Air 2013s1 jie ren

ARCHITECTURE STUDIO AIR

JOURNAL ABP30048 ARCHITECTURE DESIGN STUDIO: AIR Jie Ren 539452


1. EOI I: CASE FOR INNOVATION

1.1. Architecture as a Discourse

1.2. Computational Architecture

1.3. Parametric Modelling

1.4. Algorithmic Explorations

1.5. Conclusion

1.6. Learning outcomes

2. EOI II: DESIGN APPROACH

2.1. Design Focus

2.2. Case Study 1.0

2.3. Case Study 2.0 2.4. Technique: Development

2.5. Technique: Prototypes

2.6. Technique Proposal 29

2.7. Algorithmic Sketches

2.8. Learning Objectives and Outcomes

3. PROJECT PROPOSAL

3.1 Gateway Project: Design Concept

3.2. Gateway Project: Tectonic Elements

3.3. Gateway Project: Final Model

3.4. Learning Objectives and Outcomes

CONTENT


CASE OF INNOVATION

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ARCHITECTURE STUDIO AIR 1.1 CASE OF INNOVATION

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Hi all,

my name is Jie Ren. You can call me Jess. I am from China. I am a third year student in Bach-elor Of Environments, majoring in Architecture. I did virtual Envi-ronment on my first year, found Rhino program quite hard but interesting. I am looking forward to exploring more about rhino and grasshopper.

My life statue at the moment is: FORTUNE FAVOURS THE BRAVE!

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ARCHITECTURE AS DISCOURSE

"Architecture is a product of the desire on the part of social and political authorIity to update the public realm in the context of unprecedent-ed prosperity".

Richard Williams, 2005

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THINKING IN SPACE-RELATION

Thinking about architecture as a discourse, architecture has to be considered with relation to not only aesthetics, but also in relation to social, community and functionality. For the Gateway project, in order to develop a proposal that inspires and enriches themunicipality1, we should be thinking about things as innovative and also complementary. In a society like this, there are always Unlimited elements that are related to architecture discourse. These days with the involvement of computer technology, architecture became more adaptable and more efficient .

Richard Willians stated that 'architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings.' 2 Whether in my understanding of architecture in discourse is always renewing and changing due to different aspects of impacts around it.

Apart from social and visual context, architects also need to consider their design referring to economic, moral, religious environments and so much more. 'Buildings with no capacity to change can only become slums or ancient monuments'.3Architecture is no longer just a building, but has to be flexible with vary aspects of context. So we also have to consider our architecture in relation to the future, a good piece of architecture should be able innovative enough to respond to surround, or more, the change of surround.

My aim for Wyndham City project is to explore much about Wyndham city and its related space. Getting use of the space in context of its social and community, as well as engaging innovation and complementation of its key features. Finally I strive to create a significant visual icon, which could represent the Wyndham city and its space in relation, and achieve the sense of elegance.

ARCHITECTURE AS DISCOURSE

How many perspects could architecture be divided into?

1. 1. Wyndham City Council, Western Gateway Design Project v02 commented by Stanislav Roudavski, re-trieved from LMS, 10 Mar 2013, pp 42. Williams, Richard (2005). Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts, Ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 1153. archigram, dir., archigram, bbc Productions, 1966

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The Beijing national aquatic center 2007

The Beijing national aquatic centre is an example which is thinking about architecture as a space relation. The overall shape of the structure is in relation to the context in Beijing. Its geometry lays on the same axis to the forbidden city. This building is also designed to compromise a variety of purposes, functional, sustainable and specially, it achieved the sense of 'visual culture'.1 Richard Williams mentioned 'architecture is as much a philosophical, social or professional realm as it is a material one, and it is through the consideration of architecture as discourse that one can engage with it as visual culture'. 1In terms of 'visual culture', In order to highlight Beijing's culture and identity, it formed itself a perfect cuboid box in relation to the traditional Beijing quadrangle courtyard. Beijing national aquatic centre is located in Beijing Olympic Green for the use of the 2008 summer Olympic swimming competition. This piece of work

is also nicknamed as 'water cube', in terms of its overall cubic form. Then the designers create 'bubbles' to symbolize water flowing.In terms of functionality and sustainability, it is using a steel space frame, and it also involved ETFE clad structure. This ETFE clad structure is the 'bubbles' system, which was covering the whole cubic surface. The 'bubble' skin functions as not only a simple facade. But also enables the structure to gather more light and heat penetration than traditional glass, resulting 30% decrease in energy costs. Each bubble includes a filter inside it that can also control the temperature, when it gets really hot and releases heat when it needs to dissipate from building. It also gathers rainfall on the roof of the building and pushes in within the building.Thus, Architecture in discourse in this case will be the engagement of the environment, the Chinese culture, Olympic game, art and sustainability.

1.1 CASE OF INNOVATION

1. Williams, Richard (2005). Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts,

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ARCHITECTURE STUDIO AIR BMW Welt, Munich, Germany, 2003-2007

BMW Welt is situated in Munich Germany. Similar to the water cube, it successfully achieved its purpose of a unique, geometrical functional and sustainable structure.

BMW Welt is also a good example which achieved a sense of space relation. It did not use space as a direct source, but in terms of visual experience, a lot a of design purposes are tightly bound to its surrounding. Its semi transparency unified itself as a visionary architecture, to gather maximum sunlight, and create maximum view to the landscape. In terms of being innovative, its eye-catching form distinguished itself

from its streets capes, and enriched its site with more characteristics. It is described as a 'dynamic construction' of semitransparent glass structure with corrugated steel roof and one ending in a double twist in form of a cone. In contrast with the surrounding sharps shaped skyscrapers. We translated the geometry of constantly changing cloud into architecture' says wolf D. Prix. T In terms of sustainability, BMW Welt managed varies groups of 16,500 square meters of solar panels installed on the roof, to receive nature solar energy for daily basis.


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SPIRAL EXERCISE

PYLLOTAXIS AND EXPRESSION

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COMPUTATION

"It is possible to claim that designer's creativity is limited by the very program that are supposed to free their imagina-tion"

Terzidis, Kostas, 2009.

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COMPUTATION

Computerization helps to digitalize concepts in one's mind, while manipulate and store this data into computer system. For example, scan a existing drawing into a computer, or putting an essay into a world document. Whereas, computation belongs to a more technical designing field, allows more opportunities, more imagination, and more efficiency, accuracy and sophistication. In other words, computation could be argued as an integrated design tool, which satisfies different designing desires and innovations.

W h e r e a s ,Computation could be used in different design fields, such as 3d model construction, design tool creation, and generate and explore architecture and space. In order of function,

Computational technique is accurate and sophisticated. It is not only smart in dealing with number data, but also more importantly flexible enough to be able to adapt changing environment. It

helps designers to stimulate building performance, including materials, tectonics, and parameter of production machinery. It is also good at dealing with the complex, which one dominating example would be digital fabrication. It involves great calculation, which the human would take forever to calculate.In order of imagination, Computation create a free space for designers to develop and experiment their design in practice. It gives designers more opportunities to produce more response design, because it allow designers with more design options, and also helps them to analyse architecture decisions during design process.

Kalay described Computation as a puzzle-making more than problem solving. 1Sometimes it is playing a dominant role to designer's concept of mind, which transfer people's ideas into something else. With the involvement of computation, more possibilities lead to more complexity.

What is the difference between computerization and computation?

COMPUTATION

1. Yehuda E. Kalay, Architecture's New Media : Principles, Theories, and Methods of Computer-Aided Design

(Cambridge, Mass.: MIT Press, 2004), pp. 5

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COMPUTATION

"The major elements that drive the overall geometry of the design are the orientation of the fins, profile of the edge fins, saw-tooth cladding between the fins, and the arcs that form the north facade. The fins are oriented to provide shading for the east and west facades, as wellas structural support for the floor plates, and add to the experience of the internal space, dividing it and framing views back over the city"1.

- Computer works- the building of Agorithmical thoughts

1. Computation Works - The Building of Algorithmic Thought, p 13614


Foster + Partners, National Bank of Kuwait Headquarters, Kuwait City, Kuwait, 2007

1.2 CASE OF INNOVATION COMPUTATION

In contrast with its surrounding environ-ment, the bank is no doubtfully the most eye-catching component among all of them. It's not only because of its grand size but most importantly the distinctive visual impact it is making within its rather small space. We could notice that the surrounding buildings are quite straight and sharp angled in their shapes. The national band here is creating more of a sense of articulation to this urban area. Relate this work to the Wyndham City project, this is sense of articulation is the kind of impact I would like to achieve.

The National Bank of Kuwait Headquar-ters is an 'environmentally responsive' building which involves complex geom-etry'. The 'fin' of the architecture is not only a visual component, but also hold-ing an important role in functionality.

In this example, designers achieved a complex building by starting with shape, and adding and refining details to form such a massive fluent shaped architecture. Computation is contribut-ing to a great part of the structural pro-cess. Computation is in use to produce a parametric model, to show overall building in a 3d view and also extract all 59 floor plans and many sections. This purpose is to have multiple varia-tions of the building shape for designers to explore and develop more ideas, in terms of aesthetic purpose and func-tional component. Furthermore, this is also used to 'prepare models for calcu-lations such as solar, wind and acous-tic analysis'. it was possible to extract all 59 floor plans and many sections that were used for further development such as space planning and details.

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COMPUTATION

'GECO allows the user to export complex geometries, evaluate the design s performance in Ecotect, and import the results back into Grasshopper, without reworking the model repeatedly. '

- Computer works- the building of Agorithmical thoughts

Computation Works - The Building of Algorithmic Thought, p 136

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SPAN (Matias del Campo and Sandra Manninger with Federico La Piccirella and Filippo Nassetti), Hong Kong Shenzhen Border station competition entry, Hong Kong, China, 2011

1.2 CASE OF INNOVATION COMPUTATION

In contrast with the previous example, Span is also a architecture work benefitted by computation. In this example, GECO was used to help the designers with complex geometry, to create efficiency in exploring and analyse modelling. Basically what this Grasshopper plug in does is, to create a link between 3-D modelling software and analysis platforms, while solve complex geometrical problems and giving performing feedbacks.

As explained above, The program helped designers to evaluate a solution of vertex colour or watt-hours per square in a form of algorithm. This helps designers to develop a complex and sustainable geometry, which is the solar roof system with consideration to roof openings and landscape.

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COMPUTATION

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COMPUTATION

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PARAMETRIC MODELING

"A set of equations that express a set of quantities as explicit functions of number of independent variables, known as 'parameters'.

Weisstein 2003

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Nowadays computation techniques are more sophisticated. People are developing more skills in this field. Parametric modelling is a great design tool to manipulate design objects with computer techniques, and enable designers to see the relationships and interactions between varies components in a design.This is specialized in particularly mechanical designs and building designs, in terms of maintaining the constant changes in design feathers digitally, to gain more efficiency for designers. Programs like catia, generative components and grasshopper are considered as parametric designing

tools. Grasshopper is a great program because it contributes more efficiency and accuracy to computer technique. It also creates space for people to share their results and inventions, which creates interaction between people. And it is never ending, because people are constantly discovering new and amazing scripts and sharing with others. Also these programs are cost-effective to learn, you could find online tutorials and informations through websites and forums. The Wyndham project aims for a innovative project, which requires parametric designs to push people's terminal knowledge, and form much more distinctive and abstract 'vision source'.

PARAMETRIC MODELING

PARAMETRIC MODELING

What could parametric modeling do?

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Impossible?

The Taichung Metropolitan opera house is still in construction located in Taiwan. It is interesting for its space in relation, because they are so tightly bound to each other. If one of the panel expand, the others have to shrink. It is designed by a Japanese Architect Toyo Ito. What Toyo Ito tries to achieve, is distinguish this metropolitan with its own significant identity with its unique parametric structure and in merge with Taichung's own culture.

Because ito's work has been highly concerned with the notions of an all-encompassing, ever expanding space. This design is very much a open system. The construction is overwhelmed by continuous curved walls and inlaid floors. This large amount of opening creates more opportunities to customers, for them to have a better connection with the surrounding.

PARAMETRIC MODELING

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"But we are making the impossible possible".

- wu chun-shan, pres-

ident of lee ming construction


In order to manage such a complex geometrical structure, a large amount of steel bar reinforcement and steel trusses will be needed to stabilize the whole system. Because this is such an irregular shape, parametric modelling tools has to be used for sure, to help to explore and evaluate suitable amount of materials to support such a complex system. In resulting, large amount of steel frame and trusses together with shotcrete to achieve a free form structure as this.

PARAMETRIC MODELING

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Various Architects' project "Yorkshire Diamond

Various Architects' project 'Yorkshire Diamond' was a finalist in the open international competition for a mobile pavilion for Yorkshire Forward. It is specialised in its unique atomic diamond style and also its flexibility.The Yorkshire's Diamond Pavilion has a 'diamond', with 20 x 26 x 10 meter

diamond grid. It is light weighted, and could change its form if wished. Therefore, customers could use it for different purposes in different seasons. 'At night the translucent shafts and outer skin radiate light in all colours and directions like a diamond twinkling in the sunlight.'1 Dezeen magazine 2009

PARAMETRIC MODELING

1.Dezeen Magzine: http://www.dezeen.com/2009/02/28/the-yorkshire-diamond-pavilion-by-various-architects/ 24


The complex repeating inflatable tubes will not be achieved without polarimetric modelling tool. Each accurate tubes were made and cut by CNC.Different sustainable tool were installed within the system, such as solar

panels and wind turbine to achieve maximum environmental friendly. The structure is tested and analysed with computation tools. This involves examination of appropriate grids, light gathering and minimum structure weight.

PARAMETRIC MODELING

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PARAMETRIC MODELING

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PARAMETRIC MODELING

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" traditionally, architectural discourse has been largely a discourse of form. in general it has been dominated by debates that revolve around ques-tions of style. these debates have tended to be grounded on little more than moralistic arguments that seek their authority in terms such as 'sin-cerity' and 'appropriateness'. such debates have been trapped within the

realm of symptoms. 1

-Leach,neil , 1997

1. Leach, neil, ed., (1997). Rethinking Architecture: A Reader in Cultural Theory (London: routledge), p. xiii

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Referring to history, Architec-ture developed from carpentry to professional practise of art and craft. It is constantly upgrading its social statue and formed itself a stable position in the society.

Just as leach stated, architect has moved away from only a build-ing construction, but more about art and social practise. (Leach, 1997) Nowadays, architecture is constantly reshaping and refin-ing itself, in relations to visual, so-cial, religious, moral and so much more. Until today, Architecture

as discourse has become more flexible and comprising since computation was introduced. It also shows itself in more variety of aspects of forms and shapes.

Move to the stage of digitaliza-tion enable designers to think more freelSy and madly than ever before. Computation could create more complex and free structure that human could not achieve as it used to be, which creates much more response to innovation and more possibility.


CONCLUSION

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Through various of researches of architecture as a discourse, com-putation and parametric modelling, I suddenly realised that there are so much things going on with ar-chitecture. We have to think about social, space and functionality, as well as being innovative and com-plementary. Architecture before in my mind was only technical draw-ing, sketches, cad and model mak-ing. Through these researches re-

ally distorted the way I think about architecture. We are used to create a sketch in our mind, and transfer that into computer programs, such as sketch up, auto cad and rhino. Now we are acting a reverse way, which was letting the computation to script us. It is interesting to see that instead of using computer as a tool like before, we are now co-operating with computer , and resulting with amazing products.

LEARNING OUTCOMES

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REFERENCE:

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

Leach, neil, ed., (1997). Rethinking Architecture: A Reader in Cultural Theory (London: routledge), p. xiii

Williams, richard (2005). 'architecture and Visual Culture', in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew rampley (edinburgh: edinburgh University Press), pp. 102-116, p. 108

Yehuda E. Kalay, Architecture's New Media : Principles, Theories, and Meth-ods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25

Computation Works - The Building of Algorithmic Thought, p19-20, p 136- 137

Woodbury, Robert (2010). Elements of Parametric Design (London: Rout-ledge) pp. 7-48

Designboom architecture: http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/

Dezeen Magzine: http://www.dezeen.com/2009/02/28/the-yorkshire-dia-mond-pavilion-by-various-architects/

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EOI II: DESIGN APPROACH

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DESIGN FOCUS

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DESIGN FOCUS

Wyndham city distinguish itself as a place riches by nature, cultural, social and historical characteristics. My argument is 'space relation', which is focusing on the interaction between different perspectives of space. So one thing has to be included in our approach, is the contrast between rural landscape expression and rapid urban development. This is the key theme that dominates the dynamic movement of the Wyndham city. Apart from finding the connection between spaces, our group is interested in the relationships between individuality and population dynamics. So we are looking for something that is repeating and heterogeneity. We also focus on how individual pattern articulate the complicated surface. Also of consideration is the high speed movement of traffic along

the Princess Highway, our project should come out largely. Its patterns should be distinctly revealed, and to be captured from a far distance. Its connections of movement should be smooth and continuous for people to see in a accelerate motion. So tessellation is the field we pick as a starting point to explore the heterogeneity out of a complex geometry. Out of preference, we also like to manipulate the patterns by certain rules, in order to act continuous and dynamic.

For the purpose of heterogeneity, our group has chosen Haresh Lalvani s mapping Morphology as our precedent. His metal folding work is our mainly forced target.

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CASE STUDY 1.0

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CASE STUDY 1.0

VoltaDom, by Skylar Tibbits

VoltaDom is an installation that populates the rational corridor spanning building 56 & 66 on MIT s campus. This project combines monumentality with computation design, to form such a digitalized light-weighted sculpture.

Voltadom is a typical example of tessellation. The overall form is defined with hundreds of articulated surface panels: vaults. This doubly- curved ceiling revisits historical elements, and at the same time, the holes helps to gather maximum views and light. This installation was also made fabricated by transforming complex double curved vault construction to simply rolling a sheet of material.

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In this section, I did not really have a clear direction of changing the definition, but to experiment it in varies different approaches. I started with changing the shapes of the grids in both 2d and 3d perspective, to see how the cones will act among different grid distributions. One of them did end up with a very interesting tortuosity that I did not quite expect. I further explored them with image sampling, to see more possibilities with different densities. In order to develop more textures out of the Voltdom definition, I then tried to transfer the cones into different forms of geometry: rings, cylinders, sphere, and box morph. I liked the

box morph result because I gives me a very strong visual perception of aggregation. Then I moved my exploration into line and stripe work, just because I think the transformation of lines will add more texture to the object. So I mainly forced on field expression and voronoi patterning. Compare these two results, voronoi patterning experimentation came out much more morphology with the change of numbers, whereas field is more three dimensional and more concentrated. Voronoi is definitely approaching closer to Lalvani s mapping morphology.

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ARCHITECTURE STUDIO AIR Voronoi Patterning

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ARCHITECTURE STUDIO AIR Field Patterning

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"Map all the role, universal change, Mapping every possible of shape we can change into". Haresh Lalvani

CASE STUDY 2.0

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CASE STUDY 2.0

KEY CONCEPTS

Nature

- using force to script matter.- apply tension to surface.

Cells

- neighbourhood relationships- make them propogate using certain roles

Genetic

- internal force, fight the terminal knowledge.

Patterns - (regular to irregular through the change of numbers) just like the pattern of nature.

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Lalvani's work is inspired by how Nature designs its incredible creations using generative principles and formal codes combined with forming processes. Logical genome and sculpting works derived from it's principles, resulting in compelling physical structures of genomic architecture. Therefore, in Lalvani's design concept, nature force is being strongly emphasized. He stated that "nature is using force to script matter", This suggests to us that nature is the best resource we could use to help us to expand our imagination. Lalvani uses internal force to decode existing thing, and to fight the terminal

knowledge. By creating a repetition of individual genes, and applying force into it, to therefore produce certain groups of ways of shape change. And then plant it, propagate with the role forever. Lalvani thinks that each neighbourhood cells have relationships with each other, If we make them to propagate using certain roles, we could create many different patterns: both regular to irregular through the change of numbers, just like the pattern of nature. The special identity about Lalvani's metal folding is that it only uses one sheet of material, he laser cuts it, and starts to twist and turn, and pushing it to its limit.

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We adopted Lalvani's concept of creating gaps between patterns to allow surface to change and flowAccordingly, as well as imitating his Algorithm thinking to generate patterns. We tried to manipulateLalvani's idea of using natural forces to generate patterns on surface; in order for us to achieve this, weused Kangaroo plug-ins to stimulate the natural force. But we failed doing so, as we work on, we foundout that it is very hard for us to gain full control over the generated mesh and errors often occur whenwe tried to split the mesh

the shape didn't turn out as

dynamic as we would expected.

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By following the concept of using nature force as a script, we chose union force in kangaroo plug-in to generate different forms of geometry. Initially, we were only using it to explore different forms, as we went on, we realized that union force works better on generating patterns. So Jun hand crafted a paper geometry, which its pattern looks very much like one of the product of union force script. This prototype is very elegant, and it shows us a sense of 3d articulation within only a small sheet of paper.

FLAT SURFACE SET GRIDS INTERNAL FORCE

PARAMETER PARAMETER INPUT

3D SURFACE

GAPSVARIOUS PATTERNS

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Technique: Development

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ARCHITECTURE STUDIO AIR EXTRUSION RELATIVE ITEM

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ARCHITECTURE STUDIO AIR IMAGE SAMPLING

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ARCHITECTURE STUDIO AIR POINT ATTRACT AND REPEL GRID PINCH

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ARCHITECTURE STUDIO AIR LINE ATTRACT AND REPEL FABROCITY

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ARCHITECTURE STUDIO AIR VORONOI EXPLORATION

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Through the exploration of matrix, we finally decided to use Voronoi cell as basic pattern.We generated Voronoi cells through rectangular seeds which leads to relatively regular and modular pattern.

At the begining, we focused on producing relatively identical pattern that can be mass produced and easily assembled. The Voronoi cell is modular but actually not repetitive, which satisfies what we think about the effects of subtle change and convience of construction.

Besides, it is a sophisticated area that frequently used in urban planning and arhitectural discourse to determine the relations between adjacent areas.

The reason for chosing this pattern, is because the pattern is dynamic and represents a sense of asymmetry. Its layout of lines is in between the boader of rational and irrational, which also satisfies our criteria of 'eye-catching' effect.

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The final form was actually quite simple compare to the previous examples we explored. Thinking about the gateway approach, the connection between the city and its rural is another important thing we were looking at. So we wanted to create a doubly-curved geometry, in order to represent the connection between urban and rural, and also to show a dynamic change of shapes for the view point of drive through. Bring out the maximum expression of connectivity for people to capture from a far distance. Therefore, we finally decided to create a doubly-curved form with lofting two interlocking rings. Both of the rings represent the city and the rural.

Technique Proposal

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When the overall geometry came out, we realized that our pattern in this time could only be a skin rather than a structural component which could support itself. So we thought about adding an extra layer of structure underneath the skin to fulfil its structure purpose. So we looked at different ways of fabrication methods. Firstly we looked at waffle structure, knowing it will be quite rigid and rather easily to construct. However, this aim

wasn't being achieved due to following reasons: waffle structure could not be completed because our form was too curvaceous to and too complicated to be fabricated in a waffle grid form; even if it could be fabricated out, its structure will be too much a hazard to our view of skin, as it will break the fluidity of our pattern; and one last very important reason is, it would not be as elegant as wished but too ponderous.

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We found out a very interesting connection, which is 'stripe morphology'. This fabrication method is popular because in terms of design tendencies they are compatible with the current digital and parametric approaches for designer. Stripes are light weighted and easy to shape. They are capable to be attached together and generate pre-tensional or pre-shaped modules. Although they do not bear load individually, when they were placed together, bent, joined and articulate in certain ways using rather strong materials like metals, they could be rather rigid as a structure.

Technique: Prototypes

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ARCHITECTURE STUDIO AIR Digitally we tested a useful stripe morphology script: stripe canopy. It is smart because the stripe structure is acting very functional. Basically it is sine graphed strips being mirrored, and being stacked in top of each other and extruded. The angle of extrusion corresponds to the rain path in order to prevent drop of water inside the canopy. So this example of tripe morphology plays both roles of a structural skin and a shelter, which we found it very useful We tried a few 'stripe morphology' prototypes to test how the light is being transferred through these patterns, and the shading result. We prototyped the connection technique where 3 steel plates join together as modular to generate pattern and allow the connection structure rigidity to be strengthened. However, the shade did not come out as fluid as we had expected, and the structure still seemed quite ponderous. We realized that it wouldn't be very economic efficient, as it uses too much material. Whereas from experimenting with the tab stripe morphology, we found out that it is not so rigid enough of being an structural skin, and the possible materials could be used are very limited. For example, it is very hard to use steel as the material for this structure.

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There were some issues occurred during our fabrication. As you can see, the final fabrication model did not look exactly the same to our digital model. As I mentioned earlier, our final pattern is being projected to the surface form. Therefore it could not act as a structural support for itself but only as a skin. For our first fabrication trial, we used Polypropelene as the material, because we thought this kind of soft plastic sheet will be very flexible to fabricate such a curvaceous geometry. However

it failed because it was way too soft. The whole model could not hold itself and collapsed. Then, we had another trial on ivory hard. That worked better, but because the form of our digital model was too complicated, we could only fold it half way. We did fold it entirely eventually, but it turned out into a very hideous abstract shape, which we disliked very much. So we decided to fold the model half way, because that is the only method we could substituted witth to get the closest form in appearance.

Technique: Fabrication

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CONCLUSION

Thinking back to our initial approach, there were things we did achieve and things we did not achieve. Our initial aim is to produce a dynamic geometry with repeating patterns. It should represent a connection between rural and urban, referring to my argument of space relation . It should also be a visual icon, which its dynamic movement could be captured by people in a speed motion, and people form far distance. By exploring different methods of patterns and forms, we were gaining more experience with computation technique. Also through

failures from fabrication, we realized the limitations with different materials. We also learnt from Lalvani s concept of using nature to script matter by engaging computation technique, which is using kangaroo plug-in to develop multiple patterning. Although we did not fully achieve Lalvani s concept of creating patterns with nature force. However, we did move apart from our lalvani, to be more flexible and more adaptable, with exploring different ways towards more pr cised and outcomes.

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From tutors' feedback from presentation, next step we will be focusing on exploring the possibilities of materiality. We should consider the rigidity, cost, efficiency of construction and very importantly its elegance. We also have to start to determine the real scale of the installation. In order to get

the most appropriate amount of lights and shadows, and the best way of its motion, we need to start to calculate the best angle for each of the flipped panels. In addition, we need to consider different times of a day, different weathers and also different change of motions when cars drive pass.

OUTCOMES

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THE PROPOSAL

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DESIGN CONCEPT

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In order to develop a propos-al that inspires and enriches themunicipality for the Wyndham City, We need to consider elements relating to space, culture and community. In terms of visual effect, we need consider the scale and im-pact of the proposed installation within avery flat and wide open landscape. We also need to consideration is the high speed movement of traffic alongthe Princes Freeway and the large and im-posing service centre and signage.1 My argument is 'space relation', which is fo-cusing on the interaction between differ-ent perspectives of space. Therefore our proposal aims to create a installation that could respond to the site, in relation to space and movement. In terms of region-al scale, We are interested in the relation-ships between individuality and population dynamics, which is something that is re-peating and heterogeneity. In terms of lo-cal scale, we would like to create a smooth and continuous form, that is also dynamic. In terms of a global scale, we want to create a installation that acts as a tool of stimula-tion and also a connector to the surround-ing elements.

1. Wyndham City Council, Western Gateway Design Project v02 commented by Stanislav Roudavski, retrieved from LMS, 10 Mar 2013, pp 5 76


PATTERN FINDING

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FORM FINDING

Our project form was initialized by two interlocking circles. One of them represents Wyndham City and its rural area, the other one of them represents individual and community. We lofted the two circles, and formed a doubly curved surface, which what we find very dynamic, fluent and more importantly unique. Patterning were created by Voronoi tool in Grass hopper. The final choice of pattern was one we agreed the most rational and dynamic pattern, which represents a sense of asymmetry. Its layout of lines is in between the boarder of rational and irrational, which also satisfies our criteria of 'eye-catching' effect.

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ARCHITECTURE STUDIO AIR RETHINKING FORM FOR SITE

At this point, the form was not yet satisfied considering the real life construction, This form was not suitable for the actual site, because it was too curvaceous to sit on the site. Unless we dig off some of the ground soil, so the bottom part of the building could be placed onto the floor, but we do not see any point doing that because people would not see the bottom part of the building anyway. So we decided to trimmed off the bottom half of our project form, for it to be stably placed into the site.

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ARCHITECTURE STUDIO AIR RETHINKING SIZE

There were some issues occurred while we were testing the how long will it take for a fast driving car to drive pass the whole installation. The result was only 2 seconds, because our project was only 20 meters long. Two seconds is too short for people who drove pass the building to see what the project is really like closely, but to drive away too soon from the building. And because it was not so grand, people wouldn t be able to capture the building

from a far distance. This is something we would not want. A simple way of doing it is to enlarge the whole project, but we soon abandoned this idea, because the installation will be too tall and acting too ponderous. So we finally all agreed on stretching it horizontally. The result was surprisingly good because as it because longer, it appeared more elegant and more compromising to the site and space.

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LAMINAR FLOW TURBULENT FLOW

LAMINAR FLOW

TURBULENT FLOW

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We use the flow method to manipulate the articulation of our flying panels.

We use it to determine the radiance of the rotation. There are two vairable values that we used to change the opening sizes. One is speed of the cars, the other is the viscosity of the air. The car speed is generally ranged between 19m/s to 25m/s. According to the dif-ferent direction of traffic and circulation, we think cars on the way to the city will be faster than the cars away from the city. The viscosity of the air is influenced by the pressure and temperature. As the temperature of the area is within 0 degree to 40 degree, the viscos-ity is between 1.1922 to 1.145kg m3. Therefore, we can use these data to rationalise and organise differ-ent options for the opening sizes and thus test them to find the satisfying effects that we are looking forward.

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In here we are experimenting different angles of the flying panels, to see which of those is the most dynamic method.

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This project locates in between the two opposing freeways at the point where the two roads start to move apart from consistency parallel positions. It is acting as an interim element to Wyndham and its surrounding rural areas. The significant position incorporates the porosity, which helps to stimulate the city of Wyndham by linking two major parts of the princess freeway . the project also aims to engage in Wyndham's statue as fast growing economic urban hub with its dynamic mutation of its surface change .The situation of the gateway in based on a reasonably flat surface, its curva-ceous form and heterogeneity will cre-ate a great contrast to the flat site itself.The gateway also creates opportuni-ties for interactions of cars from each sides. So the cars driving in and out from the two parallel freeways would be able capture each other during the short journey with the installation.

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Red lines: pressure of air made while cars are driving in a high speed

Blue lines: air circulation between cars

What we also want to achieve, is the ex-change of air between the cars on both side, to create a sensational connec-tion between the cars and the two roads.

SENSATION

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SEARCHING FOR ELEGANCE

Elegance is a part of our focusing point, as because it is an important prospect which mediates and enables complexity. In our project, we aimed to form a transformative surfaces which incorporate distinctly different topological features, so a tightly controlled, precise refinement in a technique is required to mould transformative surfaces . And Negotiating the restraining visual opulence of these compositions is an operation that requires elegance. In our project, The continuity of surface transformation and modulation assists in the creation of elegance. As the form transforms from the ground to the top, it accumulates fluidity within the change in scale and patterning dynamic.

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Tectonic Elements

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To achieve a sense of elegance in terms of materials, we considered the economic use of materials, which was to produce the most with the least. In a sense of economic and sustainability, we were very interested in Shigaru Ban's paper nature, which was construction with recycling paper. He determined that recycled cardboard can be shaped and rolled into sturdy beams and strong trusses, all of which are fire resistant and water-proof, and uses these materials to build some of the most impressive edifices on the planet. This method could be adopted to create some of the straight beams in flat surfaces, however with curved

surfaced panels these rolling method will no longer be working. Another reason why this method could not be achieved is that, this installation is a permanent project which requires material which last long. Although paper rolling is water proof and fire resistant, it could only be used as a temporary project, because paper in its nature is easily corrupted. The materials have to be flexible, be-cause there are different variations of curved angle. Some are gentle and partially were extremely curvaceous. So we chose steel plates as our ma-terial, as it is suitable due to its strong compression resistance, and create ability to be bend in different ways.

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As the diagram showing below, different colors represent differ-ent types of curvatures. The red part is rather curvaceous, the blue and purple parts are more flat.

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We are very interested in using welding technique used in the 2008 Beijing Olympic Stadium, to prefabricate some of the joints for rather flat surfaces, in order to gain structure rigidity and construction efficiently. This technique is the most simple way to use for our project, because this is highly adaptable to parts which do not fit exactly. This solved a lot of irregularity problems in our project. However,we choose not to use welding method for project. One of the reason so is that it could be very expensive to weld so many panels in our design, the other reason is due metal's high conductivity. We have to leave some gaps for our joints to deal with different weather conditions, which is to allow it to expand during warm weathers.

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The other method we were looking at is the one shown on the left. Basically the steel hollow beams will be placed against each other tightly, and then we bolt in trilateral plate to hold them together. We are still not so pleased with this joint, because this is not flexible enough to support our structure. It requires the hollow beams to fit to each other exactly to be rigid. In our design, a large part of out form is very curvaceous, therefore it is

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For the parts of the project which have large degree of curvature, we decided to have this styled joints shown on the left. So the panels are connect-ed by three thin steel sheets. This connection technique is advanced because it is highly flexible, it can be bend to deal with our curve, and also its gaps leave rooms for steel to expand during warm weathers.

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While the skin is the body's most immediate envelope, elegance unleashes a specific visual intelligence that can be achieved by refinement and precision of surface. In our design, there is a significant three dimensional transformation yields differentiation to space and in surface articulation of the exterior envelope, achieving a mutation as one rotates around the building. The flying panels are one of the most significant features, which dominates the articulation of the skin curvature, in order to achieve the sense of elegance. The angles and dimension of each flying panels are strictly shaped by the articulation of the structural patterns and curvature. Our flying panels are fastened by cleats. As shown on the left, the cleats, various in size, were bolted into the panels. Because the flying panels are not taking loads, but only acting as decorative elements, the joints do not have to be super rigid in this case.

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We decided to use the joint above for our bottom structures. These joints are taking the loads from the top of the object, and transfer the loads into the concrete floor on the bottom. The metal plates in the middle are welded together and bolted onto the floor area. This connection idea is borrowed from Shigeru Ban's Paper Tower project. The reason why we chose this connection for our bottom panels is that, it allows the panels to be elevated above the ground, to achieve a sense of elegance. During the presentation, the jointing technique was doubted because the semi-circular steel will not be rigid enough to support the structure. If that is the case, we could bolt two semi-circular plates on each sides of the large circular plates, to make it more rigid.

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FINAL MODEL

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In addition

The flying panels for our project was too big, which became a encumbrace for the structure to support. So we decided to increase the number of panels and reduce their size.

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Learning Objectives and Outcomes

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I think the most amazing thing about computation is that, there are so many possibilities and unex-pected results that could surprise us. Imagine if you try to generate something in your mind with com-puter techniques, and it turns out differently but it produced another different amazing result you never thought of. So you never know how much more computation could add on to your own imagination. I have taken virtual environments on my year, spent quite a bit of time on rhino and its paneling tool. I assume I knew something about rhino, so I walked into the studio, and was shocked that there are so much more stuff going on in grasshopper than rhino. Fortunately our tutor Alex and David are being very helpful, and helped us a lot in solving some major difficulties we experienced. Online tutorials made by Gwyll also helped a lot with my understanding and development of grasshopper.

Also there are some very useful resources in Grasshopper websites which taught me lot of useful grasshopper design techniques, such as Zubin Khabazi series, FORMul[a]RCH , and Antonio Turiello . This subject really pushed me a lot into different areas of studies and explorations. Verbally, I leant how to capture the key concept and elements in different prec-edents, and to be able to correctly analyze their useful strategies in relation to the Wydham Gateway project. I was completely out of track under the part of Expres-sion of interest . I did not form a very clear argument, and much of my analysis is too inattentive to support anything. Fortunately my tutor helped to go through that part to see where my problems are. This becomes very important for me to develop the later work of my journal, which fixed a lot of my problems I was not aware before.

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Through leaning grasshopper as well as rhino, I found that both rhino and grasshopper have their advantage and disadvan-tage. Grasshopper is better with quantity work out, such as build-ing with hundreds of panels that need to be fabricate, and it s very flexible and good at dealing with different changes. However it is more complex sometimes to work out the scripts. Whereas rhino is more efficient with objects having small quantities of panels, but it s not as flexible as grasshopper. So while considering time manage-ment and efficiency, sometimes we have to compromise our-selves between rhino and grass-hopper. The flying panels in our design are done by rhino itself, so we manually rotate each of the panels out depending on the curvature. Surely there must be another solution in grasshopper, maybe it s better. But because there are not so many panels in our building, so it does not take too long to complete that action. Besides, I improved not only in rhino and grasshopper, but in areas like InDesign, Pho-toshop and photography. I gained a lot of InDesign tricks from my tutor and friends, precisely the

on the use of fonts, space man-agement, chose of colours and so much more. Every detail in a piece of layout makes a big difference on the overall quality. In addition, Issue is very cool, it certainly cre-ated a lot more characteristics in our journals, despite the fact the webside somethimes corrups I also developed more skills in Pho-toshop and photography. Before, I never knew that there is so much going on in a piece of photograph. I was never so aware of the impor-tance of the space lights and focus. Working in a group of friends is very fun and motivating. However, after this group experience we know that in order to have a efficiency teamwork, we really have to split ourselves into different fields of work, which we didn t do.

The most important thing about design is solving different prob-lems. You get one problem, you try to solve it, and you will get more problems. A smart way of dealing with these problems is to transfer these potential prob-lems into some unique feature into our design. This is also es-sential for computation tech-nique, as computation will result much more possible problems.

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REFERENCE:

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

Leach, neil, ed., (1997). Rethinking Architecture: A Reader in Cultural Theory (London: routledge), p. xiii

Williams, richard (2005). 'architecture and Visual Culture', in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew rampley (edinburgh: edinburgh University Press), pp. 102-116, p. 108

Yehuda E. Kalay, Architecture's New Media : Principles, Theories, and Meth-ods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25

Computation Works - The Building of Algorithmic Thought, p19-20, p 136- 137

Woodbury, Robert (2010). Elements of Parametric Design (London: Rout-ledge) pp. 7-48

Designboom architecture: http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/

Dezeen Magzine: http://www.dezeen.com/2009/02/28/the-yorkshire-dia-mond-pavilion-by-various-architects/

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CASE OF INNOVATION -JIE REN (2)DESIGN APPROACHfinal air2

Air 2013s1 jie ren

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