Air journal part b

STUDIO AIR

TING YU LIN 2015

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CONTENTS

INTRODUCTION 3-4

PART A. COMCEPTUALIZATION

A.0 DESIGN FUTURING 5-10

A.1 DESIGN COMPUTATION 12-16

A.2 COMPOSITION/GENERATION 18-22 A.3 CONCLUSION 23

A.4 LEARNING OUTCOMES 24

A.5 ALGORITHMIC SKETCHES 25

REFERENCE 26-27

PART B. CRITERIA DESIGN

B.1 RESEARCH FIELD

B.2 CASE STUDY 1.0

B.3 CASE STUDY 2.0

B.4 TECHNIQUE: DEVELOPMENT

B.5 TECHNIQUE: PROTOTYPE

B.6 TECHNIQUE: PROPOSAL

B.7 LEARNING OBJECTIVES AS OUTCOMES

B.8 ALGORITHMIC SKETCHBOOK

REFERECE 2

INTRODUCTION

My name is Ting yu Lin and my friends call me Sophie. I’m from Taiwan and I’ve lived in Melbourne for three years. I’ve met some people who happens to have the same English name as me, just like the other Sophie in our tutorial, and it’s con-fusing when our common friends call our names. So we’ve decided to have nick-names, I call her Soso and I named myself Socute. We tried and it’s hilarious when they call my nickname in public, I just love being called Socute.

I have interests in things like singing, watch-ing movies, traveling, drawing and cook-ing. What made me decide to choose ar-chitecture as a major is that we live and work in buildings every day, buildings can affect so much in our daily life. A good building gives convenience, comfort, nice atmosphere and positive energy.

I’ve done designing studio Earth and Wa-ter, and I’ve learned rhino, autocad, pho-toshop, indesign and illustrator through-out the process.

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This is a lantern I made in a first year subject, Virtual Environments, which

rhino was first introduced to me. This project required us to analyze a pat-tern and find the relationships in the arrangement of it, we need to ana-lyze how the structure is formed and what is important and can be used in your design. It is when I was exposed to computation and digital design, I was able to experiment on the digital models and be fascinated by the out-comes beyond my original thoughts. We also learned some basic fabrica-tion techniques through grasshopper to make our design printable. Not only did I learn about digital design, but also graphic design. The layout of your design is important as well, nice visual presentation attracts people to get interested to your project.

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This was a great challenge for me to absorb so many knowledge and to put them into practice. Although there were lots of frustrating times in the pro-cess of making this project, I was really proud of myself being able to put so much effort in it and eventually made a good design. The experience I’ve learned from this subject helped me in the following design studios, I was able to apply the skills I learned onto other designs and explore further.

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PART A

CONCEPTUALIZATION

A.0 DESIGN FUTURING

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Vancouver Convention Centre West (VCCW) is designed by LMN archi-

tects of Seattle, it has 12,400 m² of space including exhibiton hall, 20 meeting rooms and a ballroom, and it was the main press centre for the 2010 Winter Olympics.

VCCW was built in 2009, it locates ate the intersection of Vancouver’s downtown and adjacent ecosystems. Jeremy Mur-phy, the co-director of Sustainable Solu-tion Group, stated that “Our strategy was to generate a sense of investment in all members of the design team—engineers, contractors and architects—in reaching our sustainability targets.”1 It is designed to protect and engaged environmental in-terface: landscape, marine and human. An artificial marine habitat skirt preserves salmon migration routes, and roof angles follow view corridors to the harbour from downtown streets.2 Meeting rooms take advantage of daylight and open onto city and waterfront vistas. Local glass and wood used in construction support the lo-cal economy, encouraging growth in the sustainable building products sector.

The most important part of the building is its building envelope, especially the living roof. The roof features 20 species of indig-enous flora pollinated by local bee and provides a nesting habitat for migratory and resident birds, this creates a sustain-able system for the local environments. In addition, in the water conservation plans, rainwater is and collected for reuse rath-er than being discharged into sewage system, this function of “living roof” is the fundamental resource for the creation of green space.

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The benefits of the dedication towards sustainable systems can be seen here: The Centre recycles an average of 180,000 kilograms of materials annually, nearly half of the total volume of waste generated. All wastewater generated In the building is treated and recycled for reuse which can save over $21,000 per month.3 The site of the expansion is a for-mer marine and rail industrial area, most of which was covered in impervious sur-faces and contaminated. The decrease in site impervious surfaces is almost 30%, mitigating total suspended solids and phosphorus content from stormwater and reducing the site’s heat island con-tribution.4

This building contributes to the idea of sustainable development, just as Fry indi-cates in the reading, a design of future should not be sacrificing ecological sys-tems but to design for a long term har-mony with nature.5 These sustainable ap-proaches put VCCW on the list of 2011 top ten green projects by The American Institute of Architects.6 It is also certificat-ed as the highest level platinum rating by the Leadership in Energy and Environ-ment Design.7

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My second precedent is the Jellyfish Barge, it is a floating house designed by an Italian

firm, Studiomobile.8 The world Bank predicts that the world population will grow to almost 10 bil-lion in the next four decades, by 2050, the global demand for food is expected to be 60-70% high-er than today.9 Agriculture is the human activity that relies most on the existing water resources. The scarcity of arable land and fresh water for agriculture is being exacerbated by changes in the climate, exposing many areas to increased risks and contribute to make them even more vulnerable to the problem of water and food se-curity. The rising sea level, for example, contrib-utes to flooding of extensive areas of fertile land with salt water.

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float house is created to support population growth in the future, it can produce considerable improve-ment in water and food security of coastal commu-nities. Jellyfish Barge is an eco-friendly module for crop cultivation that doesn’t rely on soil, fresh water and chemical energy consumption. It is a floating agricultural greenhouse, able to purify salt, brackish or polluted water using only renewable energy such as solar, wind and tidal waves. The structure of the green house is built with low-cost technologies and simple materials, it is framed in wood, light weight and can easily be pushed by waves. The system allows people in the community to sustainably cul-tivate crops and food. It also provides a gathering space for people in the community to interact with one another, harvest local fruits and vegetables.

In my opinion, this design can answer the question by Fry “How can a future actually be secured by de-sign? ”10 The sustainable idea from this float house signifies a changing in thinking that we start to think for future generations. In the reading of Speculative Everything, it points out that many of the problems nowadays are unfixable, and the only way to over-come them is by changing our values, attitudes and behavior.11 I think design futuring is supposed to meet the needs and doing benefits to human beings.

Although this is a small scale design, it enlightens people on being aware of the present problems and contributes a positive approach to solve it in the future. The possibility of the float house can be expanded to a greater scale project, with growing number of people using the design will actually result in a different future.

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A.1 DESIGN COMPUTATION

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This requires advanced computing for the continuous control and communication of these complexities among the numer-ous project participants. Computation in this project is significant, this can be seen in the framing system which was devel-oped to incorporate a flexible relationship between the rigid grid, and also enables the building to have a free-form structure. Computation saved time throughout the construction process due to rationalizing the complex geometry in digital model-ing.

In the readings, Oxman points out the idea of digital chain in conception, gen-eration and material production.14 From my perspective, computation links every aspects in a design process together. A design leads digital modeling and vice versa, computation is able to explore further than the original design attempt, and thus broaden the possibilities of out-comes.

This precedence is Heydar Aliyev Center located in Baku, Azerbai-

jan by Zaha Hadid. The center was asked to design for the nation’s pri-mary building cultural programs, and to show break from the rigid and monumental former Soviet so-ciety.12 The design concept of the building is to establish a continuous, fluid relationship between its sur-rounding plaza and the building’s interior. The ground floor surface is designed to define a sequence of event spaces, and with an equal access to all areas.

In order to achieve the fluid ar-chitectural landscape, formations such as undulating, folds and in-flections composite functional spaces. With this form, the building blurs the conventional differecia-tion between architectural object and urban landscape, building en-velope and urban plaza, figure and ground, interior and exterior.13

From my previous experience in dig-ital modeling, making a fluid struc-ture is challenging because the nu-merous vectors involved in creating a surface is hard to control. One of the most challenging elements of

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“I tried to create something melt-ing into the green”- Sou Fujimo-

to.15

Serpentine Gallery Pavilion by Sou Fujimoto was built on the lawn

outside the Serpentine Gallery. Fu-jimoto’s design was inspired by the natural greenery of the garden, and he tried to design a structure that fits into the surroundings.

Fujimoto mentioned that he want-ed to combine inside and outside space within the structure, and he put the emphasis on transparency which allows users to see through the nature from inside the pavilion. He was fascinated by the contrast of sharp, artificial white grids and the organic, formless experience.The pavilion comprises a three-di-mensional steel grid of white poles that ascend upwards to form lay-ered terraces, with circles of trans-parent polycarbonate inserted to shelter from rain and reflect sun-light.16 The structure is broken to allow people access as well as to generate different uses around, below and upon it.

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This irregular geometry of the pavil-ion is made of fine grids, creating strong system that can be expand to become a large cloud shape. This displays a combination of strict order with softness. A simple cube, sized to the human body, is re-peated to build a form that exists between the organic and the ab-stract, to create an ambiguous, soft-edged structure that will blur the boundaries between interior and exterior.

In the design process of any proj-ects in recent times, computational mechanisms has been widely used for the exploration of design sys-tem. This practice is attempting to address issues by using new tech-niques and methods. The benefits of using computers in the pavilion design process can be seen in the use of cube structures. Through computation, the cubes can be created repeatedly and over-lapped on top of another, and by using the cubes to shape geometry in order to achieve the desire out-come of the designer.

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A.2 COMPOSITION / GENERATION

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The NonLin/Lin pavilion is a prototype which engages in a series of architectural experiments referred to as text based morphologies. Beyond its visual perception of sculptural and formal qualities, the pro-totypes are built forms developed through custom computational protocols. The parameters of these protocols are based on form finding, composition of developable linear elements, information model-ing, distributed networks, and digital fabrication.18

Computation marks a significant improvement between the designing approaches in previous times, it allows designers to be able to be more precise of drawings and digital modeling, it is also easier for them to make changes on the computer.19 With the aid of computation, designers can go beyond their abilities to deal with complex situations and generate unexpected results. Algorithms are the language instructions between users and the computer, we have to be able to generate the code in order to modify and explore a new outcome. Computation helps to connect the virtual design with the physical model, the output of any modification can be seen immediately and clearly. This helps reduce mistakes and the gap between real work and imagination for complex design like the NonLin/Lin Pavilion.

The NonLin/ Lin Pavilion is designed by a French architect Marc Fornes, it is a perforated aluminium project that looks like a giant piece of coral. The pavilion has a computer generated form com-

posed of tubes and donut shapes. Assembled from 27 components, the four metre high structure can be taken apart and reassembled in different locations.17 This design relies on computation to generate over 155,000 asterisk- shaped perforations that comes in different sizes, which creates a pattern on the surface of the pavilion.

The NonLin/Lin pavilion is a prototype which engages in a series of architectural experiments referred to as text based morphologies. Beyond its visual perception of sculptural and formal qualities, the pro-totypes are built forms developed through custom computational protocols. The parameters of these protocols are based on form finding, composition of developable linear elements, information model-ing, distributed networks, and digital fabrication.18

Computation marks a significant improvement between the designing approaches in previous times, it allows designers to be able to be more precise of drawings and digital modeling, it is also easier for them to make changes on the computer.19 With the aid of computation, designers can go beyond their abilities to deal with complex situations and generate unexpected results. Algorithms are the language instructions between users and the computer, we have to be able to generate the code in order to modify and explore a new outcome. Computation helps to connect the virtual design with the physical model, the output of any modification can be seen immediately and clearly. This helps reduce mistakes and the gap between real work and imagination for complex design like the NonLin/Lin Pavilion.

The NonLin/ Lin Pavilion is designed by a French architect Marc Fornes, it is a perforated aluminium project that looks like a giant piece of coral. The pavilion has a computer generated form com-

posed of tubes and donut shapes. Assembled from 27 components, the four metre high structure can be taken apart and reassembled in different locations.17 This design relies on computation to generate over 155,000 asterisk- shaped perforations that comes in different sizes, which creates a pattern on the surface of the pavilion.

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This projects discusses a mode of responsive archi-

tecture based on the com-bination of material inherent behavior and computational formations. The project em-ploys design strategies of phys-ically programming a material system, which produced the surface with a unique spatial experience. what interests me is the discuss of dimentional lin-stability of wood in relation to mosit content, mere fluctua-tions in relative humidity trigger the changes of material-innate movement, which means that the material itself is the ma-chine.

Computation is in the principle of information, in this project, the design methodology of material computation is intro-duced as a form of investiga-tion on the physical model. Ar-chitectural systems commonly seek for clear definition of ele-ments, however in this design, what forms the structure itself is closely engaged with the ma-terial. A computation design focuses more on a chain rela-tion rather than sigular units. 21

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CONCLUSION

Architecture has always been a presentation of what people

think and what is valued at the gen-eration. It means so much more than a structure or a built form, it is more than a place you work and live in. It is a reflection of economic, culture and society in time. We are now in a digital age that advanced compu-tation has rooted in the field of archi-tecture design. There is an increasing importance in computer design, not only because of its accuracy and fast documentation in projects, but its progress in moving towards paramet-ric design and algorithmic sketching. This creates a new way of thinking in forms and geometry. Although there has been arguments about com-putation design is not a real form of design, I believe in the benefits that computation brings to us and how the unexpected possibilities are go-ing to surprise me.

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A.4 LEARNING OUTCOME

In the first three weeks of working on studio Air, there were a lot things go-

ing on every week. The workload is heavy and intense, I am still adjusting my pace. Despite this, it has been a joyful process of learning. Studying algorithmic design through learning Grasshopper, readings and analyzing precedents has broaden my knowl-edge. The thinking of parametric de-sign also opened a new field to me. Through learning from the lecture and readings, I began to realize the logic and how it digital design works, and be enlightened that a thought and at-titude can make significant influence to the future. Through studying prece-dents, I was acknowledged that good architectural design really helps the environment to get better. The learn-ing so far made me realized that I still have a long way to go in architecture, it is so deep and involves knowledge from all kinds of fields, and I am just about to begin.

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In the process of learning Grasshopper, it is inter-esting to see the number variations result in dif-ferent outputs. From the readings, I was surprised to know that computation is under a principle of mathematic. Each control point that can be moved and changed by us is a precise mathe-matic equation written by engineers. After know-ing the basics of how algorith-mic sketch works, I feel more understandable of the function of number slides and the codes. it is really interesting to see the forms created by changing the vec-tors. this is a series of variation of a sphere i made, the shapes just popped out unexpectedly. i was suprisedand amazed by it.

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A . 5 A L G O R I T H M I C S K E T C H E S

R E F E R E N C E

FIGURES

1.Halifax.mediacoop.ca, ‘Nova Scotia Consulting Co-Op Lands Canadian Project On International Top Green Buildings List’, 2015 <http://halifax.mediacoop.ca/newsrelease/7159> [accessed 19 March 2015]

2. ’Vancouver Convention Centre » Jack Poole Plaza’, 2015 <http://www.vancouverconventioncentre.com/jack-poole-plaza/> [accessed 19 March 2015]

3-6. iGNANT, ‘Floating Greenhouse By Studiomo-bile’, 2015 <http://www.ignant.de/2014/12/18/float-ing-greenhouse-by-studiomobile/> [accessed 19 March 2015]

7-9.Voyatzis, Costas, ‘The Heydar Aliyev Center By Zaha Hadid Architects In Baku, Azerbaijan | Yatzer’, Yatzer.com, 2015 <http://www.yatzer.com/heydar-ali-yev-center-baku-azerbaijan-zaha-hadid-architects> [accessed 19 March 2015]

10-12. Dezeen.com, 2015 <http://www.dezeen.com/2013/09/29/i-tried-to-create-something-between-architecture-and-nature-sou-fujimoto-on-serpentine-gallery-pavilion-2013/> [accessed 19 March 2015]

13-15. Dezeen, ‘Nonlin/Lin Pavilion By Marc Fornes/ And The Very Many’, 2011 <http://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/> [accessed 19 March 2015]

16.Evolo.us, ‘Digital & Parametric Architecture - Evolo | Architecture Magazine’, 2014 <http://www.evolo.us/magazine/digital-parametric-architecture/> [ac-cessed 20 March 2015]

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1. Halifax.mediacoop.ca, ‘Nova Scotia Consulting Co-Op Lands Canadian Project On International Top Green Buildings List’, 2015 <http://halifax.mediacoop.ca/news-release/7159> [accessed 19 March 2015]

2. AIA Seattle, ‘What makes it green?’ , 2015 <http://wmig.aiaseattle.org/node/123> [accessed 19 March 2015]



5. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16


7. Sustain.ucla.edu, ‘What Is Sustainability? | UCLA Sus-tainability’, 2015 <http://www.sustain.ucla.edu/about-us/what-is-sustainability/> [accessed 19 March 2015]

8. iGNANT, ‘Floating Greenhouse By Studiomobile’, 2015 <http://www.ignant.de/2014/12/18/floating-green-house-by-studiomobile/> [accessed 19 March 2015]

9.Studiomobile.org, ‘Studiomobile’, 2014 <http://www.stu-diomobile.org/Jellyfish-Barge> [accessed 19 March 2015]


2. AIA Seattle, ‘What makes it green?’ , 2015 <http://wmig.aiaseattle.org/node/123> [accessed 19 March 2015]





7. Sustain.ucla.edu, ‘What Is Sustainability? | UCLA Sus-tainability’, 2015 <http://www.sustain.ucla.edu/about-us/what-is-sustainability/> [accessed 19 March 2015]

8. iGNANT, ‘Floating Greenhouse By Studiomobile’, 2015 <http://www.ignant.de/2014/12/18/floating-green-house-by-studiomobile/> [accessed 19 March 2015]

9.Studiomobile.org, ‘Studiomobile’, 2014 <http://www.stu-diomobile.org/Jellyfish-Barge> [accessed 19 March 2015]

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11. Dunne, Anthony & Raby, Fiona (2013) Speculative Every-thing: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

12. Voyatzis, Costas, ‘The Heydar Aliyev Center By Zaha Had-id Architects In Baku, Azerbaijan | Yatzer’, Yatzer.com, 2015 <http://www.yatzer.com/heydar-aliyev-center-baku-azerbai-jan-zaha-hadid-architects> [accessed 19 March 2015]

13. Voyatzis, Costas, ‘The Heydar Aliyev Center By Zaha Had-id Architects In Baku, Azerbaijan | Yatzer’, Yatzer.com, 2015 <http://www.yatzer.com/heydar-aliyev-center-baku-azerbai-jan-zaha-hadid-architects> [accessed 19 March 2015]

14.Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

15.Dezeen.com, 2015 <http://www.dezeen.com/2013/09/29/i-tried-to-create-something-between-architecture-and-nature-sou-fujimoto-on-serpentine-gallery-pavilion-2013/> [accessed 19 March 2015]

16. Dezeen.com, 2015 <http://www.dezeen.com/2013/09/29/i-tried-to-create-something-between-architecture-and-nature-sou-fujimoto-on-serpentine-gallery-pavilion-2013/> [accessed 19 March 2015]

17. Dezeen, ‘Nonlin/Lin Pavilion By Marc Fornes/ And The Very Many’, 2011 <http://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/> [accessed 19 March 2015]

18.Dezeen, ‘Nonlin/Lin Pavilion By Marc Fornes/ And The Very Many’, 2011 <http://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/> [accessed 19 March 2015]

19. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

20. Evolo.us, ‘Digital & Parametric Architecture - Evolo | Archi-tecture Magazine’, 2014 <http://www.evolo.us/magazine/digi-tal-parametric-architecture/> [accessed 20 March 2015]

21. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

PART B

CRITERIA DESIGN

Biomimicry is an innovative approach that tries to achieve sustainability and to solve human problems by emulating nature’s pattern and strategies. The pur-pose is to create designs and processes that are extract from the nature, which are well adapted to life on earth for a long time over natural selection. The main idea is that nature already solved many challenges that we are facing in its own system. There are rules that lie un-der the living pattern in animals, plants, and organism, and biomimicry is to develop these secrets behind the nature and apply it to solve the problems in hu-man world. Biomimicry has inspired the development of new technologies, and it has influenced greatly in many fields.

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B.1 RESEARCH FIELD: BIOMIMICRY

have chosen biomimicry as my field research because of the variety and abundance that I can adapt from na-ture is unlimited and inspiration can surprisingly be taken from anywhere. This gives me the ability to approximate complex forms that is taken from nature and develop further more.

B.1 RESEARCH FIELD: BIOMIMICRY

Computation design has revitalized an interest in in biomimiciry by providing us a ways to easily explore and incorporate it into our design where traditional ways were difficult to achieve the organic forms. Computation has saved time and labor, any changes that made to mod-ify the design can be seen immediate-ly. Digital technology now extends the possibility for us to explore the form with greater variety at relative ease.

Biomimicry is becoming increasingly relevant to building as architects are striving to push the limits of complex form in design. It is a concept of how to connect architecture with nature and incorporate the design in its surroundings. This involves the think-ing of reaching sustainability and environmental friendly results. The use of material and people’s interac-tion between nature and the design comes into consideration.

B.2 CASE STUDY 1.0 : SPANISH PAVILION

Spanish Pavilion is a project designed by foreign Office Archi-tects in the Architecture exhibition in Japan in 2005. The Pavilion aims to represent Spain in Gothic and Islamic culture through-out history. The building is organized with a large central area and seven smaller area connected with it, each of them has a specific function. The plan layout is similar to the spatial arrange-ment of a chapel. The creative process of this building combines a selection of architectural elements of Spanish culture. The building envelope is composed by continuous vaulted space that creates a vaulted bubble, which represents the ornate gothic vaults and Islamic domes. The exterior is a non-repetitive fluid pattern formed by hexagonal base, the most decorative element in Gothic and Islamic art. The colors of the hexagonal is mainly red and yellow, which are the color of the Spanish flag symbolizing wine, blood and sun that are closely associated with Spain.

B.2 CASE STUDY 1.0 : SPANISH PAVILION

Matrix of iterations Explore the possibilities of the definition, change existing parameters, input geometries and component options.

Image sampler

Change vectors to create different x,y,z components

Move cell and point based on original defi-nition

Change image sampler to create different expression and change the math operator for range of numbers

Matrix of iterations Explore the possibilities of the definition, change existing parameters, input geometries and component options.

Basic vectors

Image sampler

Point and cell

Shapes

Offset with different shapes and change cells and points

Changed hexagonal grid to radial grid and adjust the vectors of cells and points

Change polyline to circle, rectangular and hexygon

Radial Grid

Offset

Shapes

In developing the iterations from the Spanish pavilion definition, I attempted to be experimental and explore the design possibilities by playing within the parameters that affect form. In this iteration I changed the hexagonal grid to radial grid, this makes each cell of the pattern radial from its center, which makes it hollow in the center. I also changed the points and cell to achieve different forms and shapes. It surprised me when I changed the grid because the honey comb structure lose its connection and became individual components.

This iteration is also a result of changing to radial grid, I reduced the sides in each cells to make it from hexag-onal to triangular structure. The change of the vectors in x,y,z components creates the spiky structure. The changes in the vectors affect whether the triangular outline is sharp or smooth, and the change in points affect the length and direction of the spike.

Highlight Iterations

Selection CriteriaThe four iteration that I chose are based on a criteria that I can further develop with and apply them to my design. The four highlighted outcomes are more successful than others because they are distinctively different from the original form in structure. The curves are not all connected to form a façade, different from the original honey comb structure, the structure of these iteration can be taken out and become a chain of geometries or one geometry individual. I can develop not just a façade but also look into each component in the pattern and create a solid structure.

This pattern is the result of changing the points and cells, the form in each of the com-ponent inside changed from hexagonal to different shapes. I offset the curves, the distance of the offset changed the pattern expression. Each of the component inside the pattern became to have a thicker boundary, the ones that are not offset makes the image sampler pattern easier to be observed.

I changed the polyline to rectangle structure in this iter-ation, the rectangular shape overlapped with one anoth-er, which creates a chain like structure. I arrange the spac-ing between each rectangle through vector changes to make different forms. The offset of rectangle make the pattern looks like connected chains. What I observed from this pat-tern is that the image sampler became unobservable, the traces of the image cannot be seen in this pattern.

Selection CriteriaThe four iteration that I chose are based on a criteria that I can further develop with and apply them to my design. The four highlighted outcomes are more successful than others because they are distinctively different from the original form in structure. The curves are not all connected to form a façade, different from the original honey comb structure, the structure of these iteration can be taken out and become a chain of geometries or one geometry individual. I can develop not just a façade but also look into each component in the pattern and create a solid structure.

Analysis of the results

The 32 iterations are substantially different from the original project, these can be used in ar-chitecture not just an exterior façade, but also transformed into other shapes. Throughout the making process, i understand the how to build works by grasshopper. I think what I can do for this definition is to extrude the pattern and inves-tigate how the form changes in 3D, and make it not just a flat curve but to extend to solid panels or solid geometries. However, my exploration is somehow retrained by the definition, some-times I try to add on parametric it could not work. What I learn from the iterations is that it is challenging to make some of them to be fabri-cated, I need to consider more on details and the complexity of structure to apply them to my future design.

B.3 CASE STUDY 2.0 : MIST TREE TOWER

B.3 CASE STUDY 2.0 : MIST TREE TOWERMist tree tower is concep-tual project proposed in Chile’s Atacama Desert. The purpose of the tower is to capture water from the fog in the desert area where the amount of clean drinking water is very limit-ed. The proposal is to bring coastal fog from the west coast of Chile and draw it through the mountain chain to inland region. This con-ceptual tower demonstrate the potential for buildings in the future by installing a condenser, activated-car-bon filter and storage tank to achieve desirable result. The tower includes a series of huge circular mesh, em-bedded in the surface of the cooler mountain area to achieve greatest surface area to capture water. The net structure is inspire by spi-der web that capture moist when fog touches the web, it creates a chain of wa-terdrop and hold them on the web. The façade of the mist tree is formed of section of a tree root, which max-imize the ability of the net structure. Also, the warm air provided by the interior of the building condense more moisture to the net structure on the exterior.

Reverse Engineering

Step 1

Set a rectangle

Step 2

I put populate 2D to populate the rectangle with points and con-nect with voronoi to create the distribution pattern

Step 3

Add debrep and boundary to trim the voronoi in a rectangle.

Approach 1

Step 3

Add debrep and boundary to trim the voronoi in a rectangle.

Step 4

Connect trim with circle and polygon center so the web is spreading out from the center

Step 5

Add debrep and con-nect to nurbs to con-struct a nurb from con-trol point, and connect to offset to change to gap of the web

This approach is to connect the first approach with the second approach, butI had trouble with connecting the graph mapper to the rectangle and voronoi, I re-wrote the script and changed where the grasshopper file showed red problem.

Approach 2

Approach 3

This approach is that I used graph mapper to rearrange the distribution of the circles and the web structure, so it creates different shapes and density of the pattern. As i adjust and change the graph mapper type, the pattern changed.

The outcome of this reverse engineering is a centralized pattern with the sizes of the circles getting larger from the center to the edge. It has a radial pattern as there is a central point with the arrays of circles branching from it, and the branch of array can be adjusted by the number slider to divide curve. The original pattern is also centralized, yet the circles are larger in a certain area in the center, and smaller circles outside the area. In the center of the original form is a cluster of circles with random arrange-ment, it is not the same as the reverse engineering radial pattern form. Also The base of this project is a rectangle which is different from the original project that sites on a circle base.

This approach is that I used graph mapper to rearrange the distribution of the circles and the web structure, so it creates different shapes and density of the pattern. As i adjust and change the graph mapper type, the pattern changed.

The outcome of this reverse engineering is a centralized pattern with the sizes of the circles getting larger from the center to the edge. It has a radial pattern as there is a central point with the arrays of circles branching from it, and the branch of array can be adjusted by the number slider to divide curve. The original pattern is also centralized, yet the circles are larger in a certain area in the center, and smaller circles outside the area. In the center of the original form is a cluster of circles with random arrange-ment, it is not the same as the reverse engineering radial pattern form. Also The base of this project is a rectangle which is different from the original project that sites on a circle base.

B.4 Technique: Development

Graph Mapping and dividing curves

B.4 Technique: Development

Extrude

Mesh sphere and solids

Extrusion

Surface Planarisation

Form Finding with forces

I used surface planarization to combine the original pattern with a curve, so it form a surface that has web structure on it. The holes in between the web can be placed with local vegetation that represents the site, as the plant grows, the structure will change and become denser because the holes are filled with vege-tation.

This iteration is a radius grid based on the pattern, I extruded the grid and found that the intersections of the lines has an interesting relationship. The intersection of each line form a space in it, which made it a complex structure. For this iter-ation I think I can bend and twist its flat shape and create a standing weave out of it. This can be a pavilion that gathers people in the site.

I’m interesting in the intersection of the mesh spheres, how do they connect in-ternally, and the experience inside the spheres. I think that it is interesting if I pull the spheres apart but leave the sphere with the intersection cut, it can be a dome or shell which can be built as a pavilion. Also project the web pattern to the shell and allow natural light penetra-tion, so people inside can see the view from the holes.

This form finding with force iteration is geometrically struc-tured. I set the anchor points to make it stand on four cor-ners of the web and one in the middle. It turned out to be this structure which I think can be built as a chair for people to site on. The material can be transparent and with hollow holes, so when you sit on it, it looks like you are hold by the nature and you can feel the grass touching you through the holes.

I used surface planarization to combine the original pattern with a curve, so it form a surface that has web structure on it. The holes in between the web can be placed with local vegetation that represents the site, as the plant grows, the structure will change and become denser because the holes are filled with vege-tation.

This iteration is a radius grid based on the pattern, I extruded the grid and found that the intersections of the lines has an interesting relationship. The intersection of each line form a space in it, which made it a complex structure. For this iter-ation I think I can bend and twist its flat shape and create a standing weave out of it. This can be a pavilion that gathers people in the site.

I’m interesting in the intersection of the mesh spheres, how do they connect in-ternally, and the experience inside the spheres. I think that it is interesting if I pull the spheres apart but leave the sphere with the intersection cut, it can be a dome or shell which can be built as a pavilion. Also project the web pattern to the shell and allow natural light penetra-tion, so people inside can see the view from the holes.

This form finding with force iteration is geometrically struc-tured. I set the anchor points to make it stand on four cor-ners of the web and one in the middle. It turned out to be this structure which I think can be built as a chair for people to site on. The material can be transparent and with hollow holes, so when you sit on it, it looks like you are hold by the nature and you can feel the grass touching you through the holes.

The iterations are all derived from the pattern of the first approach, I developed the pattern in many dif-ferent ways and tries to achieve as many possibilities as possible. I tried to break the definition and also add more to it. The selection criteria is how I can ap-ply and connect the design to the nature of the site.

B.5 Technique: Prototypes

B.5 Technique: Prototypes This prototype is to test how do sphere connect and the space between the in-tersections. I used polystyrene ball to act as the spheres and I con-nect them with nail pins. I put nail pins to connect two balls and kept connecting spheres together. This method of fabricating prototype is quite free because the shape forms in where the pin con-nection is. The overall form can be easily arranged and adapt differently. It can be a flat plane made up of spheres or a pyramid that the spheres piled up. Although it is easy to create different struc-tures, it is not stable. The pin does not act as a rigid tie, the structure shifts and moves very easily. The struc-ture resembles molecules, when the connec-tion is not strong enough and the heat condition activates the molecules, the movement will result in the collapse of the structure. To fix this, I tried to strengthen structure by inserting smaller spheres to fill the gaps and stop the big ones from rotating. The small sphere becomes a support and it be-came relatively stable. What I learn from this pro-totype is the importance of structure stability. I can develop this prototype to be hollow inside, and connect the surface where the sphere intersects, it then become a firm structure with curves walls that carry the structural load. The spatial experi-ment will be interesting too.

This prototype is to test the ge-ometry structure and how does each panel connect. Every pan-el in this prototype tilt in different angles and directions, and the flat panel has to be cut precisely to match the adjacent panel to form the whole structure. In this prototype, I cut out the pieces and stick them together, this turned out to be weak in struc-ture because the connection is not fixed and sta-ble.This can be made by paper cutting on the folds and edges, and make tabs to stick panels in place.

B.6 Technique: Proposal

B.6 Technique: Proposal

Precedent StudyFlowing Gardens by Plasma studio

This project features the redevelopment of a large area of land that acts as a representation of culture and technology where landscape and architecture converge at a sustainable and in-tegral vision. The plan of the project consist of a network of land-scape, circulation and architecture. The circulation branches from a single stream to form a borders of garden space.

Proposal

The Brunswick terminal station is a area with facilities that generates electricity for household use located in surrounding area. It is located next to Merri creek which is surrounded by residential blocks and educational institutions such as North-cote high school and Merri creek primary school. The terminal station is considered as an unpleasant and dangerous are by the local residents, and it also negatively effects the natural environment of Merri creek.

The atmosphere in the site is not comfortable as the terminal station is separated from the surrounding nature. The users in the site are mostly walking dogs, jogging and biking along the path. The main circulation of the site is the trail along the creek. The users don’t usually stop to look at the views and enjoy nature of the creek. However, the trail is subject to flooding, and there are alternate flood route that joing the trail along the creek.

Proposal

The concept of my design is to redirect user pattern and bring in nature into the design. I want to create a circulation flow spreading from the web structure, with a variety of local vegetation planting in the design. This will affects the micro climate of the site that more vegetation is covering the landscape, the flood will be rela-tively controlled as the tree roots stables the soil and absorbs water, rather than exposed soil or just cover by grass. This will change the diversity of forms in the landscape and the complexity of form over time.

The design will be placed to cover the Sumner park, which is a playground and only covered by grass. It is also a spacious area that suits landscape changes.

B.7 Learning Objectives and Outcomes

In the process of doing part B journal, I have encounter many chal-lenges. The main challenge is to familiarize with grasshopper, espe-cially in the reverse engi-neering project that we have to come up with a logic way to create the definition. The parametric study is not just about how to make a shape for the design, it is about the logic of understanding what lie behind each parameters you put in that change the computation process. It is important to know the dif-ference between a curve, mesh, surface and how the component act on and change the design. I’m struggling with the logic of con-necting the codes, however, after I practice how the definitions on lms and the videos, I broke the definitions and learned the result of adding on different codes. It is difficult and sometimes confusing. I’m learning it slow but I’m making progress. When I tried kangaroo for the first time I was sur-prised by it. It is amazing and it extended my ability to create different forms. The site visit helped me understand the condition of the site and enlightened me on my proposal.

B.7 Learning Objectives and Outcomes

FRACTAL TETRAHEDRA

B.8 Appendix- Algorithmic Sketches

B.8 Appendix- Algorithmic Sketches

Reference

Bimoimicry design(2015)http://biomimicry.org/

Cilento, Karen. “Flowing Gardens / Plasma Studio” 09 Jun 2009. ArchDaily. Accessed 01 May 2015. <http://www.archdaily.com/?p=24306>

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

Earth. http://earthtechling.com/2013/04/moisture-harvesting-pulling-water-out-of-thin-air/

Eden Project <http://www.allposters.com/-sp/Three-Biomes-of-the-Eden-Project-Largest-Greenhouses-in-the-World-Posters_i7897751_.htm>

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

Voyatzis, Costas, ‘The Heydar Aliyev Center By Zaha Hadid Architects In Baku, Azerbaijan | Yatzer’, Yatzer.com, 2015 <http://www.yatzer.com/heydar-aliyev-center-baku-azerbai-jan-zaha-hadid-architects> [accessed 19 March 2015]

Spanish Pavilion<http://www.ceramicarchitectures.com/obras/spanish-pavilion-ex-po-2005/>

Reference

Air journal part b

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