASE STUDY 1.0

"De Young Museum", Patrick Lopez Jaimes, 2016 <http://www.patrickljaimes.com/de-young-museum/> [accessed 29 April 2016].

3. "Cladding De Young With Patterns", Scratchcomputing.com, 2016 <http://scratchcomputing.com/about/deYoung/> [accessed 29 April 2016].

43

M.H. de Young Museum is a redesign from the original

museum, which opened in 1895 as an outgrowth of the

California International Exposition of 1894. The facade of

the building is clad in over 162,000 square feet of copper

panels covered with abstract pixelated patterns derived

from over 650MB of images.3 The pattern was created

from high-contrast digital images which are made with

photoshop, then import the images in digital design tools

(grasshopper in this case)for automated processing,

where the images were mapped onto the building sur-

face.

The pattern consists of perforation and dimples, which is

distinguished from regular architectural surfaces. In this

section, my iterations of the original script will be mainly

focus on creating different geometry patterns and testing

different perforations and convex.

"De Young Museum", Patrick Lopez Jaimes, 2016 <http://www.patrickljaimes.com/de-young-museum/> [accessed 29 April 2016].

44

SPECIES 1:ORIGINAL DEFINITION

SPECIES 2:INTERPOLATE POINTS CURVE

SPECIMEN 1 SPECIMEN 2

SPECIES 3:INTERPOLATE POINTS CURVE

45

SPECIMEN 3SPECIMEN 2 SPECIMEN 4

46

SPECIES 4:PERFORATIONS EXPLORATIONPLANER SURFACE

SPECIES 6:PATTERN & GEOMETRY:3D PATTERNS


SPECIES 5:PERFORATIONS EXPLORATIONPLANER SURFACE

47


48

SPECIES 7:PATTERN & GEOMETRY :DIMPLES


My iterations are focus on the transformation from curves to planer surface to 3D patterns, instead of using image

sampler to map the pattern on to the surface, I am using graph sampler and several number sliders to change the

geometries under the same concept. The matrix above has shown how I attempted to explore from single lines to the

final geometry, where the continuity of each individual outcome can be clearly identified.

Therefore, it is important to start from a “flexible” starting point where it can add another level to complexity and useful

outcomes. Introducing different techniques such as twisting, piping, lofting, which transferring 2D patterns to 3D pat-

terns and generating interesting result that have design potentials.

DESIGN CRITERIA

49


My iterations are focus on the transformation from curves to planer surface to 3D patterns, instead of using image

sampler to map the pattern on to the surface, I am using graph sampler and several number sliders to change the

geometries under the same concept. The matrix above has shown how I attempted to explore from single lines to the

final geometry, where the continuity of each individual outcome can be clearly identified.

Therefore, it is important to start from a “flexible” starting point where it can add another level to complexity and useful

outcomes. Introducing different techniques such as twisting, piping, lofting, which transferring 2D patterns to 3D pat-

terns and generating interesting result that have design potentials.

DESIGN CRITERIA

50

This outcome can be considered successful be-

cause it achieve my aim of design criteria, which

is to be able to generate a series of outcomes only

through changing the lifting and shifting factors of

the points. I have created more than five similar out-

comes, but this one is the best result of them all in

terms of fabrication. In this case, my grasshopper

definition(from a design perspective) has the poten-

tial to make it possible to accurately fabricate each

panel correctly since they are all regular geometries,

which can be easy to ship and to install in the cor-

rect order on site.

SPECIMEN 11. (Species 4, Specimen 3)2. (Species 7, Specimen 4)

51

I used the original definition of dimples as a starting

point. During the process, I changed image sampler

to simple sin-graphs and move a few set of points

along Z-axis. Lofting was used to produce the final

outcome. The interesting things about this geome-

try is that the designer can apply different materials

or patterns to each of the convex in order to achieve

individuality and save budget by combining decora-

tion and ornamentation together, which will make

client happy in a design proposal.

SPECIMEN 2 1. (Species 3, Specimen 4)2. (Species 7, Specimen 1)

52

When patterns become straight lines, the possible

outcomes have been brought to another level. The

grey scale image that I used creates openings on

the facade. By adding vectors to each point, I was

be able to twist panels around in a particular angle.

The reasons why I consider this as successful out-

come are: first, it can be twist and change patterns

at the same time, which is what my design criteria

is ain for. Second, it reminds me of folding panels

that often installed on the facade of the building

in order to achieve sustainability and a better user

experience. Each of the panels can be individually

opened to adjust the amount of sunlight and venti-

lation that reaches the interior.

SPECIMEN 31. (Species 3, Specimen 1)2. (Species 4, Specimen 4)

53

Since the chosen research field is about pattern,

I though it would be interesting to test out some

parametric patterns and see how factors can have

a huge influence on the patterns we are trying to

create. From the picture above, we can see how

they are distinguished from each other, however,

the only difference is the “boundary surface”. This

outcome is surprisingly fit for my further detailed

design, where the same technique can be used to

produce such incredible pattern on the facades of

my design.

SPECIMEN 2 1. (Species 3, Specimen 5)2. (Species 4, Specimen 3)

54

"Aqua Tower Awarded Skyscraper Of The Year 2009", Office-suites.com, 2016 <http://www.office-suites.com/commercialnews/aqua-tower-awarded-skyscraper-of-the-year-1800> [accessed 29 April 2016].

55

B.3. CASE STUDY 2.0

Architects: Studio Gang ArchitectsLocation: 200 North Columbus Drive, ChicagoArchitect of Record: Loewenberg & AssociatesOwner: Magellan DevelopmentProject Year: 2009

Aqua is an 87-story mixed-use residential skyscraper in the Lakeshore East development in downtown Chicago, Illinois.4 The design was inspired by the striated limestone outcroppings common in the Lakes area around the site. But this sinuous shape is not just a mere formal gesture, but it is also a strategy to extend the views and maximise solar shading. The design is focus on vertical patterning technique rath-er than flat patterns on particular facade. In the section, I will produce the project using parametric tools and find a pathway of combining the techniques that I have learnt from these two case studies.

4. SUSAN DIESENHOUSE, "Work To Begin On Aqua Tower", tribunedigital-chicagotribune, 2003 <http://articles.chicagotribune.com/2007-02-28/business/0702280163_1_starwood-hotels-ho-tel-rooms-resorts-worldwide> [accessed 26 April 2016].

"Aqua Tower Awarded Skyscraper Of The Year 2009", Office-suites.com, 2016 <http://www.office-suites.com/commercialnews/aqua-tower-awarded-skyscraper-of-the-year-1800> [accessed 29 April 2016].

56

STEP 1:

Creating the base geometry, which is a rectangle. I

used the section and top view construction drawing

of the building to find out X and Y values of the rect-

angle, In order to achieve the most similar result.

STEP 2:

Since I decide to use mesh technique to produce re-

verse-engineer, the next thing to do is to construct

mesh from the geometry I created.

STEP 3:

Using Import image instead of image sampler

can be handy, when I had problems that I cannot

solve. The image I have imported became a mesh

surface, which is the reason why I changed the ge-

ometry surface into mesh simultaneously. The im-

age is the accurate facade image that can be found

online. I take an advantage of blurry greyscale im-

age, where the white part will be the “balcony” that

stick out of the facade.

REVERSE-ENGINEER PROCESS

57

STEP 3:

Using Import image instead of image sampler

can be handy, when I had problems that I cannot

solve. The image I have imported became a mesh

surface, which is the reason why I changed the ge-

ometry surface into mesh simultaneously. The im-

age is the accurate facade image that can be found

online. I take an advantage of blurry greyscale im-

age, where the white part will be the “balcony” that

stick out of the facade.

STEP 4:

Using vector amplitude sets the vector length of

each point to a specific value

STEP 5:

The final step is to interpolate curve through points

and create planer surface then extrude along Z

axis. However, I faced problem where there were

repeated points on each plane, which caused the

liners connected to each other. In the end, I used

Cull Index which selects and deletes the last points

on each plane.

59

My iterations of reverse-engineer is shown in this

section, through the development, design criteria

that I selected has changed a little. My iterations will

now be focus on extrusion and twisting techniques,

as well as creating three dimensional patterns in

a vertical plan. I am also expecting to create some

iterations that can draw a link between similar ex-

isting precedents.

B.4.TECHNIQUE DEVELOPEMNT

60

SPECIES 2 Changing primary geometry Twisting + Piping

B.4. TECHNIQUE DEVELOPMENT: ITERATIONS FOR CASE STUDY 2.0

61

SPECIES 1The original definitions

Changing images and vectors

SPECIES 3 Changing primary geometry 2.0

Using graph samplar to control both ends Piping + Extruding

62

B.4. TECHNIQUE DEVELOPMENT: ITERATIONS FOR CASE STUDY 2.0

SPECIES 5 Similar to original definitionPop 2D to select points instead of Image samplarExtruding + Planer surface

63

SPECIES 4 Using graoh samplar for facade effections

Extruding + Planer surface

SPECIES 6 Twisting and changing geometry

Extruding

64

The Eden project creates two large biomes, which

are Tropical biome and Mediterranean biome. In

oder to meet the needs for these two entirely differ-

ent biomes, architects will need to find new design

alternatives and technology. Each dome contains

hundreds of hexagons and pentagons, which sup-

ported by steel frame with two layers overlap. The

special design of geometry bring efficiency to the

building. The material also maximises the surface

area and minimises the complected perimeter de-

tailing. The building is moving towards environmen-

tal sustainability and building efficiency. In this case,

computerization creates a inspirational platform for

exploring geometries, also a shortcut of defining the

architecture form

SUCCESSSFUL ITERATIONS 1

65

http://australianarchaeology.blogspot.com.au/2013/03/carlton-brewery-archaeological.html

66

Designs that are using graph sampler really demon-

strate how precise every single part changes along

with the whole geometry. I create the closing top

end by employ the graph technique that I have

had a brief understanding from case study 1. Later

adding warp knitting mesh to the facade in order to

draw a link between the existing building and aqua

tower.


67

http://www.huftonandcrow.com/projects/gallery/the-gherkin/

68

I start off twisting around rectangle when I reach the

point where the rectangle was slightly rotated, it re-

minds me of the famous absolute world tower. So I

drew lines in rhino in order to create a similar prima-

ry geometry. Then using same rotating technique

and pushed iterations to its limits. Through the de-

velopment, I gained knowledge of rotate by using

“graph sampler”, “pie”, “number sliders”, which can

be quit helpful for my future design for part C.


69

http://www.theurbanaesthetic.com/photography/architecture/

71

B.5.PROTOTYPES

73

1. ROTATING PANELS TO CREATE PATTERN

Rubber bands are used as joints to keep balsa wood

panels in place. Balsa wood is light, flexible and easy to

work with since rubber bands itself cannot carry mas-

sive loads. Each panel was cut in particular shape in

oder to get the nice curvy pattern. This prototype is a

recreation of iteration that I did for case study 2, it can

be seen in a bigger scale with denser layers

74

The Voronoi diagram is a way of division or decomposi-

tion of space. Voronoi diagram is being used so often by

architects because it produces very organic looking pat-

terns. I present the technique for creating ornamental

designs using Voronoi diagrams. It is not easy to achieve

the flexibility of Voronoi. The idea of using rubber bands

to provide the flexible patterns and pins that provide in-

tersections and base points where “patterns” can build

upon. However, this prototype will require improve-

ments if it will be used under design conditions where

no facade is provided.

2. VORONOI

76

Triangles as primary geometry is made by paper. A

balance takes place between the repetitive frame-

work of the rectangular panels and irregular intercon-

nections as the prototype bends. Although, paper is a

easy material to start testing with, what our detailed

design requires must be the combination of a new

material and digital design and fabrication methods.

Laser cutting allows me to have precise panels and an

accurate assemble process.

3. EMERGING PATTERNS

78

IgilThe image above is the prototype for our group’s interim proposal, where we create this sheltered space for people

with sittings instead. The material that we choose is plywood, not only because it’s flexibility, but also the low trans-

portation cost. However, the plain warp facade did not meet our design criteria. Through the study of patterning and

development of case study one, we agreed employ patterns onto the facades.

4. INTERIM PROPOSAL FEEDBACK ADN DEVELOPMENT

79

The patterns are creating interesting shadows on the floor

The pattern material is connected with wires. Wires create

the frameworks of the design and perforated material form

different forms and directions of folding.

80

Rotating geometry is what I have been focus on for part B, It is interesting to

see how this technique can be achieved by cutting and folding papers, where

no separated joints were required. The complex rotation of this prototype

was made with only one fold in paper.

5. ROTATING GEOMETRY

81

The technique is used for my individual proposal, where the rotating tunnel is

created to framing the view and provide attractions. Paper folding technique

won’t work under the design condition,which means I will need keep on look-

ing for new solution of how to join each parts together.

6. INDIVIDUAL PROPOSAL

83

Taking the opportunity and experienced laser cutting for the first time

What I found great about laser cutting are: laser cutting provides clean cut edges

without burr or dust formation and is able to cut various material thicknesses and

combinations in one operation. and it’s separated from fitted printed boards, also

there is no material deformation due to contactless material processing and no ten-

sioning device or protective cover necessary. Lastly, the high level of precision and

positional accuracy of the cut edges is great for model making.

7. LASER CUTTING EXPERIMENT

84

B.6. TECHNIQUE PROPOSAL

85

"To provide a sheltered space isolated from the manmade urban landforms for vis-itors to rest and get together in the middle of their journey."

88

Parametric design provides endless possibilities. Even in expe-

rienced hands, parametric programs can produce alarmingly

undisciplined results. The Harvard University historian Antoine

Picon, author of Digital Culture in Architecture, observes that

“the capacity of the computer to transform almost every formal

choice into a viable constructive assemblage reinforces the

possibilities offered to the architect to play with forms without

worrying about their structural implications too much.” That

can sometimes be a disadvantage that parametric design, for

example, even some of the great outcomes that I created are

not suitable for precise fabrication and construction. Bigger

projects would have same concerns for sure in computation

driven design.

LAERNING OBJECTIVES AND OUTCOMES

89

Through The 5 weeks learning and developing, I found that

there are more to the parametric design world that I did not

know before. Different grasshopper plug-ins, some of them

can be used to create animation, some of them use sound

captures to have affections on the design. I am willing to de-

velop and explore women with grasshopper and using the

techniques that I have learnt for my part c design.

The one thing that I found difficult is to select design criteria.

My criteria was not clearly shown in my iterations and de-

signs. Ideas tend to shift from one point to another, I found

it hard to stick with on selected criteria through my design

process. This is something that draw my attention, hopeful-

ly, I will come up with a better design criteria and stick to it

towards the end of semester.

LEARNING OUTCOMES

90

B.8ALGORITHM SKETCHES

91



93

CURTAIN WALLS CONSTRUCTION DETAIL

94

CURTAIN WALL BUILDING PART 1 - GLASS

96

CURTAIN WALL BUILDING PART 2 - SPIDER FIXING AND CONSTRUCTION DETAILS

98

MESH SURFACES

100

WAVEBIRDE EXPERIMENT

103

FOLDING PANELS

104

BIBLIOGRAPHY

"Aqua Tower Awarded Skyscraper Of The Year 2009", Office-suites.com, 2016 <http://www.office-suites.com/com-

mercialnews/aqua-tower-awarded-skyscraper-of-the-year-1800> [accessed 29 April 2016]

"Cladding De Young With Patterns", Scratchcomputing.com, 2016 <http://scratchcomputing.com/about/deYoung/>

[accessed 26 April 2016]

DIESENHOUSE, SUSAN, "Work To Begin On Aqua Tower", tribunedigital-chicagotribune, 2003 <http://articles.chicag-

otribune.com/2007-02-28/business/0702280163_1_starwood-hotels-hotel-rooms-resorts-worldwide> [accessed 29

April 2016]

"De Young Museum", Patrick Lopez Jaimes, 2016 <http://www.patrickljaimes.com/de-young-museum/> [accessed

29 April 2016]

Schumacher, Patrik, "Parametric Patterns", Architectural Design, 79 (2009), 28-41.

Schumacher, Patrik, "Parametricism: A New Global Style For Architecture And Urban Design", Architectural Design,

79 (2009), 14-23.

S-media-cache-ak0.pinimg.com, 2016 <https://s-media-cache-ak0.pinimg.com/originals/7e/c6/8a/7ec68a18f6d-

daf804a5a621e1ea63ad8.jpg> [accessed 29 April 2016]

108

CONTENT

C2

C3

C4

Design Concept 110

Tectonic Elements & Prototypes 126

Final Detail Model 140

Learning Objectives and Outcomes 156

C1

109

C5 160 Further Development

110

C.1 DESIGN CONCEPT

Tony Fry suggests that we are deciding and creating a future that people wants to live in, a future

that is sustainable. Merry creek is a distinctive site where the creek operates residential area from

factories. Creek acts like a natural barrier, also provides undeveloped transitional areas, which can

be really interesting site choice. Our project is to design a shelter space for people to rest or get

together in the middle of their journey, as well as connecting people to the nature and reminding

people to pay more attention to the environment.

111

Inc. Fanpop, “National Geographic Wallpaper: Natural Disaster”, Fanpop.com, 2016 <http://www.fanpop.com/clubs/national-geographic/images/6968867/title/natural-disaster-wallpaper>

[accessed 9 June 2016].

112

Our interim presentation is rather a broad concept. The

proposal was clear that we wanted to design a sheltered

and protected space. The problem was that our propos-

al did not connect with parametric techniques, which is

the important part of this studio. The form finding pro-

cess was also literal and needed to develop more.

C1.1. REFLECTION: Reflecting on interim presentations

113

In my individual proposal for part B, I took the feedback

from the interim presentation and created a “spiral tun-

nel” using grasshopper. Rotation degree can be adjust

through grasshopper witch created more possibilities

for the overall form. But the design was drifted away

from the design concept. From the feedback, I learnt

that it is important to consider the concept throughout

the design process, in case the design gets “lost”.

114

The selected site is in the centre of dense residential and indus-

trial area. The site is not fully developed compare to the place

near Coburg Station, however we hope that our design can be

able to guarantee of continuity of leisure activities that take

place along the Merri Creek trial. We discovered a distinctive

specie, Matted Flax-lily in the grassland a few miles away from

the site, the further research shows that Merri creek has the larg-

est group of endangered Matted Flax-Lily existing on site. Much

of the habitat of Matted Flax-lily has already been cleared in

Melbourne due to weed control a few year ago. Now, govern-

ment has came up with the Recovery Plan which determines to

save the species. The idea of using this specific type of flower

can be educational. Thus, Matted Flax-lily is further developed

as site tectonic element in our deisgn.

C1.2. SITE CONTEXT

Residential Aera

Leisure activity (Drive-in Theatre)

Selected Site

Factories

Jukes Road Grassland

115

Residential Aera

Selected Site

Factories

Jukes Road Grassland

116

C1.3. SITE RESPONSE

118

By analysing the geometry of the lily, I find out that hex-

agonal shape is common in our environment. From the

soap foam to honeycomb; from the shape of the lily to

its cytoplasm under microscope, nature seems to follow

the rule of hexagon.

The hexagonal shape has been proved to be the best

way to divide a surface into regions of equal area with

the least total perimeter. Our group agreed to use six

points (indicates each angle of hexagon) as our base in

our form finding process.

C1.4. FORM FINDING

121

The idea is to use these six points to generate a surface.

In order to adjust surface by changing the position of

each points, we came up with a idea of having a con-

trol point, which allocate each points a vector direction.

Therefore, the surfaces that is generated by each point

can be easily adjust into the form that we want.

FORM FINDING -- Generation

Base Points

Control Point

Pop 2D/3D

Hexagonal gridWeaverbird’s Mesh Surfaces

Vector 2Pt

122

C1.5. PATTERN MAKING

Circle packing 1: Using image sampler and colour filter

to create circles with different diameters.

Circle packing 2: circles overlapping and merging—Voronoi

123

Perforation and opening

Extruding: circle — tubes

124

Weaverbird’s mesh surface

C1.6. PARAMETRIC MODELLING WORKFLOW

Amplitude Control point

Hexagonal Grid

125

Move Extrude

126

C. 2 TECTONIC ELEMENTS & PROTOTYPES

127

C. 2 TECTONIC ELEMENTS & PROTOTYPES

PVC pipes are the core construction elements our group will

be using. Either 2cm thick cut pieces or longer tubes, PVC

pipe is capable to create 2D and 3D geometry, which add

possibilities for the form that we will be work with.

128

1. Tony Hayes, "12 Astounding Facts About Food Not Many People Know About", Unbelievable

Facts, 2015 <http://www.unbelievable-facts.com/2015/03/facts-about-food.html> [accessed 8

June 2016].

2. “Geometry: Why Do We See Hexagons In Nature So Often? - Quora”, Quora.com, 2016 <https://

www.quora.com/Geometry-Why-do-we-see-hexagons-in-nature-so-often> [accessed 8 June

2016].

“BIG’s Bjarke Ingels Completes Serpentine Gallery Pavilion 2016”, Dezeen, 2016 <http://www.dezeen.com/2016/06/07/bjarke-ingels-big-serpentine-gallery-pavilion-london-translucent-blocks-unzipped-wall/> [accessed 9 June 2016].

129

C2.1. PRECENDENT STUDY

2016 Serpentine Gallery Pavilion / BIG

BIG’s pavilion is created from pultruded fibergalss

“bricks” stacked on top of each other, the pattern yet

follows the common brick wall. The geometry is simple

and speculative. The connection hinges at each corner

of the brick, which supports the structure are the pro-

totype example our group will be looking at. The way

the pavilion supports itself without massive supporting

structure, yet remain the elegant form is what our group

is aim for.

“BIG’s Bjarke Ingels Completes Serpentine Gallery Pavilion 2016”, Dezeen, 2016 <http://www.dezeen.com/2016/06/07/bjarke-ingels-big-serpentine-gallery-pavilion-london-translucent-blocks-unzipped-wall/> [accessed 9 June 2016].

130

The pipes are recycled from the Iplex Pipelines factory

on the other side of the selected site, they will be cut into

different length and drill for bolts that will be connecting

each of the pipes, and all the customised tubes can be

easily transferred on to site.

Since the structure is temporary, the structure can be

disassemble and all the tubes can be send to the PVC

recycle facility, in order to reduce carbon footprint.

C2.2. TECTONIC ELEMENTS

132

C2.3. PRODUCTION: CORE CONSTRUCTION ELEMENT: LENGTH

EXTRUDE

EXT765 TUBES

DISPATCH STACK

E 100>X>400

DISPATCH STACK

E 400>X>500

E350

E480

GROUP 1:

Length: 350 mm

Diameter: 150 mm

GROUP 2:

Length: 480 mm

Diameter: 150 mm

133

Construction period and Overall form trade off

Approach 1:

Grasshopper made it possible to make the different length of 765 tubes

into two groups, as shown on the left, the first group is the length of 350mm

and the second group is 480mm. This method reduces fabrication time

(making only two kinds) and construction period (no specific construction

number for each tube needed).

Approach 2:

The prefabrication phase and construction period are relatively long, but It

ensures the curvature of the original form, preserves the simple yet elegant

form.

Our group decided to stick with Approach 2 in the end.

GROUP 1:

Length: 350 mm

Diameter: 150 mm

GROUP 2:

Length: 480 mm

Diameter: 150 mm

134

C2.4. PRODUCTION: PROTOTPYE

1. Straight LinePipes are directly bolted to each other.

2. Turning PointHinge is used at the turning point, in order to achieve the fold path

135

2. Turning PointHinge is used at the turning point, in order to achieve the fold path

3. Curvy LineHinges are used to bolt together with all the pipes to create curve path, the structure

now is flexible and movable

136

CONSTRUCTION GROUP 1 CONSTRUCTION GROUP 2

137

CONSTRUCTION GROUP 3: The most common part in the structure. Hinges and bolts are widely used

138

C2.4. PRODUCTION: FOUNDATION DETAIL

Steel column sliders over Tubes stops at rest plate

Custom designed steel columnPre-fabricated

Steel gussetts (90 degree)

Base plate

139

Steel column sliders over Tubes stops at rest plate

Custom designed steel columnPre-fabricated

Steel gussetts (90 degree)

Base plate

141

C.3.FINAL DETAIL MODEL

142

C3.1. SITE PLAN & BUILDING PLAN

100 m

20 m

1:100

143

C3.2. SECTION

20 m

1:100

144

C3. 3. SECTION & ELEVATION

146

C3.4. Detail Model

151

C3.5. PHOTOMONTAGE

Inside of the structure, the sense of being protect-

ed, also isolated from the surrounding.

153

Night experience:

The ground lights are installed under the sink-ing part in the middle of the structure. The light shot out to the sky, in order to create sta-men-like view from the distance.

156

C.4. LEARNING OBJECTIVES AND OUTCOMES



157

During the formation phase, it has come to my attention that

digital technologies are making design process so much eas-

ier. Compare the form that generated by hand-drawing with

the one that automatically generate in Grasshopper. Efficient,

faster design process enabled by computational design tool.

Grasshopper or any digital tools are acting as assistive tools

in our design. It is important to understand that we can solve

some difficult problems through different algorithm, script or

plug-ins we create.

It is important for me to finally understand how the patterns

on building facades are made, and also be able to have the

chance to create different patterns myself. Plug-ins for Grass-

hopper, such as Kangaroo lead me to think how an abstract

building form can be built, and how detailed construction

methods can be achieved through these programs (the curtain

wall glass and frame connection that I did for Sketchbook was

a big step).

LEARNING OBJECTIVE

158

In this studio, I have developed my ability of computational

design. I am able to create interesting patterns and geom-

etries using grasshopper and understand the fundamental

idea of parametric design. It has helped me a lot throughout

the semester, either deal with complex building forms or

analyse random datas. From the feedback that I got from

the final crit, I understand that this design has not demon-

strated the best computation skill that I have. However, I still

leant a lot from Studio Air, such as laser cutting, 3D printing

and the ability to demonstrate detailed construction model

(prototypes). In addition, group work is also a big part of our

final design, how much group members contribute have a

huge impact on the final result.

LEARNING OUTCOME

159

160

C.5. FURTHER DEVELOPMENT

Patterning is my field study for Part B journal. The feedback on final

design is that we need to look into different circle packing tech-

niques. Instead of only working with circles, I decide to also work

with the initial form hexagons that we have developed in previous

design process.

“Butterfly Pavilion By 3Deluxe”, Pinterest, 2016 <https://au.pinterest.com/pin/215821007121140438/> [accessed 9 June 2016].

161

162

C5.1. PATTERNING

when circles are overlapping, they create petal-like pat-

tern.

Circle packing with different diameter

163

+ = ?

164

C5.2. PATTERNING ITERATION

166

C5.3. PROTOTYPE

167

The geometry is hard for construction due to thin con-

nection point at each angle of the triangle. Tensile

structure can be a really good solution for this kind

of patterns. Membrane is used in order to achieve the

structure.

168

The rubber is stretched when the force is pulling the rub-

ber from 4 different direction. If we cut apart the rubber in

the middle, it will appeared as the pattern that I created.

171

Compare the both prototype and material:

1. The force need to be equal in order to create a

symmetrical pattern.

2. Rayon is easier to work with compare to rub-

ber, due to less resistance under tension.

174

BIBLIOGRAPHY

“BIG’s Bjarke Ingels Completes Serpentine Gallery Pavilion 2016”, Dezeen, 2016 <http://www.dezeen.com/2016/06/07/

bjarke-ingels-big-serpentine-gallery-pavilion-london-translucent-blocks-unzipped-wall/> [accessed 9 June 2016]

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