Finaljournal 375684 Vincent Kong Ok

Air.

S t u d i o G r o u p 0 1 - 0 2 T U T O R : D a v i d & M i c h a e l

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECT

Architecture Design Studio: AIR | 2013 SEMESTER 1 | University of Melbourne

ARCHITECTURE AS A DISCOURSE

PARAMETRIC MODELLING

V I N C E N T K O N G3 7 5 6 8 4

SPECIAL THANKS:

DAVID & MICHAEL, TUTORSBRYAN & LISA, AWESOME GROUP MATES

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IntroductIon

iii ABout ME

cAsEs for InnovAtIon

01 ArchItEcturE Is ...

07 coMputAtIon In ArchItEcturE

13 pArAMEtrIc ModEllIng

19 AlgorIthMIc ExplorAtIon

20 conclusIon, lEArnIng oBJEctIvE & outcoME

ExprEssIon of IntErEst

25 dEsIgn focus

27 cAsE studY 1.0

31 cAsE studY 2.0

39 tEchnIQuE dEvElopMEnt

55 tEchnIQuE prototYpE

59 tEchnIQuE proposAl

65 futurE dIrEctIon

66 AlgorIthMIc ExplorAtIon

gAtEwAY proJEct proposAl

67 thE proJEct

69 dEsIgn concEpt, rEthInKIng duAlItY

93 tEctonIc ElEMEnts

97 docuMEntAtIon & fABrIcAtIon

109 tAKIng It furthEr, fEEdBAcK & EvAluAtIon

111 fInAl words, lEArnIng oBJEctIvE & outcoME

AIR | CONTENT

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A B O U T M EBorn and raised in Hong Kong. When I was growing up, I was exposed to large buildings around me and find-ing those buildings looks so similar and they felt soulless and cold. Thats how I thought architecture should be, until I met Melbourne.

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I first encountered computational design in the subject Virtual Environment in first year. Having limited knowledge of the software and different frabrica-tion approach. I felt frustrated and limited by the software. I explored different possible outcomes but in the end I settled with a rather conventional tessela-tion form which I was capable to fabricate.

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1.1 Architecture is...

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Architecture as a mediator

Architecture is art, this idea presents archi-tecture as a form of free artistic expres-sion. In contemporary world, new shapes and expressions are formed based on architects own imagination. While some of them suc-ceed in different ways, some placed excessive focus on formal composition or technologi-cal innovation, it overlooked architecture as a symbol and the deeper connotation behind the symbol, and they hardly give us any sense of the meaning of our world or our own existence. Architecture has come to be a field of technol-ogy which believe itself a form of free artistic expression that fail to connect with human pri-mary sense and feeling2.

People do not exist apart from the world but, rather, are intimately immersed. There is an inseparable unity between people and world. Phenomenological approach examines the kinds of symbols and understandings that give meaning to a particular group or societys way of living and experiencing. The experience is an interaction between our embodied memo-ries and our world. The artistic dimension of art does not lie in the actual physical thing, but the consciousness of the person experi-encing it. In other words, its meaning lies not in its form but the imagery transmitted by the form and the emotional force that they carry through senses. Architecture as a mediator between people and the world should there-

fore exist phenomenologically as a symbol of human existence that linked to our conscience 3. Therefore, the goal is to create a design that manifests itself as a symbol, communicating an idea through sensual experience. It is not a new idea to approach architecture in such way, however we must look at innovative meth-ods to reconnect this link in our contemporary world.

Zucker suggested that to what extent we can achieve combining construction, expression and experience together depends on tech-nological capacity5. As we progress into the Information Age, the capacity has now been driven further, using digital design as a new mean of creation opens up endless possibility to explore further.Constrain by social and economic factor, such aspiration would often be difficult to achieve in a modern day commercialized project. There-fore, this Gateway project is an excellent op-portunity to explore the capability of digital design. The design will aim to submerge the public with sensory experience and more im-portantly as a mean of discourse6, sparking re-flection on how our physical realm ought to be built and in what other ways we can connect architecture with human. Thus, responding to the aim of the project.

1 Richard Williams, Architecture and Visual Culture, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Mat-thew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116.2Juhani Pallasmaa, The Geometry of Feeling in Kate Nesbitt (ed), Theorizing a New Agenda for Architecture (New York: Princeton Architectural Press, 1996), pp. 448-452.3Pallasmaa, pp.448-4524Paul Zucker, The Humanistic Approach to Modern Architecture in The Journal of Aesthetics and Art Criticism Vol 2, No.7

(1942-1943), pp.21-265 Zucker, pp.21-266Patrik Schumacher, Introduction : Architecture as Autopoietic System, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28.

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SEED CATHERAL

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The quote above effectively summarized why this project is chosen. The designs has its own agenda, in other words, a meaning, it sparks visitors self reflection through interacting with our senses. Thomas Heatherwick aimed to design an oa-sis for mind that stands out from its surround-ing, the chaos of stimulus in the colorful expo. He designed the interior to be a contemplative, tranquil space. A space for visitors to think, to reflect. This is achieved by interacting with hu-man senses, the interior is surrounded by sixty-six thousands fiber-optic rods, each containing seeds of a species, symbolizing the seeds of life. These optic rods are designed to respond to external light conditions, so that movements of clouds and changes of light outside are ex-perienced inside as changes in luminosity.

"The aspiration is to try to make something that can be special by itself and isn't about who's designed it as much as it is its own project with its own character." - Thomas Heatherwick

Architect: Thomas HeatherwickLocation: Shanghai World Expo 2010, China

01 Daylight penetrates inside through the optic rods, creates a natural display box for the seed it contains.

02 Sixty-six thousands of optic rods defines the overall shape of the building

03 At night, with little light effect creates this entirely different interior experience.

Image by Daniele Mattioli, source:http://www.archdaily.com/58591/uk-pavil-ion-for-shanghai-world-expo-2010-heather-wick-studio/

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The Bruder Klaus Field Chapel was designed by Swiss architect, Peter Zumthor. It demon-strates how sensory experience is incorporated in architecture. What lies underneath its rigid exterior is a mystical space. Visitor are guided to experience the building as a journey, they ap-proach the building through a walking path that eventually lead to the entrance and brought into the dark, narrow passage. Awaiting at the heart of the building is an inspirational and contem-plative space. The oculus on top of this space allows nature to penetrate to the interior, creat-ing unique experience specific to the weather, season and time, experience that lies beyond the realm of the visible. This marks the project as a true masterpiece.

01 Pathway to the Chapel allows visitors to experience a journey

02 The oculus introduces nature and sur-rounding environment into the building.

03 The narrow entrance continues the jour-ney.

Image by Samuel Ludwig, source:http://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor/

Architect: Peter ZumthorLocation: Mechernich, Germany

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Bruder Klaus Field Chapel

In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction. - Peter Zumthor

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1.2 COMPUTATION IN ARCHITECTURE

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what is computation in Architecture?

Computation in architecture has generated discourse within the building industry, the discussion continue to develop as we move into the Information Age.

Computers are by nature superior in analysis and calculation, in terms of efficiency and ac-curacy. However they complete the process by merely following instructions, they lack any creative abilities or intuition1, incapable of making up new instructions for themselves. Therefore computers should be used only as a tool to aid humans creativity.

Computational Architecture results in a sig-nificant impact to the design process. Digital design processes is characterized by dynam-ic and open-ended form making, achieved through generative computational process based on computational concepts such as topological space, isomorphic surfaces, dy-namic systems2. This opens up new design possibilities, shifting the design process from form making to form finding. This expands the spectrum of both conceivable and achiev-able geometries, creating complex shapes and forms that could not be done otherwise.

Computation in architecture also evolved how design can be communicated. The digital con-tinuum creates a more integrated work flow of design development, analysis and construc-tion. By using the new digital means, not only

generation of complex forms is possible, it also utilizes the design information at different stag-es and allows these designs to be developed, tested, and eventually carried on to become construction information in the physical realm. Therefore, digital architecture presents the op-portunity to synthesise and communicate all stages of the process of creating a building.

It presents a unique opportunity to explores how much further a designer can achieve and how computational architecture can incorpo-rate with other architectural theories.

1 Yehuda E. Kalay, Architectures New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 252 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28.

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AU Office and Exhibition Space

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The old warehouse on site was originally used to store silk and fabrics. Designers used parametric process in designing the external wall of the warehouse. Texture of silk waving in the wind is mapped and defined as design parameters to resemble its history. Concrete blocks are then position and angled based on this definition to cre-ate an interesting texture and light effect.

Computation process is not only used for creating com-plex form. It also controls and enhances how light is transmitted between exterior and interior spaces, hence creating a phenomenological experience.

This project displays how aesthetic, sense-experience and parametric design can be further incorporated in a design.

Architects: Archi Union Architects IncLocation: Jungong Road, Shanghai, China

01 The interesting pattern created mysterios light effect that emits from the inside as well as pen-etrates to the interior.

02 Sited at an old warehouse site, the designers addressed its historical context.

03 The diagram shows the process of mapping the texture through parametric design

Image by Sheng Zhonghai, source:http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/

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The project was completed with Rhino and Grasshop-per. The highlight of this project is it was completed within 6 days, it demonstrates one of the strength of computational design, the effectiveness of having a streamline of process that carry on from design to pro-duction. Despite its elegant form and light effect, one may criti-cize it focused solely on its geometry and tectonic ex-ploration. However, given the project was design and completed within 6 days, it shows how computation can be used as an effective tool in design.

Architects: PROJECTiONELocation: Ball State University, Muncie, Indiana, USA

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01 02 The light emits through the gap between joins and the small opening, creating a beatutiful drop ceiling

03 Unrolling and cutting of panels were done in computer, allowing quick assemble

Image by PROJECTiONE, source:http://www.archdaily.com/125764/exotique-pro-jectione/

12EXOtique

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1.3 Parametric Modeling

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parametric?

Parametric Modeling is a powerful and revolutionary approach to design in the architecture discipline. It transforms the way we approach a design. Parametric modeling is characterized by creating model based on certain parametric inputs in a defined sys-tem. It strongly relies on the relationships and data flows within interdependent components. Hence the task in parametric design is to con-ceive, arrange and edit these relationships. Such approach requires the designer to take a step back to focus on the logic behind the design. However, it can also be seems as a two edged sword.

AdvantagesAs the nature of parametric design is found-ed on the definition of a system, it is in some ways flexible, designers have better control in the design process are able to make chang-es to create a variety of results easily. This is achieved by computer automating routine re-petitive actions or command, processing and documenting large amount of information. Changing an input to the system and the result will automatically update in accordingly. Thus greatly reducing time investment compare to a traditional design method. This process is also known as digital sketching.

DisadvantageAs computer merely follows instructions and program, designing with parametric modeling

requires highly specific instruction. Designers are required to know exactly what they aim to achieve and carefully planned to achieve that. Otherwise it will results in another potential disadvantage, sacrificing designers creativity. Designers might be limited by their technical skill or knowledge of the program, unable to generate desire outcome. Another problem with parametric modeling is the difficulties in maintaining a clear, holistic view of the pro-cess. Due to its dynamic properties, It is dif-ficult to keep track with the on-going changes.

1 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71.

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Shellstar Pavilion

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Shellstar is a parametrically designed lightweight tempo-rary pavilion for an art and design festival in Hong Kong. Utilizing the time saving advantage of parametric model-ing, the process of design, fabrication, and assembly was done within six weeks.

The pavilion is designed to allow visitors to experience movement in space. The concept is based on a spatial vortex where visitors would feel drawn into the pavilion and subsequently drawn back out. The form is based on relationship between anchor points and other parameters, similar to Antonio Guadis method with the strings.

Other than Grasshopper, other software are used in the process to optimize the design for frabrication. This pa-viltion demonstrates how parametric design provides de-signer control over the design as well as the advantage of facilitating the fabrication process.

Architects: MATSYSLocation: Wan Chai, Hong Kong

01 02 The patterned panels created different light effect ar day and night time.

03 The diagram shows how the design evolved from the idea of space vortex through parametric design.

Image by Dennis Lo, source: http://www.contemporist.com/2013/03/04/shellstar-pavilion-by-matsys/

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01 The bench family with different functions can be generated by the sets of DNA.

02, 03 The Urban Adapter draws data of intended site, resulting in a form thatmerge with the environment.

Image by Rocker Lange Architects, source:http://www.dezeen.com/2010/01/08/urban-adapter-by-rocker-lange-archi-tects/http://rocker-lange.com/index.php?/workproductdesign/urban-adapter/

Urban Adapter is an urban furniture design for an exhibition in Hong Kong & Shenzhen Biennale. The project was designed with a parametric model that draws data about the intended site as parameters to generate the form that to react and interact with its en-vironment, which is then constructed from wooden profiles. By using the algorithms of this parametric model (the DNA), the design can transform into a variety of unique furni-ture results.

This project displays how parametric model-ing can produces multiple varying solutions without repeating the whole process of de-sign manually.

Architects: Rocker LangeLocation: Hong Kong & Shenzhen Biennale

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URBAN ADAPTER

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1.4 Algorithmic Exploration

01 Curved Surface + Surfce Tangent + Circle with at-tractor line + List Culling + Extrusion

02 Curved Surface + Voron-noi

03 Curved Surface + Surface Tangent + Image Sample + Extrusion

Combining different elements learnt from online tutorials and other individual re-searches. These three exploration are selected as a summary of technical explo-ration thus far, as well as a starting point for the next stage of the project.Throughtout this process, I have experimented with the dynamic design approach that parametric design offers. These sketches have yet to demonstrate more com-plex design and skills, however, they demonstrates my initial engagement with some of the methods such as attractor and pattern control that might be more applicable to my design approach in next stage.

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In modern world, parametric design has come to play a major role in contempo-rary architectural design and is now considered the digital avant-garde2. Masses of architecture were designed solely on emphasizing the geometry or the tectonic of buildings, which raises issues; what other possibilities lies beneath and should there be more than geometry in a design? Parametric design proposes a unique opportunity to explore and address these issues. We have explored how computa-tion have changed the design process and its unique capacity to articulate com-plex, visually stimulating designs through precedent works. We have also explored how these ideas are expressed in various degrees in some existing projects.

This project aims to explore how parametric design can be further developed by exploring the integration of sensory experiences as an auxiliary element within the design.

Why do so very few modern buildings appeal to our feelings, the buildings of our own time may arouse our curiosity with their daring or inventiveness, but they hardly give us any sense of the meaning of our world or our own existence 1

- Juhani Pallasmaa

1 Juhani Pallasmaa, The Geometry of Feeling in Kate Nesbitt (ed), Theorizing a New Agenda for Architecture (New York: Princeton Architectural Press, 1996), pp. 448-452.2Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28.

1.5 Conclusion

conclusion

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we are living in a time when changes is happening to the design practices. In the past weeks we engaged with the discourse around architectural computing, we researched and evaluated. we were engaged to this community and exposed to what other people are doing in this field. this process has widened my perspec-tive and understanding of design practices in general. realizing there are yet much to explore, it triggered my interest in researching more about computation as well as other theories, should we consider parametricism as a style, or simply a revolutionary approach to other preceding architectural theories. from knowl-edge learnt from past projects, my exploration interest lies within the possibility of using local site data as parameters to design spaces that creates sensory experi-ences.

1.4 Learning Outcomes

Reflection on learning outcomes

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Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71.

Juhani Pallasmaa, The Geometry of Feeling in Kate Nesbitt (ed), Theorizing a New Agenda for Ar-chitecture (New York: Princeton Architectural Press, 1996), pp. 448-452.

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28.

Patrik Schumacher, Introduction : Architecture as Autopoietic System, in The Autopoiesis of Architec-ture (Chichester: J. Wiley, 2011), pp. 1 - 28.

Paul Zucker, The Humanistic Approach to Modern Architecture in The Journal of Aesthetics and Art Criticism Vol 2, No.7 (1942-1943), pp.21-26

Richard Williams, Architecture and Visual Culture, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116.

Yehuda E. Kalay, Architectures New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25

Reference

EXPRESSION OF INTEREST


b r y a n f a nl i s a h u a n gvincentkong

THE TEAM

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2.1 DESIGN FOCUS

the city of wyndham calls for an innovative gateway design that represents wyndham and creates longevity in interest. we believe the architecture discourse lies within the idea of place making. the essence of place making should establish or reflect relationship be-tween architecture and culture of a certain place.the wydnham city is a rapid growing multicul-tural community. As stated in the wyndham city plan 2011 2015, creating the sense of commu-nity is listed as one of their top strategic agenda. By strengthening the sense of community within the local-sphere, they aimed to achieve a more cohesive and non-discriminative community. As it is their prioritized communal value, the idea of creating and promoting a strong sense of com-munity is therefore, critical in order to create a dis-tinct signature of wyndham, marking wyndham as a unique place.A sense of community can be achieved by es-tablishing a sense of membership with a sense of belonging and identification through a shared experience according to McMillan & chaviss re-search on sense of community in 19862. Architecture needs mechanisms that allow it to become connected to culture3. this mechanism refers to user experience generated by form and ornamentation. the user experience they produce can be used as an agent to convey ambiguous idea4 and it depends on complex juxtaposition of

many moments and conditions according to hill5. the concept of juxtaposition can be condensed into the theme of duality, which we believe can be reflected through geometry. It is because the scope of geometry as a parametric design ap-proach allows exploration in the paradox of mate-rializing (giving form and effect) to an immaterial concept (sense of community), creating an long lasting effect with such an ambiguous idea. this long lasting effect sparks discussion and reflec-tion as it is ever-changing and open to inter-pretation due to what hill refers as user giving meaning to an object6. hence, achieving longev-ity in interest as required.

1 Wyndham City Council. (2012). City Plan 2011-2015 (2012-13 Update), pp. 9-122 Chavis, D.M., Hogge, J.H., McMillan, D.W., & Wandersman, A. (1986). Sense of community through Brunswicks lens: A first look. Journal of Community Psychology, 14(1), 24-40. 3 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 4 Hill, Jonathan (2006). Drawing Forth Immaterial Architecture, Architectural Research Quarterly, 10, 1, pp. 51-555 Hill, p. 546 Hill, p. 54

ArchItEcturE culturEforM & ornAMEntsEnsAtIon/AffEctIon

IntEprEtAtIonspAtIAl ExpErIEncE

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2.1 DESIGN FOCUS

SITE: LINK & BOUNDARY

connection between melbourne & Wyndham

point of differentiation of wyndham from the wider local sphere

PHENOMENON: INDIVIDUAL & COMMUNITY

individually experienced phenomenon

collectively mutual & unique

FORM: UNION & DIVISION

cohesive form

spatial separation

geometry

s u r f a c eg e o m e t r y

f o r mg e o m e t r y

duality

i n t e r i o r&e x t e r i o r

t e n s i o n&compression

m u t u a le x p e r i e n c e

J U X T A P O S I T I O N S

c o m m u n a l s i g n a t u r e

wyndham

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2.2 CASE STUDY 1.0GRIDSHELL by MATSYS

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2.2 CASE STUDY 1.0

Image by Mark Cabrinha, source:http://matsysdesign.com/2012/04/13/sg2012-gridshell/

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CAS

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TU

DY 1

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ATR

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A- Basic input exploration with original geodesic def-inition.- pipe & Extrusion

B- Adjusting input curves and their order to cre-ate different geometry through geodisect.

c- Manipulation with the lofted surface.-delaunary, voronoi, pat-tern, point attractor.

undErstAndIng of thE grIdshEll: the girdshell was generated form a process called geodesic of a surface, creat-ing a set of structural system, that represents the form by curves. I started with understanding and focusing on the parameters that drives the form, creating multiple results through manipulating the hierarchy and relationship of different parameters. Eventually I realized they are simply variation of the same direction, therefore I began to shift my focus on other techniques on the form itself.

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d- geodesic on minimal sur-face. - separating two curve sets to create visual illusion.

E- geodesic on minimal sur-face. - rotating strips according to point attractor.

f- Experimentation with lunchbox. panels and frame.

g- details and pattern explo-ration using lunchbox.

ExtEndEd ExplorAtIon: rElAtIonshIp BEtwEEn gEoMEtrY And EffEctI aimed to experiment the potential of associating form with effect, through revising the geodesic technique developed from gridshell. I created my interpretation, as shown in column d & E. I then moved on to ex-plore methods of creating pattern and perforation on a predefined surface shown in column f & g.In both cases, through different data organization and association technique, creating qualities such as visual illusion and light manipulation.

these experiments can be further elaborated with more specific inputs and association (e.g. sunlight) and can be applied in designing complex shading system embedded within form or facade design.

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2.3 CASE STUDY 2.0HEX[igloo]PAVILION by T_A_I

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2.3 CASE STUDY 2.0

Image by Bence Pap, source:http://www.archdaily.com/146764/hexigloo-pavilion-tudor-cosmatu-irina-bog-dan-andrei-radacanu/samsung-digital-camera-11/

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hExigloo was designed by students of a seven day workshop held by tudor cosmatu, Andrei radacau and Irina Bogdan in romania. the pavilion represents the collective effort of 55 students first encounter with parametric design. the final product achieved more than a mere demonstration of skill, it also presents an inter-esting and surprising space for general enjoyment, particularity for children. the design process was based on mapping a hexago-nal grid on the pre-modeled igloo surface typology, extruding the mapped hexagons along the Z axis in order to create a binding surface between the components forming the shell. As the main interest was focused on the interior space, the interior cells were off-setted along Z axis, with a curve attractor, creating the funnel shape interior extrusion. which reveals a moment of surprise as one enters the structure, created by the contrast between the smooth exterior and the complex interior.this very experiential quality ally with our interest in creating a con-trasting effect with a single body to reflect and symbolize the sepa-ration and connection between an individual and the community.

Image by Bence Pap, source:http://www.archdaily.com/146764/hexigloo-pavilion-tudor-cosmatu-irina-bogdan-andrei-radacanu/samsung-digital-camera-11/

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cAsE studY 2.0 rEvErsE EngInEErIng

01. create a surface as the exterior layer

02. transform the surface into hexagonal cell curves us-ing lunchbox plug-in.

03. offset the curves to create smaller hexagons as per-foration.

04. Associate the perforation with point attractor.

05. grafting the list of curves and create the outer layer surface through lofting.

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06. offset the external layer hexagonal cell curves along Z direction to create the internal layer.

07. offset the hexagonal curves of the internal layer along the internal surface as internal perforations.

09. loft hexagonal curves between the external and in-ternal layers to generate a series of funnel shapes.

08. grafting the list of curves and generate the internal layer geometric surface through lofting.

10. control the size of funnels by associating offset dis-tances of step 6 and 7 with another point attractor to create a more dramatic effect.

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constrasting layerssuccessful recreation of shape


convex & concave form (i.e. 2 directions) recreated part of it with simple surface (1 direc-tion)

the mapped hexagons were extruded along the Z axis in order to create a flat, joining surface between the components

no binding surface created through extrusion.

opening based on certain sequence / factors. opening size based on separate attractor points for both layers.

honeycomb created through mapping hexagonal grid on surface.

through making hexagonal panels from surface.

dIffErEncE:

sIMIlArItIEs:

Inputs outputs

surface hexagon

surface perforation

Inner perforation

graftExternal shell

funnel inner side

funnel exter-nal sidegraft

graft

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part of the model were fabri-cated to test its physical ap-pearance and the effect it cre-ates. we consider the reverse engineering process as a suc-cessful case study of the hExi-gloo, while there are yet many differences, we believe we have successfully captured its es-sence in terms of creating con-trasting effect.

one of the major dead-end we arrived in the process of reverse engineering was caused by loft-ing the surface without grafting the data, which transformed the surface into a bunch of fettuc-cine instead.

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2.4 TECHNIQUE DEVELOPMENTcAsE studY 2.0 ElABorAtIon

we began our technique development based on the result of case study 2.0. the hExigloo is created based on the organized relationship and interdependency of a certain shape, using this understanding as a basis, we further explored with the lunchbox plug in. By replacing the hexagons with other types of pan-els, we created various mutations of the hExi-gloo. these outcomes shares similar qualities with their origin and among themselves, there-fore they can be considered as beneficial to our technique development process. however, we were also aware that we were lim-ited to predefined simple geometry and pattern with this approach.

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2.4 TECHNIQUE DEVELOPMENTcAsE studY 2.0 ElABorAtIon

we also attempted to experiment with other potential of the same tech-nique by manipulating the input param-eters. we take the algorithm further by replacing the cell with various types of geometry including voronoi cells, circles and diamond cells in this set of sketches. different unexcepted results were gener-ated in the process caused by different data management. Another issue raised our awareness is we need to consider the nature of different shapes, for example, the circle experiment propose problem of how different components can be con-nected. we also realized this technique requires certain order within the pattern.

seeing this as a bottleneck we consider these results as a distraction. we have approached our development through a depth first approach thus far, which we have arrived to a bottleneck. to over-come this, we decided to extend our scope of exploration and potential op-tions. After revising with our design intent, we decided to diverse our exploration to both pattern and form geometry, shifting to the Breadth first approach as Kalay described.

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pAttErn ExplorAtIon

the voronoi component and a rectangular grid were used as a base to begin our pat-tern exploration. As the nature of voronoi is a self organizing pattern based on a set of grid, it allows us to create endless possibilities of drastically different patterns while maintaining certain order, creating tessellating patterns. this was achieved by controlling data selection using cull pattern and union components.

the result began to change drastically as we apply external forces to the grid points. As the points are rearranged in a unorganized way, the cells adapt itself according to the new points, creating chaotic, undesired results.

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Extended exploration were done by attempting to apply 2d pat-tern on surface. this was achieved by projecting curves onto surface and extrude along Z direction. Al-though they were technically suc-cessful, it failed to achieve the re-sult we wanted, hence we reached another bottleneck.

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we were then inspired by these origami tessellation artwork by goran Konjevod. Instead of ap-plying pattern onto surface, we at-tempted to shifted our focus by ex-ploring how form geometry can be informed by pattern or tessellation instead.

Images by Goran Konjevod, source:http://www.flickr.com/photos/23913057@N05/

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A manual approach was taken in creating the set of origa-mi tesselations experiment. the technique used in the square pattern origami created a dual surface pattern, whereas the tri-angular model is less beneficial as it does not establish a solid form.

the third test is considered as most beneficial, folded from a single piece of paper, its simple pattern informs a more defined shape. which later, inspired us to explore with minimal surface

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forM ExplorAtIon

simultaneously, we began our form finding process specifically for the design project. understanding aim-less digital sketching is not the most efficient way of approaching. we de-cided to take a step back, develop a concept, a general direction which takes the site into our consideration through traditional method, sketching. we then develop them further using rhino and grasshopper. this demon-strated the how design process need not to be confined within same me-dium.

these experiments were successful as a starting point. they were cre-ated by simple lofting and sweeping curves.

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forM ExplorAtIon

Although the previous experi-ments were successful in some ways, however as the sur-face was created through lofting and sweeping curves in rhino, they lack flexibility and unable to response to real time changes, slowing down our form sketching process. therefore, based on the established result from previous exploration, we began to extend our form finding process through Minimal surface plug-in grass-hopper.

having the general concept in mind, we were clear on what we wanted to achieve, therefore we were able to narrow down the scope and generate multiple re-sults quickly.

In the process, I noticed that other than the shape of input curves, the order and directions of curves is another dominating factor of the resulting minimal surface.

By controlling this factor, we ar-rived at a simple yet interesting form (as highlighted) that we would like to further develop its potential.

2 curves Boundary

composite 2 curves Boundary



opposite curve directions - 2 curves Boundary

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4 curves Boundary

4 curves Boundary

composite 4 & 2 curves Boundary

composite 4& 2 curves Boundary

opposite curves directions - 4 curves Boundary

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MInIMAl surfAcE duAlItY

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MInIMAl surfAcE duAlItY

02compress and relaxation

03continuum from interior to exterior

01opposite direction of traffic

this form was selected over others mainly because it reponds to the idea of duality in the following ways:

01 03

02

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to further elaborate our explo-ration with minimal surface, we looked into the weaverbird mesh editor. Mesh is described as a collection of vertices and polygons, which has advantage in terms of fabrication and as-sembly as joints between com-ponents can be created from vertices. hence, by creating the minimal surface as a mesh, it al-lows us to transform this twist-ing surface into a more material-ized form. through manipulating the vertices, edges, frame and panels, we were able to create various ways of representing our form, this was achieved by

swapping hierarchy of different components to create a posi-tive or negative representation of the shape.

this experimentation is not di-rectly beneficial to our design intent as it does not directly con-tribute to core concept of dual-ity. however it covered a tech-nique which can potentially be incorporated and be beneficial in creating details as we devel-ope our design.

MInIMAl surfAcE as MEsh

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01 compression

02 ribbed frame + Membrance tension

2.5 TECHNIQUE PROTOTYPE

Bridge by sergio Musmeci

Minimal surface pavilion by students of univeristy of tokyo

In the process of considering materialization of form, we began with researching on different ap-proached used in precedent projects. we then highlighted four potential ways of actualizing our form.

MInIMAl surfAcE + ? = wYndhAM gAtEwAY

the structural and formal qualities of this bridge is achieved by casting massive concrete into de-sired form. through this approach, it utilizes the material properties, in this case, the concrete, rep-resenting a surface in tension through compres-sion of material. however this method limits the design of opening and perforation as it may inter-rupt its structural stability.

this pavilion was assembled by frabricating a rig-id ribbed frame that holds and pull the membrane in tension to achieve the minial surface. the major drawback of this approach is it is difficult to create perforation on the membrane, as it is subject to constant tension force.

Image source: http://thefunambulist.net/2010/12/23/engineering-basento-viaduct-by-sergio-musmeci/bogdan-andrei-radacanu/sam-sung-digital-camera-11/

Image source:http://obuchi-lab.blogspot.com.au/2011/10/minimal-surface-pavilion_15.html

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03 wire tension

04 Modular connection

2.5 TECHNIQUE PROTOTYPE

Minimal complexity by vlad tenu

Margaret hunt hill Bridge by santiago calatrava

other than fulfilling structural performance, the carefully designed suspended wires creates a unique geometry.

this method was then chosen to test due to it lightness in terms of visual effect, as well as its promising possible structural solution.

the Minimal complexity took a innovative ap-proach to fabricate a minimal surface. By breaking down the complex surface into modular compo-nents, the structure was created through repeat-ing connection of modules. however we were concerned about its possibilities with large scale construction.

Image by Jered E Widmer. source: http://thehiddenlist.com/2012/01/get-lit/#comments

Image by Vlad Tenu, source:http://www.archdaily.com/94612/minimal-complexity-vlad-tenu/

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Mdf ModEl

wIrE ModEl

this model was created by defining the boundary curves, dividing it and con-nect it with lines. the aim of this model was to test the ability of suspension wires to be another mean of form expression rather than merely serving its structur-al function.

reflection:As it relies on tension of linear elements, the elements runs from a point to another along the boundary curves in a linear direction, a supposed curved surface between the boundar-ies is therefore replaced with lin-ear lines. which means the form it generates is not minimized, losing some of the details of our original form. for the same rea-son, we are unable to reflect the concept of duality with pattern

geometry.

this model was developed from our reinterpretation of the idea of ribbed frame + membrane. As we aimed to create pattern and perforation on the surface, we decided to strip away the membrane, at-tempting to express the form and visual effect trough the frame itself, therefore infusing skin within the structure.

this was tested by combining surface with one of the strip pat-tern that we developed earlier. the model was produced by mapping the pattern on a sur-face to create ribs.

reflection:the model was successful in terms of merging structure with skin, it successfully recreated curvature on a surface with el-ements joining to each other to create the effect we excepted.however we were concerned with the potential tectonic prob-lem with structure and joints it raised, as our desired outcome have large span with curves bending in multiple directions with a twist.

TECHNIQUE PROTOTYPE

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TECHNIQUE PROTOTYPE

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2.6 TECHNIQUE PROPOSAL

with both technique pro-totypes failed to achieve our goal for both technological and conceptual reasons. there-fore, as a on-going process, we looked into more precedent. this is the heydar Aliyev cul-tural centre by Zaha hadid, the single large roofing with com-plex form is achieved by using a space frame system, which holds up the system by both tension and compression force within trusses.

we were convinced by the structural performance of the space frame system, believing that would be a legitimate tech-nological approach to realize our base minimal surface form, considering that our structure will have a large span.

Images source: courtesy of zaha hadid architectshttp://www.designboom.com/architecture/zaha-hadid-hey-dar-aliyev-cultural-centre-progress/

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2.6 TECHNIQUE PROPOSAL

In terms of conceptual development, we decided to introduce the element of duality by exposing structural pattern to contrast with variation of panels clad-ding.

the first three image below shows the west Kowloon Masterplan, second stage competition in hong Kong by foster + partners. It demonstrates how panels can be placed on space frame to manipulate effect of light and shadow of the space below. the bottom image shows some of our own exploration with various ways panels can be applied.

the advantage of space frame:- Able to realize a cohesive, continuous form- structural stability to deal with large spanning- Expressive structure: geometrical nature of the truss- flexibility for panel development -surface 2d and 3d module within truss.

potential drawbacks:- limited by the shape of the truss system, desirable experiential effects cre-ated by perforations may be interfered.

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proposed typical ball joints

proposed structural layout

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t e n s i l es u r f a c e

c r e a t ec u r v e b o u n d a r y

d e f i n ea n c h o rp o i n t s

r e b u i l d s u r f a c e structuralise

the digital model was created using grasshopper and lunchbox by following these steps:

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proposed site relationship

series of snapshots showing journey though one side of the road

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_2.7 FUTURE DIRECTION

- focus on designing the experience- how can it be linked to the form- More site specific- Material considerations- consider more innovative and integrated alternatives to space frame system

Based on feedback from mid semester presentation, we set out the following as our future directions:

In search for a more innovative and integrated alternatives to space frame system, we revisited some of the precedent we have re-searched on.

we decided it is worth revising the possibility of introducing modu-larity in our design as shown in Minimal complexity and Boxel. we thought this direction has potential as it allows us to have orna-ment functions as a simultaneous expression of the whole, allow us to further relate structure and experience to form.

In terms of material. we have considered materials such as sheet metal, timber and plastic, we will have to reflects on how material-ity may contribute to our discourse. on the other hand, we are also interested in considering combination of materials that reacts to the environment at different rates, not only to create a visual effect, but also a representation of the concept of air.

our initial attempt to that was done by merging a triangular muta-tion of hExigloo with our rebuild base minimal surface. however, it presents certain unresolved technical issues such as overlapping planes caused by the twist.

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2.8 LEARNING OUTCOMEgroup development:

As a group we were able to develop a concept and carry it throughout the develop-ment process. Even though there were various point where we reaches a bot-tleneck, we were able to make gradual progress by combining different search approach as Kalay 1 described. our devel-opment process evolved from depth first to Breadth first to eventually Best first

personal development:

At the beginning of semes-ter, I had a strong intuition about architecture discourse around bringing itself closer to humanity, it should reflect our relationship with the world and one another, our existence in this world. unfortunately, =I was unable to articulate an argument about that back then. Although I am still unable to clearly see the missing pieces in my head, the process of theo-retical research over the weeks have indeed contributed to building up my understanding of architecture. In the following

weeks, other than continuous development of the group proj-ect, I am also anticipating to re-fine my argument in part 1.

on the other hand, technical and theoretical development of parametric design allows me to gain understanding of the logic of the design as well as the de-sign process. I was able to think logically about how to solved problems in parametric design. for example, by understand-ing how data is managed, I was able to point out the problem we faced with the fettuccine dead end. this also allows me to develop skills to solve some technical problems relating to our design project. for exam-ple, in the process of creating space frame on our twisting sur-face, with understanding of dif-ferent tools and approaches, I was able to develope a way to rebuild the two sides of the sur-face separately while maintain-ing its form.

1 Yehuda E. Kalay, Architectures New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25

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Minimal surface + space frame + kangarooAfter successfully building the Minimal surface with a space frame. I then extended the defi-nition by adding kangaroo com-ponents. I attempted to use the spring force to investigate which truss elements subject to com-pression / tension force, then using the simulation engine to generate alternative forms. this was achieved by establishing the anchor points and control-ling the stiffness of the spring force.

however, this exploration ended as I realized kangaroo does not calculate some structural prop-erties, I was unable to test the contractibility of this design, I then attempted to explore and understand Karamba, which did not result to any beneficial out-come.

2.9 ALGORITHMIC EXPLORATION

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wYndhAM

gEElong

PROJECT PROPOSAL


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MElBournE

our Initial responses:place making landmark

sense of community

the wyndham city western gateway project: Anexciting,eyecatchinginstallation Inspiresandenrichesthemunicipality. The installationwill enhance thephysical environment

through the introductionofavisualartscomponent. Itwill have longevity in its appeal, encouraging on go-ing interest in theWestern Interchange by encourag-ingfurtherreflectionabouttheinstallationbeyondafirstglance.

Provideanentrystatementandarrivalexperience,andbecomeanewidentifierforthemunicipality

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3.1 DESIGN CONCEPTRETHINKING DUALITY

thE sItE, thE clIEnt, thE pEoplE

the group developed the concept of duality in re-sponse to the client _____, the wyndham city coun-cil. one of wyndham city councils core values is to prioritize the people, to enhance the sense of commu-nity within the municipality. As part of the city planning strategic theme , wyndham city aims to enhance its city Image (part 2 section 5.1), in response to this, the project aims to fulfill: ImproveWyndhamsgateways,openspaceareasand

streetscapestoenhancetheaestheticsandamenityforresidents,businessesandvisitors.

Ensure exciting spaces that are welcoming and instilprideinthecommunity.

conceptual framework:the design should establish certain relationship with the site yet distinct itself from its surrounding environ-ment, offering a unique experience to individual that create imagery that can be shared with others as it generates discussion through its bold appearance.

the design should manifest itself as a common sym-bol of wyndham, an identity that the community can be easily recognized for. thus creating a membership effect, a fundamental element in building the sense of community.

It should be a subtle and symbolic representation of the idea of cohesive community by further blending be-tween form, pattern and structure.

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forM EvolutIon:In rElAtIon to sItE

After evaluating on our preliminary pro-posal, we decided to redevelop the form while maintaining certain qualities. Especially the idea that a continuous body that allows the continuum between interior and exterior. In the redevelop-ment process we also aimed to evolve the form in relation to the site. we estab-lished the following:

As a gateway over the highway, It would be informed by the flow of traf-fic and limited by the curvature of the roads.

the design would suggest a linkage binding geelong, wyndham and Mel-bourne, at the same time, a point of differentiation of wyndham from the wider local sphere.

It should be long enough to allow suf-ficient time for user traveling at high speed to experience it.

3.2 REDEVELOPMENT

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the result of the redevelopment process is a tunnel-like form covering both lanes. the tunnel gradually opens up and twist to the other lane, allowing the inte-rior of one side slowing becom-ing the exterior of the other side.

the installation will span 200 meters long, elevate 12 meters above ground level at its highest point. Allowing up to 8 seconds of experience at 100km/h.

200m

12m

12m

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In our preliminary proposal, the pat-terns were in some way alienated. After evaluation, we established that we wanted the pattern to be more than just a decorative element on the structure. the pattern would also symbolize an idea within the conceptual framework shown in the diagram below.

MorE on pAttErn:polYgon As A sYMBol

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structurAl ExprEssIonA stEp froM spAcE frAME

the gorup proposed a space frame system as a technical solution in early stage.we decided to look for a more innovative approach. After some researches and suggestions.

we decided to develop a struc-tural system based on composi-tion of interdependent modules using Bezier span as it offers fur-ther blending between structural expression with pattern and for-mal expression.

the structure itself would create a structural pattern as shown in the diagram on the left. As it is build based on the original pat-tern, this creates a juxtaposition between the original pattern and structural pattern.

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the logic behind Bezier span is based on the lines of poly-gons. during the preliminary de-velopment stage we have been relying mostly on self resolved system such as the lunchBox plug in. while it was very easy to use, we realized this advan-tage became a limitation as well. therefore we searched for differ-ent ways we can pack the sur-face with polygons while grant-ing us more control over it.

In the process we considered using recursive subdivision to divide the surface into mesh ac-cording to the curvature of the surface to achieve a semi-orga-nized. After few exploration, we realized it has a similar problem with lunchbox.

with help of online resources, we eventually arrived at a tech-nique that maps polygons onto

surface. this technique not only allows us to control the number of polygons, it also allows us to map virtually any kind of poly-gons.

the diagram below shows some exploration of testing the Bezier span with voronoi polygons. this experimentation informed us that we can potentially apply the Bezier span on any kind of poly-gons on a surface.

we then tested this on a simple surface as shown in the diagram on the right. here we tested both irregular and regular pattern, with both appeared to be success-ful. we then pushed forward this technique to use it on our form. various types of polygon includ-ing voronoi, custom polygon pat-tern, hexagon and triangles were tested, results shown in following pages.

In sEArch for A nEw tEchnIQuE polYgon pAcKIng

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02. custoM polYgon pAttErn> Based on pattern generated semi-manually> semi regular> complexity> certain repeating pattern> non planar polygons

01. voronoI> Based on random voronoi> Irregular> complexity> no logic> non planar polygons> Interesting but messy

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03. hExAgon> Based on simple hexagonal grid> regular> only dimension variation> non planar polygons

trIAnglE> Based on simple triangular grid> regular> only dimension variation > planar polygons

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whY trIAnglE?structurAl pErforMAncE

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to gain better understanding, we made these mini proto-types to help realizing the deign. we tried using different types of joints including notches and interlocking tabs as a starting point. however found ourselves using mostly paper clips, as it allows rapid modification and re-sults evaluation.

we tested how the location of joints affects the rigidity of the module. It appears that as the joint move towards the centre, it gives more structural rigidity.

we also realized that a triangular module perform better than a po-lygonal module against forces.

this is one of the reasons why we decided to push forward the tri-angular pattern. the image at the bottom shows one of our further exploration of using elements with gradient in depth as a way of optimizing the weight of the structure. we found that although it reduces the weight on top, it loses some strength as the depth reduces.

MInI prototYpEs

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whY trIAnglE?thE fAdIng pAnEls

As a conceptual framework developed earlier in pre-liminary stage, we intent to clad the structure with panels as ornaments to manipulate light and shadow effect of the space below. the simplicity of triangular panels is another major factor. considering the actual feasi-bility, triangular pattern allows us to create planar panels with only dimensional variation

across the structure. the ele-ment of change and variation can be introduced by simply applying a gradient to its size, instead of having a mess with different polygons.

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thE ExpErIEncE

As one approach the gate-way, the contrast between the exterior and its interior re-veals an exciting and eye catch-ing moment that juxtapose with the consistent, dull highway travel experience within a flat surrounding environment

this moment evolves and sub-tly changes along the way as the panels gradually fade out and expose its structure. this gradual changes in panel sizes creates a variation in the nega-tive space between panels,

which filters light into the space, creating an experience defined by speed and light. Marking a unique visual imagery of this place established through this experience.

A video to show the experience is available on http://vimeo.com/67877930

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dEsIgn logIc, psEudo scrIpt

Parameter 2:Number of triangles

Parameter 1:Predefined curves

Trianglur Gridon XY-plane

Srf profile:3 Points Arc

Points along curves

Lofted Surface

Extracted Vertices

Remapped Vertices on

surfaceTranslate points XY value into UV value

Mapped triangles on

surface

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outline the controlinterdependent relationships

result, evaluate size> adjust parameters

Ribs profile

Parameter 4 :Ribs depth

Ribs profile

Parameter 5:Ribs bending degree

Bezier Span

Offset triangular

mesh

Bezier Span

Ribs

Fading triangles B

Planar Panel Set B

Planar Panel Set A

Fading triangles A

Parameter 3 :Splitting number Splitted Set A

Splitted Set B

Scale according to series

Scale according to series

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the further enhance the design to be unique to wyndham and made by wyndham, we decided to express through materiality.

the panels will be made of aluminium, with spe-cial surface treatment, the special chemical treat-ment will allow the aluminum to tarnish over time, evolving with the local wyndham specific environ-ment, sparking longevity in interest

this will enhance the unique visual experience as it changes over time. As the panels are clad on the structure, the replacement of individual pan-els will brings new texture to the design, extend-ing its potential.

MAtErIAlItYMAtErIAl As An IdEA

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3.3 TECTONIC ELEMENT

JoInt ExplorAtIon

developed further from the mini proto-types, we decided to test on the joints between component. Although the tectonic elements were not completely resolved, here we tested the joining of components simulating a bolt joints. In this prototype, the ribs were fab-ricated into ellipses and joint together at its edge, finally the panels were attached with notches.

we also developed a system of tagging the components, at this stage it was done manually with only few panels

reflection:Even though it was not a completely suc-cess, we learnt a few points that contribute to our final model.

we need a more time and cost effective way of joining instead of using many bolts such as welding.

the material we chose for this prototype was not suitable to reflect the realistic per-formance, for example the ribs was too soft to give enough rigidity .

on the bright side, we learnt that the over-all curvature was guaranteed by the cutting angle of the edges.

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constructIon sEQuEncE dIAgrAM

Assemble in groups to form bigger modules

lifted & construct from ground level

Assemble components

transport to site

prefabricate steel ribs parts

prefabricate aluminium

panels

surface treatment

ground work

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1

2

3

prefabricated steel form transported to site

held into places by rods, weld together to form a single component

weld cleat onto ribs, install panels

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S3805

S3804 S3806

F624

A3806S3806

S3805 A3805

S3804 A3804

tAggIng & nEstIng sYstEM

3.4 DOCUMENTATION & FABRICATION

Panels Tagged PanelsTags

Centre point

Prefix

Unrolled Panels

Tags on unrolled panel

Series of numbersList length

Unroll pts with panels

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with the large amount of components, it is neces-sary to develop a logical system for documenta-tion process. the diagram on the left shows the logic behind the automated tagging and unrolling process for panels. A similar system is used for the ribs.

for our model, we decided to fabricate 1/10 of the design in 1:50 scale, we picked the tallest section of the design to show the most of it, which consist 150 panels and 450 ribs.

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fABrIcAtIon procEss

01

08

09

02

07

10

100

01 300gsm black card on card cutter bed02 Manual labeling as the card cutter cannot print text03 call out numbers for assembly04 fabricating individual components05 sorting components according to numbers06 Assemble row by row into bigger modules07 sorted 08 surface treatment on panels09 Installing panels onto modules10 Building from ground level on both side11 complete

03 04

06 05

11

101fInAl ModEl 1:50

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to demonstrate the overall appearance of the design, we decided to produce a 1:500 3d print model. due to technical limitation, we had to split the design into half for 3d printing, then glued together. we also have to unrealistically thicken the panels and ribs. 3d printing takes the following steps:01. convert model into mesh02. thicken the mesh03. voxelization using 3dcoat04. smoothen using Meshlab05. ready to print

3d prIntIng

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3d prInt ModEl 1:500

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3d prInt ModEl 1:500

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TAKING IT FURTHER

our group received feedback mostly concerning the technical details of our design.

It was suggested that the design could be refined through further research in structural engineer-ing and parametric tools to opti-mize the rib structure.

It was also noted the joints could be further developed to enhance structural stability across the whole structure to make it more feasible.

In terms of feasibility, while we have considered limiting the maximum size of our panels in our design for transportation is-sue, here in the diagram on the left, I attempted to take it further by equalizing the length of tri-angle to create as much identical modules as possible. not only an effort to achieve more cost & time efficiency, but also giving struc-tural consistency.

this process takes the Equilat-eralization, spring and lapla-cian smoothing force in Kanga-roo. however, as it attempts to change the length of each lines, it deform drastically and failed. perhaps it would require

FEEDBACK & EVALUATION

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It was also pointed that we need to con-sider the experience at night. Installing additional artificial light on site would involves high cost and we believe it is not necessary for our design. In the image above, we attempted to show how our design generates light effect with the user. As the panels is made of tarnished aluminum, it has a glossy but not reflective finish. As the headlight from the vehicles cast onto the panels, it creates a moment when the light bounces and illuminate the space.

nIght tIME ExpErIEncE

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FINAL WORDS

lEArnIng oBJEctIvE & outcoMEwith all the time and effort spent, I can proudly say that it has been a fruitful semester. studio Air has defi-nitely changed my understanding of parametric design. I feel that I have accomplished most of the learning objectives of this subject.

the subject required us to constant-ly evaluating problems and our own work, which helped me to develop a more critical mind to help visualizing our design.

we were introduced to grasshopper in this subject, I have tried to use it in the past but did not understand it. facing a new software, there were, of course, frustration along the way. I often find myself spending tremen-dous time digging into grasshopper and throwing everything else (includ-ing dinner) behind my mind. none-theless, I have now equipped the basic of this software, I am in fact, beginning to enjoy the fun of grass-hopper, like a little boy in a toy store. the challenges, the plug-ins with funny names and all the unknown potential I have yet to discover. It is a skill I would like to carry on in my future work and study.

In terms of architectural theory, the readings and individual research have introduced me to some excit-ing idea. helping me to articulate my argument and sparks interest in do-ing further researches.

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wYndhAM cItYwEstErn gAtEwAY

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