DESIGN STUDIOAIR

JUN ZHANG396490

CONTENT

CASE FOR INNOVATION 1-14RESEARCH PROJECTS 15-18EXPRESSION OF INTEREST 19-24CRITICAL THINKING 25-26FINAL DESIGN&OUTCOME 27-48LEARNING REFLECTIONS 49-50

BODY PIECEJUN ZHANG

VIRTUAL ENVIRONMENT This is the body piece that I did in Virtual En-vironment during first year. We were tought to use Rhino for this final out come. My idea was to find a way to express the movement of fire in a digital way.

I had used some simple tools such as panel-ling, off set and loft. It the very first time for me to use Rhino for 3D modelling. And since then I realize that computational tools play very essential role in contemporary design. It had shown me the possibility of how different the final products can looked like when taking computational approach.

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MARINE GATEWAY

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KAOHSIUNG TAIWANThe new Kaohsiung Marine Gateway Terminal designed by Asymptote is a new state of the art transportation interchange, an urban destination with both terminal and public facilities includ-ing exhibition and event spaces for the people of Kaohsiung as well as for national and inter-national visitors. The project transforms the site from its industrial roots into a dynamic urban hub and a global gateway that bring a powerful and electric experience to the city 24 hours a day.The curved form of the terminal hall sits deli-cately yet majestically above the large open plaza activated by the flow of people moving back and forth between the harbor and the city. From the city, the terminal forms an urban scaled aperture that frames the harbor and water beyond. The sculpted underside of the floating building pro-vides shelter to the urban space from the strong

sun and seasonal rains while at night it pro-vides dramatic illumination for the ongoing public activities, events and celebrations. The interior of the terminal building provides a spectacular culmination; a soaring verti-cal space naturally lit from above leads up to the large clear span of the terminal hall with sweeping panoramas of the City and the Kaoh-siung skyline on one side and of the Sea, the sky and the horizon on the other. These are experienced within a dramatic space defined by the sophisticated geometry of the curved shell roof and the lightweight sculptural panels suspended below where the geometric pattern of the assembly creates ever-changing spatial and light effects, celebrating the events of both arrival and departure.

In relation to the gate way project, Marine Gateway illustrates a clear image of how parametric facade and lighting system joined and worked together to generate a incredible expression. It gives a inspiration of light using in our preliminary design.

“Designer finds an arrangement of forms, materials, views, orientations, lighting conditions, and other elements that come together into a holistic ensemble, where the parts support one another and have and intrinsic structure of their own.”

Yehuda E. Kalay

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TAIPEI MUSEUMOF CONTEMPORARY ART

BY OTA+

This building proposal for the Taipei Museum of Contemporary Art by OTA+ challenges the traditional definition of a museum and the con-ventional relationship between building and site.

The ground floor of the building is reduced to a nominal footprint, enclosing only enough space for basic services, structure and ticketing functions. Half of the building is coupled with the earth while the other half hovers in the air. The manicured roof plane of the below ground program is pocketed with water absorbing vegetation and catch-ment systems, while the hovering museum above expands to form open atriums, allowing diffuse light to brighten the space and passive airflow to comfortably condition the building. By freeing the ground plane of enclosed semi-public space, the interface between the museum and the site offers a new experience of a museum; one that is open, friendly, and welcoming.

This proposed building gives a discourse of organic float-ing shape, a shape that expand from centre to the air and underneath the groud. Its curved boundary lines gives felling of freedom and endless. And these can be extracted for the gate way project in order to represent the dramatic development of the community by give the gate way design a expanding and endless discourse.

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COMPUTATIONALDESIGN

Hani Rashid Studio

By Barbara Leonardi and Oliver Dibrova

The main inspiration was found in a phenomenon of singing dunes. Hypo-thetically located in Dubai, the project is a hybrid space, with diverse surfaces representing different programmatic conditions. A spiraled structure con-tinues the public space and contains four plugged in hotel-units, which can act independent from each other and are specialized on diverse topics. The final configuration of the building is set upon through an experiment: a plate or drum is forced to vibrate historically with a violin bow or with a speaker. A fine sand or powder is sprinkled on the surface and allowed to settle. It sets at those non-vibrating parts of the surface, namely the nodes of vibration. Using an equation for the zeros of standing wave on square plate, different sound-files are extract-ed and used as input. They’re trans-lated into frequency and amplitude, eventually generating a 3d structure.

“Singing dunes is a phenom-enon found exclusively in desert environments.”

A computational approach to architecture enables the generation of the previously unseen. Forms that can longer be conceived of through traditional methods become possible. New realms open up.

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heng 1- Freedom: Against gravity by floating steam. Gravity is

one of the great obstacles to artistic design of architectural structure, thus there has been deep desire to construct the architecture without giving sense of gravity. In order to present freedom of architecture, the mist floating in the air performs as a new type of materials for the façade. The steam floats surround the cinema hall to represent a new type of façade and actually increase the temperature near the building. The rise of steam from horizon – a view of architectural façade extends to unban collage.

2- The warm sun on the snow: The architectural form is originated from an image of sun. Snow country has thirsts for basking in pleasant sunshine, just like the world of poetry need Alexander Sergeyevich Pushkin to provide and expand its spirit. The façade starts a primitive geometry with a light materiality to reflect the surrounding. And then, the curves cut it and create the pattern of architectural form.

3- The inspiration of color – a symbol of warm temperature: The architectural façade changes the color with temperature. Generally, the façade color is red during the summer. When the tem-perature drops, the color turns to black. Moreover, spouting steam from the new façade to increase the temperature around the building and the color turn to scarlet. The color and steam give people warmth. The stainless with Performance Coating on the façade is able to echo the color when tem-perature becomes different.

The gate way project encourage brave and inpiring ideas. This point out the way of approaching by computational process. Computational power can address processes with a scale and complexity that precludes a manual ap-proach. can generate endless permuta-tions of a scheme.

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GUANGZHOUOPERAHOUSE

Zaha Hadid ArchitectsGuangdong province, China

The Opera House is at the heart of Guangzhou’s cultural development. Its unique twin-boulder design enhances the city by opening it to the Pearl River, unifying the adjacent cultural buildings with the towers of international finance in Guangzhou’s Zhujiang new town. Shaped to resemble two pebbles on the bank of the Pearl River, the building houses a 1,800-seat theatre plus 400-seat multifunctional hall, rehearsal rooms and entrance hall. The main auditorium is lined with moulded panels made from glass-fibre reinforced gypsum to create a folded, flowing surface.

Like pebbles in a stream smoothed by erosion, the Guangzhou Opera House sits in perfect harmony with its riverside location. The design evolved from the concepts of a natural landscape and the fascinating interplay between architecture and nature; engaging with the principles of erosion, geology and topography. Fold lines in this landscape define territories and zones within the Opera House, cutting dramatic interior and exterior canyons for circulation, lobbies and cafes, and allowing natural light to penetrate deep into the build-ing.

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Smooth transitions between disparate elements and dif-ferent levels continue this landscape analogy. Custom moulded glass-fibre reinforced gypsum (GFRC) units have been used for the interior of the auditorium to continue the architectural language of fluidity and seamlessness. The Guangzhou Opera House has been the catalyst for the development of cultural facilities in the city including new museums, library and archive. The Opera House design is the latest realization of Zaha Hadid Architects’ unique exploration of contextual urban relationships, combining the cultural traditions that have shaped Guangzhou’s history, with the ambition and optimism that will create its future.

The Guangzhou Opera illustrates how the designer brought and conbimed the ideas came from local culture, landscape and topogra-phy together in harmony with his own design philosophy. In the gate way project, there is a call of illustrating community culture and in-novation. Possibility of achieving both goals by undertaking computational process was seen from the Guangzhou Opera House Project.

CONTEMPORARY SCRIPTINGPROGRAMING CULTURES

“With scripting, computer programming becomes integral to the digital design process. It provides unique opportunities for innovation, enabling the designer to customise the software around their own predilections and modes of working. It liberates designers by auto-mating many routine aspects and repetitive activities of the design process, freeing them to spend more time on design thinking. Software that is modified through scripting offers a range of speculations that are not pos-sible using the software only as the manufacturers in-tended it to be used. There are also significant economic benefits to automating routines and coupling them with emerging digital fabrication technologies, as time is saved at the front-end and new file-to-factory protocols can be taken advantage of. Most significantly perhaps, scripting as a computing program overlay enables the tool user to become the new tool maker.”

Mark Burry

When we look at the gateway project, it will be located on a site with unique context. These context such as sunpath, lighting condition and wind pattern allows us to customise a unique algorithm through the design process. All the values that feeds the scripting process result in different simulation of the actural design out-come. The whole image of the project would be affected by the change of a exact value by using scripting and programing during design process.

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Arbitrary Points

Boolean Patterning

Curve Intersections

Surface Grids

Arbitrary points uses points and surface and the points on the surface will re-spond and create certain outcomes. As an input, it can produce different effects by using combinations of different asso-ciations and output.

Boolean pattering demonstrate how patterns can emerge out of the selec-tion of points. It selects points based on the boolean patterning to create a di-agonal gap throughout the pattern.

Curve intersection extracts the exist-ing information for points. From these points, they can by controled to interect together and create interesting geom-etries.

Surface grids simply divide a surface into grids of points. After divided into grids, different association and output can be connected to create different desirable outcomes.

Matrix of Combinations

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Explict Grids: Square and Hexagonal

Overlapping Patterns

Surface Normals

Works similar to a surface divide, but square grids make more equal in both directions and the arrangements are in the x and y directions. However, hex-agonal grids provide diagonal arrange-ments.

Overlapping patterns create offsets to the orginal surface and produce a layer on top or above. Overlapping patterns can be used to connect with other as-sociations and outputs to create a dy-namic form of patterns.

Surface normals are surfaces that are free formed instead of flat. It is similar to a flat surface that different associations and output can be connected to pro-duce different outcome. Instead, the outcome on a surface normal is more dynamic and interesting.

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ConceptWe have the concept of fluid motion in the design to indicate the importance of the adjacent wetland. We first draw the shape of a water droplet and try to produce a long and narrow design which flows dy-namically beside the road.

Control Points Curve

Option 1: Image Sampler

Option 2: Pattern Overlay

Option 3: Data Driven Extrusion

Option 4: Data Driven Rotation

Control Points Curve

Lofting

Rebuild surface

Makeing 2D shape

Surface frame is used to divided the sur-face to produce grids of dots. The dots are arranged in different size by the im-age in the image sampler to produce a unique pattern. The outcome is satisfac-tory as the pattern is easily seen.

Inspired by the Dior Ginza facade, we found the overlaying pattern very inter-esting. We tried the pattern overlay with the association of image sampler and wish to produce virtual images. The result is satisfactory and we look forward to it.

Extrusion is made on the dots on the grid. The extrusion follows the association of the image in the image sampler to pro-duce a dynamic wave form.

The dots in the grid begins to rotate away from its original position following the as-sociation of the image in the image sam-pler. Some dots were rotated out of the surfac.

Preparing to loft

Making 3D surface

Modifying the surface

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Refining DesignAfter expermenting with different asso-ciation and output, we have decided to adopt the overlaying pattern associated with image sampler. However, we want to refine the design by playing with the light-ing of the installation.

Second Installation in site A

First Installation in site B

After we have decided on the use of overlapping pattern and image sampler as association, we de-veloped our second installation to respond to our first installation. This second installation uses fluid motion as the core idea as well. To fit into the landscape of site A, it is longer in length and follows the shape of the site boundary to produce a landscaped instal-lation. The second installation is located opposite to the first installation, responding to each other to en-rich the streetscape.

After we have decided on the use of overlapping pat-tern and image sampler as association, we refine our design by exploring the lighting effect in the stallation. We use Data Driven Shading to produce two contrast-ing colour on the inner layer according to the pattern of the image in the image sampler. This contrast in co-lour produce a colour gradient to the installation and produce an more interesting virtual image through the overlapping pattern.

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Fabricating DesignAfter making design decision, we have to materialize the design to further explore the possibility of the design. We fabricate two sheets of polypropene sheet with grids of dots associated with image sampler, with the dots in the inner sheet 30% smaller than the other sheet. We successfully produce virtual images. With the use of different light colour, the colour gradient is clearly seen.

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CRITICAL THINKINGAFTER CRIT

Questions had been raised up during the crit. Since we did not carefully test our design, it turned out to be something that we wouldn’t expected. Relation with the freeway------This is the main issue we found in our design after we received comments. It is very hard for drivers who passing by our design to experience what we wanted to create. A better option is to reform our design into a tunnel. However, budget should be considered carefully here.

Lighting resource------Our design suppose to take the benefits of natural light during the day and artificial light during the night. However, we didn’t work out what material should be use for the surface in order to have those effects that we expected.

Landscape and topography------In our prilimi-nary design, we treated the site as a flat ground, however, it is a site with slightly slope. Hence, our design would not fit into the local land-scape as we thought.

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THE SITEIN THE EOI, WE DID NOT CONSIDER THE SITE THROUGH-LY AND IT RUESULTED IN LITTLE MISUNDERSTANDING. HENCE, WE DICIDED TO REFINE OUR SITE ANALYSIS.

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RELATIONSHIP BETWEEEN THE SITE AND URBANIZED AREAS

CONNECTION BETWEEN THE SITE AND MELBOURNE CITY

COMMUNICATIONS THROUGH RURAL AREA; OUTER&INNER SUBURB AND CITY

RELATIONSHIP BETWEEN THE SITE AND GREEN RESERVES

RELATIONSHIP BETWEEN THE SITE AND WATER ELEMENT

REFINE THE SITE

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THE THREE EXPERIENCESRATHER THAN JUST TO HAVE OUR DESIGN LIKE TUNNELS THAT EXIST EVERYWHERE, WE COME UP WITH AND IDEA OF THERE EXPERIENCES. THIS WOULD ALLOW PEOPLE TO HAVE TOTALLY DIFFERENT FEELINGS WHEN PASSING BY THROUGH DIFFERENCE PATH. AND OUR FURTHER DEVELOPMENT WILL BE BASE ON THESE EXPERIENCE.

WATERSPOUTWAVE

LANDSCAPE

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DESIGN PROCESS DIAGRAM

THE THREE EXPERIENCE

SHAPE TRANSFER

LAYER OFFSET

GEOMETRY

FIRSTLY, WE SPECIFIED EACH EXPERI-ENCE INTO THREE DIFFERENT ROADS

SECONDLY, WE SHAPED OUR TUNNEL INTO THE FORM THAT CAN CREATE THESE EXPERIENCES.

THIRDLY, WE TOOK THE IDEA OF DOUBLE LAYER FROM OUR EOI RE-SEARCH AND PUT IT INTO OUR NEW DESIGN

FINALLY, WE TEST DIFFERENT GEOMETRY FOR THE TWO LAYERS AND WORKED OUT THE BEST ONE

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MATERIALS&STRUCTURE

WE’VE CHOSEN POLYCARBONATE AS OUR PANELS MATERIAL. IT HAS ADVAN-TAGES OF LIGHT, CHEAP AND ABILITY TO FIT IN ALL WEATHER CONDITIONS. CARBON STEEL WAS CHOSEN AS FRAME MATERIAL BECAUSE ITS STIFFNESS AND LOW COST.

THE STRUCTURE OF THE TUNNEL WOULD BE COMBINATION OF TWO SETS OF LAYERS WHICH DEFINED AS EXTERIOR AND INTERIOR SURFACE OF THE TUNNEL AND TWO SETS OF FRAME SITTING IN THE MIDDLE WHICH ARE JOINED TOGETHER WITH STEEL ELE-MENTS. THE STABILITY OF FRAMES IS INCREASED BY BINDING THEM AS A TRUSS AND PLACE IT ON A CONCRETE PAD FOOTING.

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ELEVATIONS

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PERSPECTIVES39 40

SITE MAPTHIS IS HOW OUR FINAL DESIGN SITS ON THE SITE. WHEN TRAVELLING FROM CITY TOWARDS GEELONG THROUGH M1, PEOPLE WOULD EXPERIENCE THE CRACK AND WAVE SHAPE. WHEN HEADING TOWARDS WERRIBEE, THEY WOULD ENTER THE TUNNEL AND EX-PERIENCE THE WATERSPOUT. THEN, WHEN TRAVELLING THROUGH THE OTHER TWO ROADS, THEY WOULD SEE THE WHOLE DE-SIGN MERGE WITH THE LANDSCAPE.

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CRITICAL THINKING AFTER WE HAD RECEIVE COMMENTS FROM THE FINAL CRIT, THE MAIN ISSUE THAT WE SHOULD BE WORKING AT TURNED OUT TO BE THE LOCATION AND ORIENTATION OF THE TUNNEL.

FOR THE LOCATION ISSUE, OUR DESIGN SEEMS TOO FAR FROM THE THREE ROADS ON THE SIDE. THIS COULD RESULT IN A FAILURE OF THE EXPERIENCE THAT WE WANT TO CREATE ON THE SIDE. THE SO-LUTION WOULD BE MOVING THE TUNNEL TOWARDS SOUTH -WEST TO DECREASE THE DISTANCE TO SIDE ROADS (THE NEW LOCATION INDICATES BY THE CIRCLE ON SITE MAP).

IN OUR PROPOSED ORIENTATION, PEOPLE WOULD ENTER THE TUN-NEL FROM ITS SMALLER SIDE. THIS CREATES AN EXPERIENCE OF EXTENTION. HOWEVER, AN EXPERIENCE OF SHRINKAGE MIGHT BE MORE SIGNIFICANT. HENCE, WE COULD TURN THE TUNNEL AROUND AND MAKE PEOPLE ENTER FROM THE BIGGER SIDE.

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LEARNING OBJECTIVES AND OUTCOMES

BEFORE THIS STUDIO, PARAMETRIC DE-SIGN IS SOMETHING THAT CONSIDERED IMPOSSIBLE FOR ME. I AM NOT THAT KIND OF COMPUTER GUY THAT DO VERY THIN IN COMPUTER. HOWEVER, I KNOW THAT PARAMETRIC DESIGN CAN DO COOL THINGS AND USUALLY TURN OUT TO BE AN AMAZING DESIGN. I’VE SEEN THAT MANY TIMES IN END OF SEMESTER EXIBI-TIONS.

THIS STUDIO WAS MY FIRST EXPERIENCE TO TAKE PARAMETRIC PROCESS IN THE DESIGN. IT REALLY PUSH ME TO LEARN SOFTWARES AND USE COMPUTER AS A DESIGN TOOL.

IN THE BEGINNIGN OF THE SEMESTER, WHEN I WAS ASKED WHAT SOFTWARES CAN I USE. I CAN ONLY SAY A FEW AND TOTALLY HAVE NO IDEA ABOUT WHAT IS GRASSHOPPER AND INDESIGN.

THE FIRST FEW WEEKS WERE REALLY TOUGH FOR ME BACAUSE I WAS STRUG-GLING TO CATCH UP THE PROCESS IN LEARNING GRASSHOPPER ONLINE AND I SPENT TONS OF TIME IN DOING EVERY WEEK’S TASKS. THIS REALLY FORCE ME TO PUSH MYSELF BEYONG THE THRESHOLD AND CHALLENGING.

THEN, AFTER THAT, THINGS BECAME

MORE INTERESTING WHEN I GET FAMIL-IAR WITH USING GRASSHOPPER AND HAD A BETTER UNDERSTANDING OF WHAT COMPUTATIONAL DESIGN IS. IT WASN’T SOMETHING THAT CREATE DIFFERENT OUTCOMES, BUT ACTUALLY OPEN MY MIND AND INSPIRATION JUST CAME WHEN YOU SIT THERE AND PLAY WITH THE SOFTWARE. AND THIS ENCOURAGE ME TO DO SOME DESIGN THAT I HAD NEVER DONE BEFORE. WHAT’S MORE IN-DESIGN WAS ANOTHER HANDY SOFTWARE FOR PRESENTATIONS.

AT LAST, WORK AS A GROUP WAS A REALLY EFFICIENT WAY OF PRODUCING DESIGN.

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