2016 | Air StudioJournal

Ho Tsz Ying

A I R

2016 | JeannieAir Studio 08 | Sonya Parton

|CONTENTS|

INTRODUCTION 05PART A. CONCEPTUALISATION 06

A1.0 Design Futuring 08A1.1 Design Computation 14A1.2 Composition/Generation 20A2.0 Conclusion 21A3.0 Learning Outcome 22A4.0 Algorithmic Sketches 23A5.0 Appendix 37

PART B. CRITERIA DESIGN 40B1.0 Reseach Field 42B2.0 Case study 1.0 44B3.0 Case study 2.0 58B4.0 Development 64B5.0 Propotype 72B6.0 Proposal 84B7.0 Learning outcome 88B8.0 Algorithmic Sketches 89B9.0 Appendix 90

PART C. DETAILED DESIGN 92 C1.0 Project Concept C1.1 Site Analysis C1.2 Algorithm C1.3 Form FindingC1.4 Explanatory diagramC1.5 Plan, elevation and perspective diagramC2.0 Prototype testing C3.0 Construction Detail and assembly diagram C3.1 Fabrication processC4.0 Further DevelopmentC4.1 Learning OutcomeC5.0 Final model

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This is Jeannie, who is studying Architecture within the Bachelor of En-vironments at University of Melbourne. I am born and raised in Hong Kong, and have lived in Melbourne for three years. My interest outsides of Architecture, I have enthusiasm for hand craft and design, especially is leather craft and painting.

There are few experiences of learning digital design in past year, and my first encounter with digital design and modeling was in Digital Design and Fab-rication, using Rhino software for modelling and laser cutting for fabrication. Some production strategies had introduced during the course, including con-touring, unfolding, developable surfaces and triangulation. My last project is a second-skin creation by using the method of panel and unfolding. I love the de-sign process, and apart from finding the power of the modelling software, I feel more excited to different fabrication methods, such as laser cut, 3dprinting and CNC that can be used widely in varied fields. They produce accurate and quality output that enhance the result of production. I would like to explore more knowledge and technics of digital design in coming semester, and understand how digital design influences the architecture industry. I believe this course can open me up new perspective of design and way of thinking.

|INTRODUCTION|

PART A

Conceptualisation

A1.0 |DESIGN FUTURING|

Design is method of solving problems. People create and design to satisfy their needs and norms. However, challenges such as land shortages, over-population and limited resources, may not be handled and fixed easily. Therefore, it may be required to accept and overcome these problems by changing one’s values, beliefs and behaviours, including producing goods which create pollution and reclaiming sea for more land, which are against the idea of sustainability.

Sustainable development and design is important because of consideration for the future and upcoming generations. Therefore, design futuring is a significant issue that should be con-sidered. It involves creating and developing a world that enhances the use of nature without damaging it. But the question is HOW?

In Design Futuring, Tony Fry (2008) stated some strategies to achieve it this:1) Design should involve learning from the past, supported by design research and critical think-ing;2) Design should not be concealed by less significant elements such as appearance and style;3) Sustainable design should work on a combination of nature and man-made ecology.

Nonetheless, opening up new perspectives and be speculative are other ways to achieve sustainability. Anthony Dunne mentioned that our preferable future is to work between the idea of ’probable and plausible’. This is something which can be explored and operated on, but require breaking rules and taking further steps (’Not in trying to predict the future but in using design to open up all sorts of possibilities that can be discussed.’).

figure1. using paper tubes as construcrtion structure

|CASE STUDY 01|Project: Paper HouseArchitect: Shigeru BanDate: 1995Location: Lake Yamanaka, Yamanashi, Japan

The paper house was the first project author-ized using paper tubes as a building structure in a permanent building. It was constructed with 110 paper tubes for its interior and exterior. The paper tubes are water-proof and fire-proof and are coated with paraffin wax and strengthened with glue.

Shigeru Ban mostly contribute to the field of idea by the revolutionary of paper architecture. He suggests using environmentally conscientious and unconventional materials. He is named and appreciat-ed as a leader for humanitarian architecture and ex-perimental design. He applied his knowledge of using recycle materials that include paper and cardboard to build quality houses for victims of disaster across the world with a low construction cost, from Haiti to Japan, to Turkey and elsewhere. For instance, the material cost for one 52 square meter building was not more than two thousand dollars in his project of The Paper Log houses in Kobe, Japan in 1995. It expands further possibilities that the paper archi-tecture expands to his later works.These include the Cardboard Cathedral in New Zealand 2013 and

Japanese Pavilion at the Expo in Hanover in 2015.

The paper architecture inspires people to specu-late everything and created further potential. Using paper as a construction material sounds incredible, is practical and contributes to the field of ideas, technical workflows, patterns of living and ways of thinking. It is also part of the idea of sustainable design that works on the combination of nature and man-made ecology. Ban stated he was disappointed that architects should not only work for money and power. He also mentioned people should put the fo-cus on the revolution of such as transforming paper as in his work, and pay attention on things that help society more, even in simple projects such as building a shelter.

Shigeru Ban Architect was successful in achieving his original purposes, which help society and reuse abandoned materials. People appreciated his work and were inspired by him to expand future possibil-ities.

figure2. wind flow around building

figure3. Swiss Re Headquarters, 30 St Mary Axe (The Gherkin)

|CASE STUDY 02|Project: 30 St Mary AxeArchitect: Norman Foster Date: 1997-2004Location: London, UK

30 St Mary Axe, also named as Gherkin, was the first ecological skyscraper in London. The de-sign brought a radical approach to several factors, including technical, architectural, social and spatial. It was generated by a circular plan, with radial geom-etry. The tower shape was influenced by the physical environment of the city, creating a smooth flow of wind between the building and surrounding areas. The concept of the design was to minimize the impact on the local wind environment, reducing energy uses, and also enhancing public spaces.

The building is energy efficient as it was designed as a unique system with natural ventilation via open shafts between each level which provides ventilation with no extra energy costs. The open shafts and the tower’s diagonally braced structure allow a fully glazed surface and column-free floor that bring

natural light into the building, reduce operation costs, and enhance views. This system creates a new perspective to sustainable design by considering the shape and the opening of the building.

This is another example to indicate the importance of exploring all future possibilities, and the concept of design futuring. There always exist risks in every project, but in turning risk to chance, a new view-point can be explored. Gherkin was designed in an un-usual shape, construction, appearance and servicing. There were a number of complex problems with the construction, such as structure, cladding and envi-ronment control, but after several tests and eval-uations, issues were solved. Furthermore, Gherkin can be claimed as an iconic spot in London in certain aspects.

A1.1|DESIGN COMPUTATION|

Computing power has been taken over the traditional methods of designing, which include architecture. There is no doubt that digital design helps architecture become much more subtly attuned to the certain improvement of topological and parametric thinking and calculating. Meanwhile, another group of people think computing design is a tool for human only and cannot be totally relied on it. Therefore, a variety of arguments have concerned the pros and cons of this evolution of design.

Computing brings advantage in forming geometric in the design process. Some software, such as Rhino 3D modelling, Grasshopper parametric modelers, helps this generation design new pattern, wave or shape easily and creativity. Moreover, one of the powerful strategies of digital design in architecture is material modelling. The tectonic systems provide the media to modulate digital materiality in design, in order to explode more alternative ways of fabrication, for instant, CNC (computer numerically controlled) machinery enhance the process of prototy-ing. It is claimed that computational modeling have the potential to create a second nature, as digital morphogenesis can combine the tectonic of digital materials and performative simulation to create naturally ecologic system. Therefore, design computation can be the development of new solution of designing.

On the other hand, Bronowski states computing fabrication and construction is like ro-botic machine more, as they helps managing the building process but not the design process. He claimed that computers are lack of creativity and incapable of making up new instruction, since they follow and analysis the data that human insert. There is difference between human and other creatures, and also differences between human and computer. Thus, design computation cannot take over human indeed.

I believe design computation brings a number of convenience and benefits to our design and construction process. However, designers should not totally rely on it as it just a tool, and the computer and software also is the product of human design.

figure4. Heydar Aliyev Cultural Center roof design

figure5. inspiration for the creation of curves

|CASE STUDY 01| Project: Heydar Aliyev Centre Architect: Zaha Hadid Date: 2007-2012 Location: Baku, Azerbaijan

In 2007, Zaha Hadid was appointed as de-sign architects for the competition of the Heydar Aliyev Centre, which was designed not only to ex-press the sensibilities of Azeri culture and the op-timism of a nation anticipating the future, but also as a building for the nation’s cultural programs.

The centre has been selected for the shortlist of the World Architecture Festival Awards and was a fi-nalist for the inside 2013 interior design awards. The white curving form becomes an important signature in Baku. It is designed with its flowing white lines which continues in the interior, and allows sunlight into the interior space through the glazed facades with the white neon on the ceiling. Using parametric design helps her solve the complex problem during the design pro-cess, and also inspired her by the unexpected result.

Zaha Hadid adopted digital drawing early on. She ex-plored and contributed to the possibilities of par-ametric design, bringing the idea of architecture as seamless flows as of energy and matter. She has been

changing our general concept of space since she was studying in London at the Architectural Association School of Architecture. It was not only influence in a physical sense, but also socially and culturally. She has explored a number of dynamic forms, patterns, and curving shapes that impact on achieving geomet-ric. Nature’s shapes and forms become the source of inspiration for Zaha Hadid along with her strong conceptual and historical awareness.

Zaha Hadid is a leader in parametric design currently that make. Architects such as Sou Fujimoto, Kengo Kuma, follow the idea of digital design closely. How-ever the image of Zaha Hadid use parametric design has been recorded in customers’ mind. When she tried to work on other architecture styles, people will think they are not ’ Zaha Hadid’s work’, that limited her ability and creativity indeed.

figure6. part of facade

figure7. Kengo Kuma starbucks construction

|CASE STUDY 02|Project: Starbucks coffee Architect: Kengo Kuma Date: 2008 Location: Dazaifu, Prefectura de Fukuoka, Japón

This Starbucks stands on the main approach to the Dazaifu Tenmangu, one of the most important shrines in Japan. It has been worshiped as ’the God for Examination’, and became a popular spot for the visitors. Thus, the project achieved making a struc-ture that harmonizes with the townscape, by using a system of weaving thin woods diagonally.

The building is made of 2,000 stick-like parts in the sizes of 1.3m ’ 4m length and 6cm section. Total length of the sticks reached as far as 4.4km. Kengo Kuma Architects uses the diagonal weaving to bring in a sense of direction and fluidity by slightly chang-ing positions of the fulcrums, in order to solve the complicated joint issue. They divided four sticks into two groups to avoid concentration on a single point. This method was greatly improved in combination with state- of-the art technology to the future architec-ture.

Kengo Kuma Architect has taught a variety of uni-versities in Japan and the U.S. Some students from

Columbia University were assigned to design a tea house with using advanced techniques of parametric design and digital manufacturing. They tested differ-ent concepts, methodologies and materials that had been developed in the meantime. Some quality designs were done by the three teams. They include exploring triangular composition with sunlight, in order to cre-ate pattern on the floor, and the idea of taking the technical qualities of pressboard to its limits, bending it as much as possible to obtain a curvature effect.

Kengo Kuma comes out a number of impressive architectural designs with using parametrical method. 2020 Olympics Nationa Stadium in Tokyo is one of the hottest examples. However, Kengo Kuma (architect-magazine, 2016) states that ’Parametrically driven software is basically another tool for us designers to use. The software is powerful, but it is only a tool. I find that most students still like to use their own hands. This has not really changed over the years, and the tendency of making things by hand is return-ing.’

A1.2 |COMPOSITION & GENERATION|

There is a growing trend of using computer in design process, and Brady (2013) stated the idea of ’computerization’ and ’computation’ is different. He described computerization relates to the concept of composition. Computers help designers manage and organize their ideas that are preconceived in their mind, in an easier way to edit, copy and present. On the hand, com-putation can be defined as the capacity to generate complex form, structure and order, which provide inspiration to designers. The methods of computation include algorithmic thinking, par-ametric modelling and scripting.

However, the term of ’parametric’ actually has been used in many decades ago. There is a shift of the definition of this word. For example, parametric was defining ’the relationships between the dimensions dependent upon the various parameters’ by Luigi Morettri(1971, cited Davis 2013 ). Dana ( 1837, cited in Davis2013) also described parametric is introduced in the ratio of 4:2:1. It also had argued all design is parametric as architectural designs inherently a ’parametric process’ (Gerber 2007, cited in Davis 2013). Although the term of ’parametric’ or the idea of computation keep changing from past to now, people always put the wrong focus on what computation do, but not how outcomes are created.

Designers would use computation in their design process, as it increases capability to solve complex problem, and brings potential of exploding new design and techniques through the generation of unexpected results. Besides, it had a great impact in component design by bringing the design into the perfection of every single detail. However, Brady (2013) indicates there is a separation from the design teams and specialists that may decrease the practicability of the designs. Since everyone can design and generate forms by using computation without having the knowledge and technic of specific field indeed.

Moreover, Rick Smith who acted a large part in introducing parametric modelling into the architecture industry also mentioned five shortcomings with it. Smith (2007) states:1. Parametric designs need a degree of front-loading.2. Difficulties in anticipating flexibility3. Initial concept always change4. Fail to observe changes in models5. Programs seldom can be reused and share

Therefore, when people think computation improve designers’ capability to make changes, do they think our creativity is taken away from it as they always focus on what parametric modelling or algorithmic scripting do instead of understand it. Two parametric design prece-dents will be given, and discuss more about the pros and cons of this tendency.

figure 8. CATIA version 3, in 1988

figure 9. A 3D Bézier surface with control points

|CASE STUDY 01| Project: Gehry’s Barcelona FishArchitect: Frank GehryDate: 1992Location: Barcelona

There is a story about Gehry building a fish. Gehry went to Jewish market and bought live carp to make gefilte fish with his grandmother when he was young. The image of writhing carp was captured in his mind. He built a fish-shaped lamp for the renovation of his own house. In 1992, he won a contract and designed a 50 meter mesh fish-shaped sculpture for a pavilion for Barcelon’s Olympic.

It is a challenge for Gehry and his team to build this project as they were working on 2D construction drawings at that time. They have to figure out to cut the sheets into shape and work with the accurate dimensions without buckling. Later, they introduced CATIA, which is a digital models using parametric and 3D surface algorithms, into their company and the project. Finally, this mathematical function helps them to solve the design and manufacturing prob-lems. It was built within six months, on budget.

Computation seems more powerful than computeriza-tion, since our ideas and concept cannot be demon-strated and further developed by using digital draw-ing tools alone. Computation can calculate and explore the design by parametric method, in order to find the solution and save time. However, it may not always be the best solution in the design process if we are not having a clear and logic for the initial concept, since if getting wrong in the very first step, it will require to start programming all over again. Moreover, Bar-celona fish project is comparatively simple, if getting mistakes in a more complex project, times will be con-sumed of rewriting the program.

Therefore, computation is helpful and brings ben-efits in our design development, but they may not be suitable in every situation.

figure 10. Evolution of diagrid structure

figure 11. Computationally generated components in Phare tower project

the project by supporting technical information, in-cludes s energy analysis and structural performance. Technologies integrated into the tower harness the wind for production of energy. It is successfully mini-mize heat gain and maximize energy efficiency.

However, there are challenges when using com-putation for the design. Since pattern logic will re-quire changing while the surfaces change, in order to create undesirable result during the process. Times will spend on modifying and testing in the design de-velopment. Architect Morphosis face the same issue during the design process. Therefore, he allows flex-ibility for the design at any stage, by treating every stage individually, and abandons the previous system after it achieves its intended purpose. He suggests combining creative imagination and computation to achieve and explore the possibility. Thus, it indicates human imagination and creativity is still important to a design project that should not be limited by the computer.

|CASE STUDY 02|Project: Phare TowerArchitect: Morphosis ArchitectsDate: 2006-2009Location: Puteaux, France

The Phare Tower, designed by Morphosis Archi-tects, which is a redevelopment project for the busi-ness district of La Défense to connect the surround-ing urban space and create a coherent sense of place.

The design takes the power of parametric script-ing. Phare Tower is designed into asymmetric profile, and appears to shift continually, distinct from dif-ferent vantage points. It extends the capability of conventional design by effectively generating differ-ent geometric form and shape. Besides, regarding to the complex structure and skin design of the building, an accurate calculation and forming is required in the design process. Phare tower is designed to capture the wind of production energy and reduce solar gain while maximizing glare-free daylight, the decision of placing opaque, translucent, and transparent façade from different angles is important to the whole de-sign project. Thus, using computation can help de-signers to test and explore varied options. This also helps the later stage of

Applying digital design becomes a tendency in architecture industry. People are looking for sustainable design as this is the only way to solve problems but not over coming them by changing our values and behavior. To achieve sustainable de-velop require us think and open up new viewpoint, and explore all the possibilities for the future.

Computation is one of the solutions to achieving sustainability. It is a tool to generate forms and shape by parametric modelling and algorithmic thinking. In the generating process, inspiration and ideas may stimulate by the unexpected result. It save time and fix a number of complex issue. Although more young architects spend time and work on parametric design, we should not totally rely on it. Since there are shortcomings of computation, such as obstructing our creativity, and will be abused by the non-specialists.

The idea of design democracy encourages people to get involve designing, but several fields require certain knowledge and technics. Therefore, when more peo-ple are allow touching designing or computation, more concerns of achieving sus-tainability should be given out. Lastly, we should learn and take the advantages of the tools, but not be taken over by them.

A2.0 CONCLUSION

The reading gives me the understanding of how to have a good sustainable de-sign, and it teaches us how to think critically that helps me in later design and the ways of thinking. Not trying to be negativity in the critique, but finding alternative way to improve it. Besides, the readings introduce me the idea of computation, which include parametric modelling an algorithmic thinking that may apply to the later design process. Besides, after doing several precedents and search, the view of architecture has been extended. It is stated in the reading, design have to learn from the past. Taking the advantages from them, an d also learn from their mistake can improve the way of thinking, and may step closer to the idea of sustainability.

Meanwhile, there are chances to learn parametric modelling with grasshopper. Some basic skills, such as lofting and morph are introduced. It is a good opportuni-ty to know how power the computation is. Making Changes and modification of the design is easy in the modelling, that enhance the speed of production. However, facing difficulties, such as using correct commend or concept to generate our own design takes time to catch up. It is worth to learn different design skills and tools, in order to open up new perspective and broader our view.

A3.0 LEARNING OUTCOMES

figure 12. Modern Vases, Modern Vase, Designer Vases Modern Glass Vase

A4.0|ALGORITHMIC SKETCHES|

figure 13. grasshopper modelling (vase)

figure 18. A DELIGHTFUL POLYCHROME IZNIK VASE

figure 15. grasshopper modelling (vase)

figure 18. Fish

figure 15. grasshopper modelling ( fish scale pattern)

figure 17. Cactus

figure 17. grasshopper modelling (cactus pattern)

figure 18. connection1

figure 18. connection2

It is inspired by the idea of coffee holder to con-nect the water bottle, bolts are used as the joint, which can applying rotation between the bottles.

Two sizes of paper tube is produced for connecting the front and back of the water bottlers.

A5.0|APPENDIX|connection techniques

References Archello.com. N.p., 2016. Web. 18 Mar. 2016.

Priceonomics.com. N.p., 2016. Web. 18 Mar. 2016.

“30 St’ Mary Axe (The Gherkin), London | Archinomy”. Archinomy.com. N.p., 2016. Web. 18 Mar. 2016.

“30 St Mary Axe | Foster + Partners”. Fosterandpartners.com. N.p., 1997. Web. 18 Mar. 2016.

“ATLV Project: Phare Tower Skin And Structure”. ATLV. N.p., 2016. Web. 18 Mar. 2016.

“Google Et Au-Delà “. Multitudes 36.1 (2009): 35. Web.

“HEYDAR ALIYEV CENTER”. N.p., 2016. Web. 24 Feb. 2014.

“Kengo Kuma And Associates - Project - Starbucks Coffee At Dazaifu Tenman-Gu”. Archello.com. N.p., 2012. Web. 18 Mar. 2016.

“Parametric Architecture”. Archello.com. N.p., 2016. Web. 18 Mar. 2016.“Patterns And Layering”. Gestalten. N.p., 2016. Web. 18 Mar. 2016.

“Phare Tower / Morphosis Achitects”. ArchDaily. N.p., 2009. Web. 18 Mar. 2016.

“Phare Tower | Morphopedia | Morphosis Architects”. Morphopedia.com. N.p., 2016. Web. 18 Mar. 2016.“SBA_Paper House”. Shigerubanarchitects.com. N.p., 2016. Web. 18 Mar. 2016.

“Starbucks Coffee / Kengo Kuma & Associates”. ArchDaily. N.p., 2012. Web. 18 Mar. 2016.

“TED-Ed: Lessons Worth Sharing2014 255 TED-Ed: Lessons Worth Sharing New York And Vancouver URL: Https://Ed.TED.Com TED Conferences LLC Gratis After Free Registration”. Reference Reviews 28.7 (2014): 26-27. Web.

“The Gherkin - Famous Buildings And Architecture Of London”. Designbookmag.com. N.p., 2016. Web. 18 Mar. 2016.

“The Gherkin: How London’s Famous Tower Leveraged Risk And Became An Icon”. ArchDaily. N.p., 2013. Web. 18 Mar. 2016.

“The Humanitarian Works Of Shigeru Ban”. ArchDaily. N.p., 2014. Web. 17 Mar. 2016.

“Works | Shigeru Ban Architects”. Shigerubanarchitects.com. N.p., 2016. Web. 17 Mar. 2016.

“Zaha Hadid Architects”. Arcspace.com. N.p., 2015. Web. 18 Mar. 2016.

Ashley, Nia, Helen Walters, and Olivia Cucinotta. “Rock, Paper, Scissors! These 5 TED Talks Play With Paper In Fresh Ways”. TED Blog. N.p., 2013. Web. 17 Mar. 2016.

Davis, Daniel. “Chapter 2 – The Challenges Of Parametric Modelling – Daniel Davis”. Danieldavis.com. N.p., 2016. Web. 18 Mar. 2016.

Libby, Brian. “Q+A: Kengo Kuma On His Design Approach”. Architect. N.p., 2016. Web. 18 Mar. 2016.

Matthew Ponsford, CNN. “Can Pritzker Winner Shigeru Ban’s Paper Palaces Last?”. CNN. N.p., 2016. Web. 18 Mar. 2016.

Walters, Helen, Helen Walters, and Helen Walters. “Buildings Made From Cardboard Tubes: A Gallery Of Shigeru Ban Architecture”. TED Blog. N.p., 2013. Web. 17 Mar. 2016.

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

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

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

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press),

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

Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

PART B

CRITERIA DESIGN

The idea of folding is similar to the idea of tradi-tional origami in Japan that turn a basic model into more complex patterns and also change two-dimen-sional surface into three-dimensional. Methods of translation, rotation, reflection and glide reflection will be applied during the folding process (Cueva).

Folding can be deal with parametric design with the use of algorithms method, mathematical and geomet-ric solution, in order to explode all possible out-comes. Computation can test the usefulness of the folding structure, and also demonstrate its poten-tial for architectural, which include the transaction of space and form, structural analysis, and mathe-matical theory (Cueva).

Moreover, it is stated that there are design op-portunities for parametric pleating (Mode Lab2015):

1. It is a clear design parameter, as folding element contains a clear design or site parameter. 2. Folding can introduce structural forces to the sur face, which turn flimsy surface into structural by a number of folds. 3. Folding divides surface into a number of small parts that are easier to manage, equal to large assem- biles, in order to make pattern looks complex. 4. The structure of pattern is similar to the data of grasshopper system operated with, thus having a better data analysis during the process. 5. Concepts are easily understood through tactile ex perimentation, in order to have higher parametric design opportunities.

B1.Resaerch

Folding and

Parametric folding has involved in architecture and various areas. For example, Paper Sky instal-lation for Urbis Design Day was created by OH.NO.SUMO designers in 2010. The immersive environment was formed by more than 20000 hand folded paper modules with LED lighting. Parametric design helps it test the range of possibilities, such as materiality, connection and structure.

Furthermore, Festival Hall of the Tiroler Festspiele Erl, Austria is an example of the building façade that is inspired by the idea of origami. Having the idea to produce a panoply of shapes and forms using only a single sheet of paper. Therefore, we can see the idea of folding is a potential development to different field of art.

fig1. paper sky

fig2. Festivial Hall of the Tiroler Festspiele Erl

BIOTHING PAVILIONB2. CASE STUDY

01fig3. biothing pavilion

fig3. biothing pavilion

Self-modifying patterns of vectors with Electro-mag-netic fields ( EMF) is applied in Biothing pavilion. Comput-ing with the idea of attraction and repulsion trajectories in plan and section. The plan of the pavilion is different from the classic architectural plans, it is more potential in parametric design to exploding possible materialization and adaption to the site conditions. The form of pavilion is described as closer to musical notation perhaps from its dynamic nature, parametric relationship between the ecology and algorithmic. Lighting and shading are created to each cell by the function of sine-wave. It drives parametric variation of angle, orientation, and size with the materials.

fig4. Courtesy of Biothing

Number of divide curve 1 5 20

Length of field line5 40 400

Circle radius0.05 0.05 0.05

Number of divide curve

5 5 5

Change existing parameters

Number of divide (circle) curve

1 20

5 5

Number of divide curve 5 20

Move- unit Z (length) -10 -10

Length of field line5 5

Number of divide (circle) curve 5 50 100

Move- unit Z (length) -10 -5 10

Change direction and geometries

Circle is replaced by different polygons

Triangle Square Hexagon

Unit Z Unit X Unit Y

Direction

Offset polygon

Triangle Pentagon

change Graph mapper

Pipe ( graph mapper)

Add component- Pipe

0.3

Pipe ( radius)

Pipe ( radius)

Pipe ( radius)

0.1

1

3

Pipe ( graph mapper)

0.3

Add component- Extrude

Extrude

0.5- X direction

Extrude

3- X direction

Extrude

- X direction

Extrude

10- X direction

Add component- Loft

Add component- divide curve

Divide curve X2 Divide curve X3

Change graph mapper

Change circle radius

Divide curve X3

Change circle radius

Divide curve X4

Change graph mapper

Change graph mapper Change polygon

Some interesting results were produced after addition and modification are added to the script. Various outcomes are formed even through some small and simple changes. However, not all of the iterations were found it potential.

A number of criteria have to establish for form finding process. It relates to the site and issues that going to concern and resolve. These design criteria will review my exploration during the para-metric testing.

Criteria1: FunctionalityConsidering any functional purpose can be achieved by the form and structure. For example, can space be created? Or any interaction with visitors can be brought in? Or how can this relate to the waterway in Merri Creek.

Criteria2 interestingnessOne of the criteria has to think about the interest-ingness. It defines by the variation of patterns and form. The outcome should attract visitors’ atten-tion, in order to enhance their awareness and bring reflection to them. Therefore, an eye catching form is required. Criteria 3 constructabilityUnexpected results will be produced during the computation process. Some incredible forms will ¬come out, for instance, overlapped layers, and un-supported structure. Therefore, considering the possibility, the ease and efficiency in installing pro-

Successful species

Functionality

interestingness

constructability

Functionality

interestingness

constructability

Functionality

interestingness

constructability

Functionality

interestingness

constructability

Lofting the curve forms volume and creates space, which bring potential to different functional uses to the site. Moreover, interesting shape form after changed the graph map-per.

Piping also is another way to create volume of the object.

Adding the component of ’divide curve’, can increase the mass of the object, since dividing curve can be infinity added. However, it has less spatial development potential.

Interesting individual form is pro-duced. It is relatively easier to con-struct as having the simple shape.

B3.CASE STUDY02

fig5. MoMA Reef

fig5. MoMA Reef

MOMA Reef proposal conceptually uses the underwater landscape of the reef to create of shadow, light, and movement. It is trying to generate the pattern of anemone clouds. They are made of 1200 uniquely shaped fabric mesh modules hung from light wooden with the wind. It places to varying depths to produce differ-ent degrees of shadow. The underside surface of the cloud is parametrically controlled. Sys-tem of interrelated is applied to the mounds as well, treat every pieces uniquely and indi-vidually, in order to form the overall surface pattern.

It is stated that the most challenging part of their design is due to generating very new ideas that other firms haven’t done before. Therefore, their team have to think about the program, space, tectonic and structural pos-sibilities, and aim to a higher level of complex-ity for the installations. I believe using com-putation help a lot in form exploration in this project.

fig6. MoMA Reef

1. 2. 3.

6. 7.

Reverse Engineer

TwoCurves

Tween Curve

TwoCurves

Tween Curve

curve|curve

Cull X2

Cull X2 Trim

Shatter Loft Circle Project Loftarea

center

gird circles

4. 5.

8.9.

TwoCurves

Tween Curve

TwoCurves

Tween Curve

curve|curve

Cull X2

Cull X2 Trim

Shatter Loft Circle Project Loftarea

center

gird circles

Outcome

fig7. reverse engineering outcome

The process of producing the reverse engineer has benefited in the way of understanding parametric design. There is not only one definition can produce the same outcome, and therefore it is important to think about which components are more suitable and efficient to the project.

The outcome of my reverse engineer is not exactly close to the Moma original project. It is challenging of making the shifting grid. The grid is separate into two part, which some rolls are shifted and some are not. Few times of cull is applied in the definition, in order to get correct order of the points on the grid. However, the most difficult part is projecting the circles onto a curved surface. I had tried to use attractor points to change the height of every cone, but it was fail to make it having a double waves. Therefore, lofting four curves to produce the ideal curved surface is replaced the idea of using attractor points, but it is less flexible to make changes for the later iteration.

Besides, I found ’project’ and ’pull’ are a useful component for my project. ’Projection’ will produce a more regular shape of circle, there is slightly change in circle direction and sizes. Thus, using ’pull’ is selected for the final output. In Moma project, the circle shapes are flow along the ’invisible curved surface’, in order to produce a wavy effect of the output. There is still having improvement of projecting a better ’circle’ shape. A number of testing can applied in later iterations, such as changing the grid form, playing with different definition of cull, replace circle by other geometry, or trim the lofted surface in order to add extra pattern on to it. It is a good opportunity to play with parametric and algorithmic design to create a repeating pattern.

The process of producing the reverse engineer has benefited in the way of understanding parametric design. There is not only one definition can produce the same outcome, and therefore it is important to think about which components are more suitable and efficient to the project.

The outcome of my reverse engineer is not exactly close to the Moma original project. It is challenging of making the shifting grid. The grid is separate into two part, which some rolls are shifted and some are not. Few times of cull is applied in the definition, in order to get correct order of the points on the grid. However, the most difficult part is projecting the circles onto a curved surface. I had tried to use attractor points to change the height of every cone, but it was fail to make it having a double waves. Therefore, lofting four curves to produce the ideal curved surface is replaced the idea of using attractor points, but it is less flexible to make changes for the later iteration.

Besides, I found ’project’ and ’pull’ are a useful component for my project. ’Projection’ will produce a more regular shape of circle, there is slightly change in circle direction and sizes. Thus, using ’pull’ is selected for the final output. In Moma project, the circle shapes are flow along the ’invisible curved surface’, in order to produce a wavy effect of the output. There is still having improvement of projecting a better ’circle’ shape. A number of testing can applied in later iterations, such as changing the grid form, playing with different definition of cull, replace circle by other geometry, or trim the lofted surface in order to add extra pattern on to it. It is a good opportunity to play with parametric and algorithmic design to create a repeating pattern.

Attractor point ( Height and Radius)

hollow cylinder

Trim solid

small circles

Attractor point (Height)

Box Morph with arrtractor point

The techniques I have discov-ered in reverse- engineer are mainly due to the tween curve, cull and shifted with the grid pattern, and pull and loft tech-nique. There are a number of po-tential developments of playing with the grid pattern and ge-ometric form.

Attractor point was failed ap-plying in my reverse- engineer. I would like to try and test for my iterations, and explore all the possibility of the Moma project by adding various components to the script. It is a good oppor-tunity to understand better on how parametric design can bring dynamic and unexpected result, and get inspiration.

B4

large circles

cone

large circles

cone hexagonshpere

rectangles

Voronoi

TrueFalse

TrueFalseFalseTrueFalseFalse

TrueFalseTrue

image sampler

use differnet black and white images to change the circle radius- White areas have a larger radius

Circle radius0.1 0.5 3

Change existing parameters

TrueFalseFalseTrueFalseFalse

5 0.52

two radius

True, FalseFalse, FalseFalse, TrueFalse, FalseFalse

True, FalseFalse, TrueFalse, FalseFalse, TrueFalse, FalseFalse

Hexagon

change the curve shape and direction

Change the curve

pull the curve down change the curve shape and direction

Change polygon

Triangle Rectangle

Rotation

Project grid onto a curved surface

pull the curve upchange the curve shape and direction

Octagon

Voroni3D

Iso- trim

Extrude

First iteration- image sampler

This iteration has potential in later design proposal. The use of image sampler changed the radius of the circles, which can achieve different functional purposes. For example, they can be a filtration for different sizes of rubbish, or creating different sizes of shadow through the sunlight. The distribution of circle sizes can do with intention or not, it will depend on the collected data.

Functionality

interestingness

constructability

Second iteration- Voronoi 3D

This iteration applied the use of voronoi 3D that change the individual cone in to frame instead of surface. An interesting shape is created by the use of voronoi 3D, a number of holes are formed and reduces the enclosed surfaces, which may has lower impact on ecology since allowing the sea life easier to swim through. This geometry can also achieve the functional purposes, i.e. collecting differ-ent sizes of rubbish, with a better trapping

Attractor point ( radius and height)

The use of attractor point is applied on the radius size and height of the circles. The pro-portion of radius and height are related, i.e. a larger radius with a higher height. Therefore, contrast is made between the left and right side. It can replace along the river or half into the water and half on the land. Seats can be served and path can be created.

Functionality

interestingness

constructability

Functionality

interestingness

constructability

B5Prototypes

The first prototype was taken a small part of one of the iterations with image sampler. It is trying to connect each element by inter-locking by its own material, which has tested the 300gsm paper card, and 0.6mm polypropylene, without other extra joints. Each cone will be taken an unrolled polysurface and creates fabrication documentation to allow for the inter-secting in perpendicular direction. Hopefully, a curved shape can be created by the tension between the sheets when they are inter-locking.

Using cross method to inter-lock the upper part is quite secure. However, the effect of the side connection is relatively fail as there is not enough fiction between the sheets, and therefore, the shape cannot be hold and it is not curved. Paper card performs better than polypropylene since it is thinner and easier to control.

PROTOTYPE 1.0

fig8. image of prototype 1.0

concept diagram

Fabrication layout

Assembly diagrams

Two frames, rectangle frame and circle frame, are fabricated to connect the fabric. Double- layer frame are designed for holding the fabric by the friction between two frames. The outer rectangle frame adds a number of ’teeth’ to each segment for zipping the next to it. Besides, the circle frames have de-signed in few different radius and also connected with a flexible joint, in order to change the height. MDF is chosen as the frame material, which perform well on the durability. However, each competent cannot be stuck with each other strongly even no tolerance are made onto the edges.

PROTOTYPE 2.0

fig9. image of prototype 2.0

concept diagram

Fabrication layout

Assembly diagrams

The third prototype is testing the second successful it-eration, which used voronoi 3D. Joints between each stick is designed with a grasshopper plug-in, exoskeleton. It can de-tect every intersection and produce a customised joint for each connection. After customise all the joints, 3d-printing is used for fabrication.

PROTOTYPE 3.0

fig10. image of prototype 3.0

PROTOTYPE 3.0

concept diagram

Fabrication layout

Assembly diagrams

other ideas This prototype will be tested later for the second proposal, which refers to my groupmate’s (Alison) case study two successful iteration. It is a weave pattern created by using parametric tessellation. Material polypropylene will be used in this prototype since it has high durability and flexibility. This is refer to a precedent, Summer pavilion, locates at Melbourne Art Gallery. Curved surface can be formed by folding and bolt connection. Hopefully, volume or curved surface can be formed by limiting their length or depth. A ’cross’ shape is designed as having great poten-tial in folding different direction.

fig11. summer pavilion

fig12. digital model prototype 4.0

concept diagram

Fabrication layout

Assembly diagrams

Site analysis

Scale 1:50 @ A0fig13. site anlaysis

Environment:- Green areas along the river- Noise pollution from the car road

Water flow direction:- From NE to SW

Circulation:- Along walking path- Around school and garden

Issue:- Poor water quality- Stormwater pollution- Hard rubbish: ’Tree branches- Small rubbish: ’Plastic bags ’Water bottles ’Leave

Living species:- Fishes: ’flat-headed gudgeon Philynodon gradiceps ’short- finned eel ’Anguilla austrais- Platypus

we have picked a location with higher hu-man-flow, since it is closed to merri creek train station, school and park, in order to allow more people to concern and aware the pollution issue. Besides, we perfer to choose flat green land along the creek for easier installation.

B6. Proposal 1.0

This project has focus on the connection to the wa-terway. The first proposal has consider a serious water pollution happen along the river. Besides of serving a rubbish catchment or filtration under Merri Creek, en-hancing people awareness of protection and conserva-tion is relativity important. And therefore, educational message will be given out through producing the shadow pattern, which will be projected by a hanging sculpture via sunlight, water flow and wind speed.

After several research, it proves platypus and sev-eral fish species, such as short- finned eel and Anguil-la austrais are existing in Merri Creek. However, during the site visit, no living species can be seen along the river due to the heavy water pollution. Thus, our pro-ject is going to show how a clean river is supposed to look like, in other

words, fish can be observed under a clear water envi-ronment. ’Fish swimming’ shadow pattern will be pro-duced by projecting different sizes of circle, and move-ment can be created through the changes in natural elements, which includes sun direction, water flow and wind speed. Hopefully, visitors can rethink the relation-ship between pollution and ecology during the touring, in order to achieve the educational purpose.

The connection and joint can be referred to the sec-ond prototype that design frames to connect the fab-ric. Moreover, recycle material will be consider used in this project. Plastic bags can be used to replace the fabric, which get similar features, such as foldable, soft and flexible. Water bottle also can be one of the op-tions, but the sizes and colour have to consider.

fig14. proposal 1.0 photomontage

concept digram

concept diagram: sdadow change via change in sunlight direction, wind speed and water movement

The design process will use par-ametric to test the size of circle and height. Image sampler or attractor point may applied to test the most suitable dimension. It will use for ex-ploring various grid pattern.

geometry

sizes

Heightdimensions

density and grid pattern

concept digram

Variables and considerations

B6. Proposal 2.0

The second proposal is modified from the previous idea that will keep the idea of using shadow to deliver educational message. It is an installation that mainly places on the grass area for visitors stay, rest, and cross, and part of it will go down into the river and trap the rubbish by the parametric tessellated pattern as volume and depth is created in between the gap. Big contrast will be made by the trapped rubbish and the in-teresting pattern, in order to aware people conscious-ness of the relationship between man-made pollution and ecology.

However, tessellated pattern will replace the last patterning. Using the weave pattern instead of circle cone since weave pattern can perform better as a rub-bish catchment. Besides, it is more flexible in changing the shape.

fig15. proposal 2.0 photomontage

Further Development

1.Site analysis- A more detailed site analysis is required for the following devel-opment e.g. flooding, vegetation and circulation- This will directly affect the shape of whole geometry and distri-bution

2. Pattern details - Connection and joints have to consider and test, pattern may be modified after several testing

3. Shadow - How to make good use of shadow - What message will be delivered by the shadow, and how?

Potential connection Further Development

1.Site analysis- A more detailed site analysis is required for the following devel-opment e.g. flooding, vegetation and circulation- This will directly affect the shape of whole geometry and distri-bution

2. Pattern details - Connection and joints have to consider and test, pattern may be modified after several testing

3. Shadow - How to make good use of shadow - What message will be delivered by the shadow, and how?

Learning Outcome

Some abilities have developed after the experience and learning of part B. Firstly, I have achievement in generating a variety of design possibilities for given situation during the studies of Biothing pavilion and Moma project. The case studies enabled us to develop the skills of ana-lyzing design possibilities. We can give scope to discover the biggest potential of the definition.

Moreover, ’the skills in various three-dimensional media’ is also developed through the proto-type fabrication. As number of factors have to consider when changing digital model into physical model, such as materials, connection, scales, structure and tolerance. There are improvements can be made in my prototypes, since the connection of form was made complicated. I was kind of misunderstanding and lost the simplicity of playing the geometry. Discover how the material can self-support and how volume can be formed will be more interesting than make it complex. Therefore, in coming few weeks, I will develop a better skills on the testing simply shape and connection, I will try different materials and see hows the result go.

Furthermore, the skills of using grasshopper, understanding parametric design has built up. There are opportunities to try different components of grasshopper, such as image sampler, vo-ronoi 3D, attractor point and box morph. I would like to gain more knowledge in this area, in order to explore more possibilities to architecture.

Lastly, I found most difficult to make a case for proposals. In previous studio work, I will firstly consider the objective that I am going to achieve in the project, and adjust the direction of the design. However, in this case, we ask for developing a proposal in given situation. Thinking what possibilities and potentials can be brought out under these limitations. Nonetheless, meanwhile, this task provides a large play space for us to explore. Therefore, learning to take the balance between the potential area and limitations are challenging for the proposals. Besides, sometimes a number of purposes or functions we want to include in our project, but we should learn to put effort on the most significant and interesting one as we cannot handle too many aspects, other-wise, the design will become complicated.

In the later project, I will develop a better site analysis, since data is important for an algorith-mic design, it will directly affect our form and distribution. Besides, keep developing my grass-hopper skills in need. For example, learning ladybug pug-in will be benefit for my shadow testing, in order to create the most suitable form. Lastly, I will work on testing different prototypes, to look at their dimension, material and connection. Hopefully, the ideal effect is the whole form can be self-supported.

"Best Awards - OH.NO.SUMO. / The Paper Sky". Bestawards.co.nz. N.p., 2016. Web. 29 Apr. 2016.

Cueva, Covadonga Lorenzo. "Folding & Parametric Design". N.p., 2016. Web. 29 Apr. 2016.

"Festival Hall Of The Tiroler Festspiele Erl By Delugan Meissl". Dezeen. N.p., 2012. Web. 29 Apr. 2016.

"Iwamotoscott". Iwamotoscott.com. N.p., 2016. Web. 29 Apr. 2016.

"Iwamotoscott - Moma/PS1 Finalist: Reef". Flickr - Photo Sharing!. N.p., 2016. Web. 29 Apr. 2016.

"Merri Creek Fish Survey". YouTube. N.p., 2016. Web. 29 Apr. 2016.

"New York / Young Architects Program". Moma.org. N.p., 2016. Web. 29 Apr. 2016.

"Seroussi Pavilion |Biothing - Arch2o.Com". Arch2O.com. N.p., 2014. Web. 29 Apr. 2016.

References

PART C

DETAILED DESIGN

Project Concept

Recycle material Rubbish

Aesthetic canopy Storm drainVS

’"To design an installation to arise awareness of recycling and environmental remediation by creating

contradistinction to surrounding’"’

Project Concept

After reviewing part B comment and sugges-tion, the design concept has slightly changed. A realisation of keeping things simply. A number of purposes, which include colleting river rubbish, providing functional uses, playing with shadow and be educational, were approached in pervious design. However, these ideas will make the de-sign complex and non-achievable. Thus, the final design focuses on how to arise visitor’s aware-ness of environmental protection as we noticed about water pollution problem is the most signif-icant issue along Merri Creek. We are creating an educational experience to the users through the contrast between an aesthetic canopy and dirty storm drain. Hopefully, visitors can rethink the relationship between the pollution and environ-ment. Besides, recycled materials will be further explode in our design, as create the second con-tradiction between recycled material, and rubbish and man-made-pollutants.

River

Path and Road

Vegetation

Built form

Target site

N

Site Analysis

River

This is a general and brief analysis of the sur-rounding environment of our chosen site. We have looked at the circulation, vegetation, housing and the issue of the site. There are high school and primary school at both side of the river, the stu-dents become a group of our potential clients. Be-sides, there are a number of path ways to access to our site, thus, the pedestrians can be attract-ed to stay and rest under our canopy. Moreover, due to the distinctive height difference between riverside, visitors can experience our design in different level and view point.

Moreover, we have notices about water pollution issue of the site, especially those with storm-water drain, industrial waste from surrounding, and rubbishes are stuck at the drain. Thus, the southern Merri creek has selected as our final site, since the major storm drain located. The riv-er channel is narrower here which allow the viewer to observe the drain directly from the opposite riverside. Lastly, Dense vegetation are located at the south eastern slope which did not affect sun exposure of our site.

Site Analysis

Shadow extent

Storm drain

Sunlight

N

Site Analysis

There is a more specific analysis about the shad-ow, since this project aims to create an indicator for the visitors by using of sunlight and playing with shadow. There is sufficient sunlight at our site, and no other shading, such as trees, block the area. However, there still get a vary distri-bution and extent of shadow along the river., it may due to the different height of two riverside .Therefore, this natural issue will be one of our consideration of the form finding, and will take the data for the later parametric design.

Site Analysis

Site Analysis

Stormwater Drain

Site Analysis

Algorithm

- Five sizes of panels (drawn in Rhino) and turn into meshes.

- Reference the geometry to grasshopper

-Apply weaverbird’s plugin to the mesh, returns a singular mesh object made out of a list of meshes. The new mesh will lighter and smoother

- Divide the form into five surfaces for five different meshes.

- Apply divide surface into two-dimensional domain into equal segments, and twisted box is created on a surface patch.

- Meanwhile, mesh are bounded with a box, which will fit to the surface box.

- Lastly, five meshed will be morphed on to the specific surface.

YEAR

Algorithm

- Divide the form into five surfaces for five different meshes.

- Apply divide surface into two-dimensional domain into equal segments, and twisted box is created on a surface patch.

- Meanwhile, mesh are bounded with a box, which will fit to the surface box.

- Lastly, five meshed will be morphed on to the specific surface.

- Referencing the site and model to Ladybug plugin for shadow analysis.

- Collecting Melbourne weather data, which is around the summer period, and put into ladybug sunpath component.

- Shadow will be projected differently due to moving of sun path.

fig 02. Iteration of morph component

Tessellation

MorphApplying repeating pattern onto surface

Form Finding

Form Finding

For tessellation, the pattern was extracted from my group mate's case study 2 and transform it. There is volume created in between these con-tinuous curves. It was simplified and make it be-come more fabric-able form.

TessellationFolding Cobogo HouseErwin Hauer

=+

PartB. iteration from alison

fig 01. Iteration of form

Folding

Image SamplerForm follows colour distribution

LadybugSunlight hours analysis

Catenary archDirectional intension

Form Finding

Folding

Image SamplerForm follows colour distribution

LadybugSunlight hours analysis

Catenary archDirectional intension

Form Finding

The primary idea was based on creating certain dynamicity folds and curves. As aiming to drive vis-itor sight toward the storm drain, a direction indi-cating form is required in our first step. There are a number of time trying to loft different curves, however, smooth surface cannot be formed. And therefore, catenary arc component are applied and created a surface with arc shape. Initially, the shape and form is based on the con-tour and path to generate. Nonetheless, working on shadow distribution is more significate in our design process. Thus, collecting the data from la-dybug and generating a image with ranges of dark-ness of colour, and then applied it into image sam-pler as reference of our form. The shape will fold down at dark area and go up at bright area, and created a dynamic and interesting form. In order to smoothen the surface and reduce the complex-ity of our later morphing process, few bends are simplified.

Fig02. Main body Fig03. Footing

ExplanatoryDiagram

Fig01. Five sizes of panels

ExplanatoryDiagram

For the morph element, the structural part was defined on our structure with different connecting sequences, the main body part will be connected with a lower density and lower strength pattern, which has shown in fig1, it is easier to form curvy surface. On the other hand, the footing part will be jointed with a more concentrated pattern, which has shown the fig2, it will be more supportive at the structural part.

Besides, by combining different sizes of panels, flexible to be applied at different location with various purpose. Five different sizes of identical shape were designed, in order to vary the shadow density to indicate the direction of view and giving out message through more visualize and accept-able way, to let people rethink instead of telling them directly, to show hidden message.

Fig04. five sizes prototype

fig 02. Panel & shadow sizes distribution

Large Small

fig 01. Shadow analysis

Strong Weak

ExplanatoryDiagram

According to the site anal-ysis, the sunlight distribute differently, and produce a range of intensity of shad-ow that will be projected on the river. In order to create an even shadow on water surface, level of the form and surface are modified. The lower point will be with stronger shadows.

It is indicating the pan-el size and the shadow. Shadows will create from dense to sparse with gra-dient colour. It is serve as an indicator, that driving visitors’ attention to the storm drain. Besides, a sparse shadow at the end is preventing to hinder their observation of the drain. Meanwhile, the grass area will provide a denser shad-ow patterning for shading purpose.

ExplanatoryDiagram

fig 03. Connecting point

fig 04. Main path

fig 05. Structural element

06:00 08:00

10:00 16:00

18:00 19:00

Shadow Distribution

Shadow Distribution

12:00

14:00

A shadow testing has tried under the ladybug program. It indicates how the shad-ow change from day to night. We have considered the circulation during noon time, it is relatively more people passing through this area. Therefore, the ideal timing to look at the storm drain will be at 12:00pm to 2:00pm, while the shadow direction is pointing to it, and this can drive visitors’ attention to the storm drain and rubbish.

Site plan

0 4mPlan N

0 2mWest Elevation

South Elevation0 2m

Size Testing

Shape Testing

Prototype Testing

pattern composition

Prototype Testing

We have tested different prototypes, include the pattern com-position, shape, size, and an exploration of water bottle.

The first pattern composition is less flexibility, and it will be limited in either x direction or y direction only. Two other pattern composition were both taken in the final design. They are empha-sising the positive components, and highlight the negative space respectively. The final shape was chosen the closest one of the part b iteration.

Few sizes of the geometry have tested. Smaller size perfor-mances more delicate and detailed. However, it will be more com-plex in the fabrication process. The final size of the panel which is 180x180 mm for standard panels and 160x160mm for the trans-formed panels. It is depended on the water bottle neck sizes. Neither too big nor too small, the water bottle lid can be fitted in and highlight at the same time.

plastic ring

bottom segment

The plastic bottle has tested as a joint to connect the pan-els. Concave panels are cut at four ends to hold the plastic ring. It is secure to holding all layers, and it is not easily be recognised as a recycled mate-rial. However, in term of fab-rication, it is not efficient to take the ring out, and install them.

Exploration of water bottle

The water bottle bottom segment has tested as the panel surfaces. It is the less potential part be recycled used. Firstly, the bottle size limits the panel sizes. Secondly, it cannot be advanced by the digital fabrication, such as laser cutting. Thirdly, it consumes time in the manual work since it gets a rolled surface. Lastly, it cannot come out a neat and clean finishes with the above reasons.

bottom segment

Exploration of water bottle

bottle lid & neck

The water bottle bottom segment has tested as the panel surfaces. It is the less potential part be recycled used. Firstly, the bottle size limits the panel sizes. Secondly, it cannot be advanced by the digital fabrication, such as laser cutting. Thirdly, it consumes time in the manual work since it gets a rolled surface. Lastly, it cannot come out a neat and clean finishes with the above reasons.

Water bottle lid and neck also tested as a joint to connect the panels. Panels need to cut holes at four ends to hold the necks. It is easy to obtain and modify since it gets the similar principle of a simple screw. Although there are various water bottle design, the majority are using 28mm size of lids. It is easy to collect a large number of same size bottle lid, in order to achieve using recycled material.

ConstructionDetail

1 : 1 Prototype

Fabrication diagram

Standard panel Standard panel Recycled Water bottle lid

Transformed panel

Inspiration of connection

28 mm

18 mm

AssemblyDiagram

16 mm

After the exploration of the uses of water bottle, bottle neck and lid was se-lected as our final joint, as it has a similar principle of screw, which is easy to obtain and modify. It is even perform better than the metal screw which are wa-ter-proofed. Besides, water bottle neck can be cut in a sharp and clean finishing, in order to create a neat effect of both sides.

The design is mainly form by three layer panels. The upper and bottom panels are in a bigger size. The middle layer is transformed into smaller size to create tension between panels and create the popped-up effect. Moreover, the top layer will be replaced by the transparent panel instead of colour panels is due to highlighting the water bottle lids from the top view.

AssemblyDiagram

Top layer Transparent panel Standard panel

MIddle Layer Colour panel Transformed panel

Bottom Layer Colour panel Standard panel

Bottle lid

Assembly drawing

Fabrication process

Fabrication process

There are several things to consider before the fabrication that include the materials, the sizes of each module, the scale, and the joint. In our case, fabrication is not the most challenging part since it is formed by several standard panels, which only require to draw few standard templates to print. However, a massive of panels and joint are needed as we are trying to demonstrate two parts of our design, which have slight differences in the connec-tion and pattern, with one to one scale. Therefore, materials and time will be consumed in our fabrication process.

In term of material, polypropelene, which is bendable, high strength in tension and water proofed, was used in our project. A number of colours, such as pink, orange, purple and blue are high-ly applied in our design, and it is embellished with a small amount of yellow and green panels. In order to, create a biggest contrast to the polluted surrounding. All polyproplene panels are printed by laser cutting, which is accurate and efficiency.

Fabrication process

Fabrication process

The main reason of making a one to one scale prototype is showing the connection, recycled water bottle lid. Therefore, re-cycled bottle boxes are set up in the campus. Few steps are pro-cessed after collecting them. Firstly, a selection of the suitable bottles, since not every bot-tle lid can be fitted in 28mm connection. Secondly, wash them and cut the bottle neck with a neat fin-ishing edge. This process has been considered whether be solved with digital fabrication or tools, since time are consumed in man-ual work. Thirdly, spray the lid into one colour, as we were thinking to create a clean and standardized appearance of the design initial-ly. However, in the later fabrication, we tried to keep the original texture and colour of the lids, due to the environmental consid-eration. The idea of the design also can be expressed better with this raw connection. Moreover, when collecting a massive amount of water bottles, a number of same colour lids can be gathered in. Another gradient may be applied in the design.

Bow Cola by Penda

Structure DesignFurther

DevelopmentFurther

Development

Bow Cola by Penda

The structural part of the design is further developed. We have looked at some precedent projects, such as the Summer Pavilion by John Wardle. In his case, all panels are connected to the frame as no intersection is created between each panel. This required a mega structural design to support all individual pieces, and this may cause a distraction to the main design and appearance. Therefore, an edge supporting wire is proposed instead of a large structure frame in our project.

Another precedent project, Bow-Cola’by Penda in China, shows how the bottles can be connected to a wire frame. It holds the bottles by locking their neck, which can apply to our design as we have a similar principle. Again, all their bottles are not intersect-ed or connected to the next one, a mesh frame will be required to support the objects. On the other hand, the difference between our design and these projects is all our panels are connected to each other, which they can self-support in the body part. There-fore, a neater and simpler frame can be constructed because of our connected-panel design.

concept diagarm

Further Development

Structural Design

Further Development

Structure Design I

Connecting wires to the edges by locking the bottle neck

The structure design

Further Development

Further Development

Detail2 drawing01. locking the bottle neck

Detail drawing02. supporting wire connection

Detail drawing03. connected by 3D print joints

Further DevelopmentStructure Design II

Diagram01. prototype structural testing

Attached points

Extreme points Wire conneted

Frame

Further Development

The second idea of the structural design is hanging the panels at certain points, which have found out all the extreme points of the surface through grasshopper. After finding the highest and lowest points, wires can be connected to those points, and curvy surface should be generated. Refer to the diagram pro-totype structural testing 01 and 02, can indicate a concave and convex shape can create by connecting different points. An extra frame will be needed to place above for holding all the wires. The connection between frame and wire, and frame and site, needs a further development. However, a huge and high strength frame is required for the supporting, and it will affect the whole appear-ance of the design.

Diagram02. prototype structural testing

Attached points

LearningOutcome

From part B to part C, the project ideas and objectives had been changing a lot. A number of ideas and messages want to achieve in the project at the beginning, which makes the design complicated and abstracted. To start with a clear objective is the most difficult but important step in a design process. Therefore, interrogating the brief and listing out all the purposes and objec-tives that want to achieve in the design, and compare them to the site issue will help me to adjust the design direction. In a design process, we were asked to think about what possibilities and po-tentials can be brought out under the limitations. Thus, we need to take a balance between the potential areas and limitations, in order to make it achievable. For example, we filtered all the ideas in part B, and stay with the most significant one.

After clarifying the objective, we need to consider how to de-velop the digital model into physical. It includes what kind of ma-terial will be used, how are they connected, and how are they supported. I think the most interesting part in our project, is using recycle material and changing the rubbish into an artwork. I enjoy the process of exploring the water bottle. We can see how much potential in a recycled object, and each segment can turn into a piece of art. This is not an exactly way to achieve sustain-ability or reduce waste, but it is good to observe and explore all the possibilities in our daily life.

Lastly, there are some experiences after a semester of learn-ing parametric design. I remember one of the critiques and com-ments of other group, was questioning why her design is required to use parametric method, and how did she applied parametric on her project. This led me to think about my own design, whether it

LearningOutcome

work or not if without using parametric method indeed. Computing helped us in the form finding process, which analysis the data and generated our final form. Moreover, the technique of mor-phing geometry onto surface is also applied in our design process. However, meanwhile, some manual works, such as drawing the pattern/shape of our geometry in Rhino or other preparations were needed before start using the parametric tools. My project cannot be defined as a totally computation’work. It is because the computers was playing the role of helping me to manage and organize the idea that is preconceived in my mind, and help me to work in an easier way to edit, copy and present more than gener-ating the whole form by scripting or parametric tools. Therefore, in my future development, besides of thinking the structural de-sign, I would like to further develop the pattern of the geometry, which draws it by scripting, and then exploring the shape and size, playing with sliders or adding different components, in order to come out some unexpected result or inspiration, and this is the most attractive and interesting part in a computation design.

It is no doubt using computational design will be one of the fu-ture industries. It has the capacity to generate complex form and ideas. It shows the flexibility and conveniency in a design process. However, I believed this technology cannot take over the manual work, as Kengo Kuma stated ’the tendency of making things by hand is returning’. Computers are lack of creativity and incapable of making up new instruction, since they follow and analysis the data that human insert. This is the differences between human and computer. Therefore, it is always important to find a balance. Learning to take advantages from technology but not be taken over by them.

FinalModel

FinalModel

scale: 1:1

FinalModel

FinalModel

scale: 1:1

FinalModel

FinalModel

scale: 1:1

SiteModel

scale: 1:50

SiteModel

SiteModel

SiteModel

scale: 1:50

scale: 1:50

Reference

"John Wardle Architects' NGV Summer Pavilion Opens". ArchitectureAU. N.p., 2016. Web. 10 June 2016.

"'The Cola-Bow' Installation / Penda". ArchDaily. N.p., 2013. Web. 10 June 2016.

Reference