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CONTENTS

PART A

A.1 Design FuturingA.2 Design ComputationA.3 Composition and GenerationA.4 ConclusionA.5 Learning OutcomesA.6 Appendix

Reference A

PART B

B.1B.2B.3B.4B.5B.6B.7B.8

PART C

C.1 Design ConceptC.2 TectonicC.3 FINALSC.4 Learning outcomes

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M.E.4

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My name is Qilu, pronounced as ‘Chi--Lu’, and some people also call me ‘Chilli’ somtimes. I am a third year student major in Architecture. In the last two years

of studying, I have gained some basic skills in design thinking and exhibiting. How-ever, my way of thinking design is still conventional, which also can be described as the traditional “top-down” design process. In previous study in studio Water and Earth, my design products are most likely to use curved walls and ramps to form organic shapes. I personally really like to form something that is really con-troversial. For example I like to use very heavy and rigid materials to shape the soft-characterized form. I also respect nature as the most fundamental element and inspiration in all my works.

Studio AIR, from the sound of it, is very likely asking us to design something that is very light-weighted and naturally friendly. I am very interested in the coming

tasks and looking forward to learn new skills in computational design/digital think-ing/parametric design.

By simply looking at the precedents that are parametrically designed, I am al-ready interested in this subject. I like that computational design can give very

organic and unimaginable shapes. One really interesting example that I’ve seen before is a really small scaled public bench design called ‘the Urban Adapter’, by Rocker-Lange Architects. They were urban public seating bench in Hong Kong and the shape of the benches are so organic and are seemed like flowing water in my eyes. I am willing to learn skill from this subject and also make something just like the Urban adapter, which obtains both beauty and function.

I have played with parametric tool, such as Grasshopper, and I’ve found it is quite difficult to cope with. For me using parametric tool to design is like learning a

different/new language. I think the different parameters in Grasshopper are like the alphabet in English, I need to familiarise with their functions and features at the first place and then get to use it. Nevertheless, practise makes perfect, I think after learning and practising I will be able to make my design out of parametric tools.

E.M.

A 7

A CONCEPTUALIZATION

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A.1 DESIGNFUTURING

Architecture has been defined from many aspects, for example some has classified it into art. Archi-

tecture as a discourse, can be explained as a tool of communication or visualization of some people’s thinking. As William stated “architecture is as much a philosophical, social or professional realm as it is a material one”. Essentially it is the immateriality that speaks for itself, for completed buildings are but one set of reference points within the overall network of architectural communications.1

1 Jonathan Hill, ‘Drawing Forth Immaterial Architecture’, theory, 10(2006), 51-54.

Much of what we know and understand are based on what we are seeing day to day around us.

From our experiences, the built environments plays crucial parts for our understanding in relation to so-cial and cultural discourse. Therefore architects are playing a very important roll of using the relation-ships between people and place to create designs that are beneficial to our society.

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A.1 DESIGN

As the human needs change by time, design process and methods should alter with the devel-

oping society. The concept of design and the roll of architects should be updated all the time.

Tony Fry has been working on the theory of design futuring and sustainable design process

and he has defined both sustainable and unsustain-able design process as “Futuring & De-Futuring”. De-futuring refers to the current approach of using resources with no regard to the effects on the future generations. That is, an unsustainable future. On the other hand, Design Futuring is the idea of designing down the exploitation of resources and creating a sustainable environment for people and other living species to live on Earth.2 Therefore “good design” for the future should be responsible for ability of communication and sustainability.

2 Tony Fry, Design Futuring: Sustainability, Ethics, and New Practice (Oxford: Berg, 2009), P.4.

As the design philosophy changes by time, architects are being challenged with innovative

thinking and sustainable future. A growing numbers of new architectural forms has appeared. The two precedents in this section are both committed to in-novation and are both great examples of sustainable design. They contribute to architectural discourse and worth to be studied despite the fact that they are not currently built.

Both precedents that been analysed in this section have originally taken their inspiration from nature

and been designed in a innovative architectural form to express natural elements.

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^ TREE Day-Time render http://landartgenerator.org/LAGI-2012/yjblljsl/ ^ TREE Night-Time render http://landartgenerator.org/LAGI-2012/yjblljsl/

^On-site render http://landartgenerator.org/LAGI-2012/yjblljsl/

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TREE (LAGI 2012 ENTRY)Artist Team: Yijie Dang, Tom Tang

Artist Location: New York City, USA

^ TREE Night-Time render http://landartgenerator.org/LAGI-2012/yjblljsl/

The brief for 2012 LAGI competition has called artists to come up with an art installation in Freshkills Park,

New York. The design outcomes has been asked to be inspiring and generate energy at the same time.3

Tree, has been chosen to be analysed due to its unique characteristics in many aspects such as

architectural forms, energy generating process and its’ beautiful external look when it sits on the site. The idea of a “tree” shaped art installation is seemed a little bit literal at the beginning. But as we explore more about this project, it is actually quite practical.

Different sized balloons are piled up to form the shape of the crown and these balloons can change

their size automatically based on the temperature of the air inside. The ‘Tree’ provides different light and shade conditions to the users and the whole structure seemed light-weighted which is somehow communicat-ing the natural sense with users. People who have in-teracted with this project may feel the power of nature that is built deep inside the core concept of the whole design.

The Tree is not only sits on the site as an art instal-lation but also an energy generator. It collects

kinetic energy through the motion of the ‘tree trucks’ and convert it into electricity. The energy is gener-ated by nature using man-made structure and this is a metaphor of how the trees in real life produce oxygen respiratory action.

Since the industrial revolution, architects has been using materials such as concrete, steel and glass

to express their design and these materials has been widely used even in most of the buildings today.4 However, the characteristics of these materials are still quite rigid and heavy, whereas in this “tree” project, the designer has used light materials such as recycled industrial balloons and PVC pipes to give this innova-tive “Tree” shape. The lightness of the whole structure also allows the balloons to swing in the wind to create kinetic energy.

Traditional design is highly wasteful in material as-pect. Architects are performing a roll of integrating

and joining materials together to achieve some almighty architectural forms. In this tree project designers are working in an alternative way. The materials that’s been used are recycled and having very low embodied en-ergy. The tree has its’ own activities from time to time and in someway can be seen as a real tree in natural world. Real trees are collecting carbon dioxide gas and produce oxygen during the day, and this man made tree transfer wind power into electricity. The wasted materi-als can also be used to create beauty and function without sacrificing the harmony of the surroundings.

Architecture as a discourse is perfectly demonstrated in this project. The art installation acts as a “ma-

chine” that communicating with people through its’ natural characteristics and educating people about the importance of nature and sustainability.

3 LAGI, 2012 brief, http://landartgenerator.org/LAGI-2012/design-guidelines/4 McNeil, Ian, ed. An Encyclopedia of the History of Technology (1996), 1063pp

^ Windstalks on site render, http://landartgenerator.org/LAGI2010/387371/

^ Windstalks technical details, http://landartgenerator.org/LAGI2010/387371/12

^ Windstalks day-time render, http://landartgenerator.org/LAGI2010/387371/

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Windstalk, the 2nd place project in 2010 LAGI competi-tion, is an art installation in Abu Dhabi, on Airport

Road near Masdar City. It has created a man-made ab-stracted “forest” landscape in the middle of desert. Same as the previous project, the Windstalk converts kinetic energy into electricity. 5

The windstalks are inspired by the motion that created by wind when wind caresses wheat field. The concept

itself is drawn from nature and also used the proper form and function to respond nature. It is using natural wind to create energy and with no emission, in other words, this project is representing nature and harmless to nature, and also, in some way, make nature more approachable through making the empty site to be interactive with people.

Since the surrounding landscape is quite flat, dry and sandy, the Windstalks can be seemed as a concentrated

landscape that combined nature, view, energy and people all together.

People can walk on the bases of the poles; traverse the whole site by walking from base to base. They can lean

on the slopes, lie down, stay awhile and listen to the sound the wind makes as it rushes between the poles. This, again, man-made landscape is communicating with people. The ar-chitectural aspect of this art installation is educating people that even man-made natural landscape can be harmonic to the surroundings. The windstalks are perfectly inserted into the desert without incongruity, and they do not produce any carbon emission or wastes.

In comparison to the previous project, the windstalk does not provide shading to users. People may not be able to

stay for too long since the site is quite worm.

Artist Team: Dario Nunez Ameni and Thomas SieglEnergy Technologies: piezoelectric generator, torque generator

Annual Capacity: 20,000 MWhvArtist Location: New York City, USA

WINDSTALK (LAGI 2010 ENTRY 2nd place mention)

5 LAGI, 2010 brief, http://landartgenerator.org/images/LAGI2010DESIGNGUIDELINES.pdf

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NOW our architects need to be able to use a whole range of computer programs for better

and more professional and technical design out-comes. It is arguable that whether it is beneficial or not when we create through using computer technology. Is the computer helping us to create new forms of design? Or it is somehow bringing limitations into our creativity?

Computer has been used in architecture for almost 60 years, and there are two ways of

describing the design process using computer. Computerisation, as defined by Kostas Terzidis, is the act where an architect uses computer pro-gram as a platform where drawings are quickly and easily edited, copied and highly precise.6 In other words, computerisation is using programs as a tool to demonstrate or enhance designer’s ideas and outcomes.

Compare to computerisation, Computational design is not as widely used. Computational

programs sets series of rules and parameters to define the designers’ thoughts and demon-

strate different iterations. Computational design has changed the roll of architects during design process, from someone who are giving ideas to someone who are designing relationships.

With the increasing common usage of com-putational design, there are more and more

innovative opportunities. Computation increases the complexity and precision of architectural con-struction, and also helps us to test and explore unknown conditions. In-use example programs such as Daylight analysis, Solar tests are all based on parametric and algorithm. Therefore, computa-tion is, still, an undergoing exploration.

As increasing numbers of digital designed structures are built, it is seemed that there

are so much more opportunities for architects to explore. Computation provides precision, and architects provide control. For us, design with parameters is like learn to speak a new language. We present ourselves with a new format of expression.

6 Terzidis, Kostas, ‘Algorithmic Architecture’, Oxford: Architectural. 2006

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A.2 DESIGNCOMPUTATION

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RMIT’s recent building has always been de-signed in post modernism style. This Swanston

Academic Building(SAB)’s facade is paneled with series of triangles which is sequenced in differ-ent colours. This building’s facade is designed using parametric tool, Grasshopper, in particular. Through remaking the parametric definition on our own, we have understood more about compu-tational design process.

Use parametric tool to make the facade is easy and can create different variations by simply

change data input on the number sliders. Varia-tions can be changed on the colours of triangles, the sides of triangles and the culled areas on the facade. The initial inputted curves that construct the base surface is also variable by changing the input curve. All the variations are easy to make and clearly visualized by 3D modelling program.

Robert Woodbury has said in his book, that by using parametric tools, designers are design-

ing relationships rather than individual parts. Designers therefore need to develope paramet-ric thinking. When we look at two diagrams, for example one is a 2- dimensional square shape, next one is a 3 dimensional square box, we should

rather be looking at their relationship/linkage than looking at their individual characteristics. In other words, in this case, parametric design asks designers to think about “extrude relationship” between the two diagrams rather than the dia-grams themselves.

This way of thinking provide designers ease when they are doing some projects that are

having individual parts are tightly linked to each other.

^ Swanston Academic Building Exterior Facade. https://www.flickr.com/photos/rmit/7490799716/

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RMIT Building80BY LYON ARCHITECTS

^ Urban Adaptor benc render. http://aasarchitecture.com/2013/01/urban-adapter-by-rocker-lange-architects.html

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THIS design proposal for a contemporary city bench seeks to understand the concept of street furniture as a holis-

tic design problem. Instead of offering only one single static design, this scheme suggests multiple varying solutions that meet specific fitness criteria.

The project “Urban Adapter” is based on a digital para-metric model. At its core the model utilizes explicit site

information and programmatic data to react and interact with its environment.

“That way the model’s DNA structure is capable of produc-ing a variety of unique furniture results.”7 Together they

generate an endless family of new urban bench furniture.

Rather than having a fixed form the members of the family can adapt to different site conditions and programmatic

needs. While all of the designs have the ability to serve as a seating element, some have additional programmatic values added, such as recycling containers, flower buckets or bill-boards serving for advertisement or educational purposes.

The generated functional surface invites the user to new seating and communication arrangements and estab-

lishes a unique identity for the urban space of Hong Kong.8

This is a fairly small scaled project which is containing large amount of information and thoughts at the same

time. This is a typical project that have used both way of generating design outcomes. The designers has put their thinking into the digital design, and use the parametric to control the form of the seats.

The name of the project is also rational and , it has used parametric forms to adapt Hong Kong’s crowded urban

environment. These seats appear flexibility and soft charac-teristic, in other words these seats are easily to fit in even the surrounding conditions are new. The diagram of itera-tions has shown that there are controlled parameters in this design which are the fixed elements of seats, such as bench body and backings.

Parametric tools provide designers wide range of op-portunities and possibilities. Also brought complexity and

accuracy to these benches. Computational design can help designers break the border of imagination and make every single decision that’s been made by designer into 3D model, which is visible and also trustful.

7,8 A AS ARCHITECTURE, “URBAN ADAPTER BY ROCKER-LANGE ARCHITECTS”, Ac- cessed: 25th Mar 2014http://www.aasarchitecture.com/2013/01/Urban-Adapter-Rocker-Lange-Architects.html

^ Urban Adaptor bench family and render. http://aasarchitecture.com/2013/01/urban-adapter-by-rocker-lange-architects.html

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URBAN ADAPTOR IN HONG KONGBY ROCKER LANGE ARCHITECTS

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A.3 COMPOSITION &GENERATION

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Compositional design normally follows the traditional design process such

as idea gathering, sketching, research-ing, and it always “easy” to create an initial model with adding parts together.

In contrast, generative design is the practice of designing process which is

eventually raised into structural form. It is normally associated with paramet-ric design and computational design. Generative design has been used in different design field, and in particular, architects, use generative design to find more possibilities for their design prac-tice. Constructors and engineers also use generative tools to test and explore the unknown results, for example the solar radiation text program, with the on hand input data of a building can test the maximum sunlight that entre the building and therefore help constructors to make decisions.

As discussed in previous sections, computational design gives more

opportunities and possibility for “new forms” of architecture design. Genera-tive design is even one step beyond the traditional computational design. The designers are normally have no idea

what results they are going to jump into when using generative design. The pro-cess is, somehow, can be described as “out of control”. Designers can control less elements/variations compare to computational design, and therefore it allows even more complexity and brings surprise to designers with it’s astonish-ing and unknown outcomes.

Generative design allows architects to move away from the traditional

compositional design and create things and forms that are unimaginable and unprecedented, or say, a bit different with special, calculated ingredients. Gen-erative design is like architects’ great helper, it makes the design work more efficient and innovative, and these ben-efits are highly suitable and demanded for the society today more than ever.

Nevertheless, there are also limita-tions due to the lack of technology

for fabrication today, so not every- thing that been designed in parametric can be built, it is a shame, therefore this section has chosen 2 relatively small scaled precedents for generative design studies. Since it is easier for better understanding.

^ Voxels Variations. http://www.michael-hansmeyer.com/projects/voxels_info.html?screenSize=1&color=1#und efined22

THIS project, from Micheal Hansmeyer, is called Voxels. It uses the basic geometry of voxels to

create these 3D different shapes on a rectangular box. Reaction Diffusion has been widely used in 2D projects and the Voxels has innovatively used reaction diffusion into 3D creation to generate the unlimited possibility of shapes on the base box.

“These voxels contain data that can interact with data of proximate voxels according to pre-estab-

lished sets of rules. By iteratively conducting these interactions, data can be propagated through the voxel space. Eventually this data can be visualized, either as individual elements, or as a hull surrounding elements with specific values.” 9

“Rather than focus on pattern formation, it explore how these processes can enable spatial structures

to emerge.” 10

The initial state is kept to an absolute minimum in the subdivision experiments. It frequently con-

sists of a divergent value in a single cell or in a line of cells. The process’ parameters, somehow, are allowed to alter in both time and space. This can include specification of parameters through spatial gradients as well.

Changes to these parameters lead to a truly as-tounding range of resulting structures.

The process is now still very difficult to be con-trolled and the output is also very hard to predict.

A tiny change in parameters leads to the formation of an entirely different structure, or it can prohibit a structure from forming at all. Therefore a deliberate, constructive use of these processes on an architec-tural level appears a long way off.

The Voxels, as an example of generative design, is designed based on the simple input and after all

the calculations and cell-seperation as well as sub-division it generated all range of different results. The opportunity here using computational design is unlimited, and some of the results are unimaginable for us using basic sketching or human mind imagina-tion. The technology has helped designers, somehow, to create things that we never seen before and also opened our mind to new possibilities and opportuni-ties.

From the very beginning of this project, it shows no clear design intent except the “seed” for computer

calculating, and the outcomes are all “generated” by the computational technology. But the astonish-ing outcomes have convinced people that generative design can reach the area that human brain is fairly hard to touch, and this is, somehow, extended and challenged human-mind in their way of thinking and generating design.

9, 10, Michael Hansmeyer computational architecture, 2009, “Voxel-based Geometries”, Ac- cessed: 20th Mar 2014http://www.michael-hansmeyer.com/projects/voxels_info.html?screenSize=1&color=1#und efined

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This diploma project proposes a framework for an integrated,

computational design system, by the agency of inter-disciplinarity.

The proposed design concept is approached through the forma-

tion of a holistically structured unit. The main objective is to demon-strate a design method that ad-dresses a multi-disciplinary problem of context adaptation and to inte-grate generative synthesis mecha-nisms. Taking as the starting point narratives described in Kafka’s book ‘Der Bau’, the design concept further investigates the correlation between these narratives to archi-tecture and, hence materiality and structure. In order to examine the implementation of Kafka’s system to architecture, the project models

a generative mechanism that is ar-ticulated by semi-autonomous sub-systems. This mechanism entails a framework for a generative system that integrates circumstantial, tech-nological, social and environmental changes. The proposed framework is driven by computational strate-gies to facilitate a performative bio-structure, in terms of ecology, structural effectiveness and material adaptability. The architectural object is articulated by a decision-making decentralized system, in which, under a bottom-up approach, discrete mechanisms assemble a data flow network of simultaneous procedures. In this way, the project generates modes of continuous exchanges of flows; a complex of relations between an organism and its environment.

11 Peters Bredy, 2013, “Computation Works: the Buildings of Algorithmic Thought”, Architec- tural Design, 83.2, Page 12.

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“WHEN architects have sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then com-

putation can become a true method of design for architecture” AD Magazine group.11

THE new technology brings new challenges accompanied with new opportuni-ties, and opportunity means the possibility of better future. Computation

has brought designers a whole range of new forms. With these new forms of architectural production and approach, architects today can be more innova-tive and capable to create more complex designs. Computation has opened and widened our mind and has changed the way we seeing things. Design forms are no longer simple and restricted. Computation helped architects to create “crazy shapes” which can be later fabricated using parametric modelling.

However, there are still a big distance between today’s build-ability and creativity. Not all the designs can be made into real life. Of course we can

not 3D print a giant building, but what is more important is that computation has changed our way of thinking. Designers are no longer stopped and restricted by realistic rules, there are so many unimaginable and unprecedented forms that can be made in computation method, and, the possibilities that computing design can bring, is unlimited.

In the later on LAGI project, I will use computational design method to seek for some inspirations. Also, for environmental consideration, I will keep on my re-

search for sustainable material use and construction methods. The parametric design and modelling approach will be undertaken for the final design outcome. There may be more than one outcome eventually due to the unlimited possibili-ties, however, the most suitable and referring to the brief approach and result will be chosen as the design outcome.

A.4 CONCLUSION

12 BrainyQuote, 2014, “Frank Gehry’s Quote”. Accessed: 25th Mar 2014 http://www.brainyquote.com/quotes/authors/f/frank_gehry.html

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FROM the very beginning of this semester, my understanding of the relationship between archi-tecture and computing is still limited at the point of “technology is used as a tool”, which it has a

specific name called Computerisation. Through all the learning from precedents, reading of literatures and parametric practice of Grasshopper, my perspective of seeing design and my way of generating design ideas has changed quite a bit. From onefold brain-thinking to multiple “parametrical” thinking, this learning experience has opened my eyes and extended my ability in both aspects of skills and ideas.

As Frank Gehry has stated: “If I knew where I was going, I wouldn’t do it. When I can predict or plan it, I don’t do it.”12 It is rational for me to use this quote here to describe how the computational

or generative design works. How exciting it is to produce unlimited possibilities that we would never know where we going to end up with. I am now so passionate of seeking my design ideas through using parametric methods. There would be so many opportunities for me to design something that is completely unprecedented and unpredictable.

Nevertheless, there are still some remaining of the traditional compositional design methods in my mind,and sometimes I think it would be even better if I combine them both together to generate

my design ideas, because they are somehow closely related during design process. For example, when I did my design using compositional method (like what I have experienced in studio Water) and use Rhino to build the model from my imagination, my idea has been influenced and changed a bit when I first saw the model demonstrated on the computer screen. The technology has helped me thinking and pushed my one step further to generate my idea. Therefore it might be better if the two kinds of design methods are used together at once, because they overlap in someway and they can help and complete each other in some aspects.

Meanwhile I am also excited about working with my team members, because after learning para-metric design they may having different opinions and ideas with me, and I am very looking

forward to share and also gain some different thinkings. Can not wait to try out and test our design model.

A.5 LEARNING OUTCOMES

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A.6 APPENDIX

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REFERENCE1 Jonathan Hill, ‘Drawing Forth Immaterial Architecture’, theory, 10(2006), 51-54.

2 Tony Fry, Design Futuring: Sustainability, Ethics, and New Practice (Oxford: Berg, 2009), P.4.

3 LAGI, 2012 brief, http://landartgenerator.org/LAGI-2012/design-guidelines/

4 McNeil, Ian, ed. An Encyclopedia of the History of Technology (1996), 1063pp

5 LAGI, 2010 brief, http://landartgenerator.org/images/LAGI2010DESIGNGUIDELINES.pdf

6 Terzidis, Kostas, ‘Algorithmic Architecture’, Oxford: Architectural. 2006

7,8 A AS ARCHITECTURE, “URBAN ADAPTER BY ROCKER-LANGE ARCHITECTS”, Ac- cessed: 25th Mar 2014http://www.aasarchitecture.com/2013/01/Urban-Adapter-Rocker-Lange-Architects.html

9, 10, Michael Hansmeyer computational architecture, 2009, “Voxel-based Geometries”, Ac- cessed: 20th Mar 2014http://www.michael-hansmeyer.com/projects/voxels_info.html?screenSize=1&color=1#und efined

11 Peters Bredy, 2013, “Computation Works: the Buildings of Algorithmic Thought”, Architec- tural Design, 83.2, Page 12.

12 BrainyQuote, 2014, “Frank Gehry’s Quote”. Accessed: 25th Mar 2014 http://www.brainyquote.com/quotes/authors/f/frank_gehry.html

B 37

B CRITERIA DESIGN

B.1 Precedent study

Metrapol Parasol

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Metropol Parasol is a wooden structure located at La Encarnación square, in the

old quarter of Seville, Spain. It was designed by the German architect Jürgen Mayer-Hermann and was inspired by the mushroom shaped vaults of the Cathedral of Seville.[1] It is claimed as the world largest wooden structure with the dimensions of 150 by 70 metres and an approximate height of 26 metres.

I was interested by the form of the whole structure especially how wooden waffle

structures can create this very organic architectural form. Metropol parasol has a very clear indication of use of computational architecture and I find the fluid and soft form and shape are quite inspiring for my think-ing on the LAGI brief. The site of Metropol parasol is also quite flat and it is located at the centre of the urban context. People can interact with the design very well and the circulation of the pavilion is also worth study and inspiring for me for my design.

Circulation section

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B.1 Research field

StructuralStructure is one of the most important prereq-

uisites for an architectural form to be built. The structural system of a building is always the bone of the design, similar to the bone of human-beings, it contains the elements to support the whole building.

In parametric design, the structure system can also be exposed and work as the building itself. Structure

can be designed into different forms to work as both decoration and supporting elements. In Metropol Parasol the waffle structure are functioning as both supports and aesthetic.

Waffle structure can be easily created by paramet-ric tools and also be stiff and stable. It is particu-

larly inspiring that an aesthetic, monumental building is actually supporting by the aesthetic elements itself, and can form different functions using the structure elements. I think it even can bring more interests into the overall design and be more attractive for the audience.

I am inspired by the self-supporting system of struc-ture and think this can be an effective way of think-

ing for the further design proposal for the LAGI brief.

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B.2 Iteration explorations matrix 1 waffle

change in amount of wafflechange in shape

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change in size of waffle

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change in amount of waffle change in size of waffle

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change in amount of waffle change in size of waffle

The fist step, “bone shape”, is created by the Kangaroo script which is highly flexible and random. Continue to the second step,

which is set the chosen geometry into the waffle script, the script and outcomes seemed less flexible.

Among all the iterations, the first step of each specie is always the change of the original shape. After the “bone shape” is

created and chosen, the only thing can be altered are the amount of waffles and the thickness of each waffle piece. This can be ac-counted as a limitation of the Grasshopper script I created.

However, there are three outcomes that are chosen as the most successful outcomes.

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Selection criteria

With the selections at this stage I have not think though the particular materiality or any forms.

I choose from the most random ones of the “bone shapes” and the waffles that are created neatly. I also thought through the experiences that can be possibly created by each iterations and picked the most inter-esting ones which can function as pavilion, sculpture and monument at the same time.

There is no very deep thinking over the waffle itera-tions, therefore these most successful ones are

just chosen by the good-looking and relatively radical architectural forms.

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B.3 Selected precedentTom Wiscombe Architecture BATWING

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Structure is one of the most important prerequisites for an architectural form to be built. The structural system of a building is always the bone of the design, similar to the bone of human-beings, it contains

the elements to support the whole building.

In parametric design, the structure system can also be exposed and work as the building itself. Structure can be designed into different forms to work as both decoration and supporting elements. In Metropol

Parasol the waffle structure are functioning as both supports and aesthetic.

Waffle structure can be easily created by parametric tools and also be stiff and stable. It is particularly inspiring that an aesthetic, monumental building is actually supporting by the aesthetic elements it-

self, and can form different functions using the structure elements. I think it even can bring more interests into the overall design and be more attractive for the audience.

I am inspired by the self-supporting system of structure and think this can be an effective way of thinking for the further design proposal for the LAGI brief.

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B.3 Selected precedentTom Wiscombe Architecture SCI-ARC CULTURAL PAVILION

The SCI-ARC cultural pavilion is designed as an artplace and intended to have the

ability to function as a cultural communica-tion place. Technically it is designed based on the illusion of figures pushing outwards into a loose outer skin.

The design is definitely attractive to me, particularly from it’s very irregular outre

shape. I think for me I will definitely visit this place no matter during the day or night. This is very suitable for LAGI’s brief, which asks us to create a art installation that is attracting people to visit. Hopefully people who are visiting the famous Little Mermaid will see my design from across the water and interested.

I found it really inspiring that the overall shape of the pavilion is completely ran-

dom and the tendency of the curvature is created by little pieces of segments/points. Re-think my LAGI design, can also take this as a very first step, which is creating seg-ments to form a overall shape and finally bring interesting functions into the “self-grown shape”.

For reverse engineering part, I can create segments with different shapes, sizes

and heights, and have the flexible controls of the segments and push them into a very fluid and organic form or sequence to form a very neat and silky overall outer skin.

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matrix 2 organic segmentsB.4 Reverse Engineering

alter curve shape small segments at the curve

alter curve shape large segments at the curve

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alter curve shape small segments at the curve

alter curve shape large segments at the curve

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alter area occupied by segments small segments at the curve

alter area occupied by segments large segments at the curve

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alter area occupied by segments small segments at the curve

alter area occupied by segments large segments at the curve

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Successful & Unsuccessful iterations

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After all the trails and iterations, I have chosen 3 most successful iterations, which is showing above the page; and 6 unsuccessful iterations, which is located at the

bottom.

In the three successful iterations, the segments are having radical size, height and location refering to the location of the polyline, whereas in the 6 unsuccessful ones,

the segments are normally way too high or too big. The highest one, scale in 1:1, will be over 100 metres high, which is not radical for the LAGI site.

The segments will be used as the location indicators to form a fluid “roof system”, which is the inspiration drawn from Tom Wiscombe’s SCI-ARC cultural pavilion

anlysed previously.

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Selection criteria

After think through the LAGI brief requirements and the actual site conditions, there are sev-

eral practical criteria for my final selections.

THE LOCATION OF THE SEGMENTS. This is the basic indication provider for the further “roof

structure” construction. The location of segments must be radical in density and also has clear dif-ference between sparse and dense area. With the clear density differences the “roof structure” will be formed more smoothly and the dense area can also use for further form explorations.

THE SIZE & HEIGHT OF THE SEGMENTS. The size and height needs to be reasonable for the

site condition. This means the segments can not be too big or tall. The tolerant of size and height I give for each segment is around 20 m high and 5 m diameter.

EASE FOR FABRICATION & ASSEMBLY. The too complicated or crazy segments will bring a

even more complicated form of the further roof structure. This is mind-broadening but it is some-how too hard or even impossible to be made into actual model or actual building. Therefore consid-ering the fabrication limitation, I want my selection to be easy in form and also modeling.

AESTHETICALLY ATTRACTIVE. This requirement is drawn from LAGI brief. An art installation

needs to be pleasing and attractive at least from the look of it. Also from the previous inspiration from Metropol Parasol and SCI-ARC cultural pavil-ion, the outre look and skin of the design should be the first thing to catching people’s eyes.

ABILITY TO OBTAIN SERVICES. The site and the design won’t be interesting enough to

attract people to come more than once. The design should have further functions to drag people come to the site more than just once. By this it means the selection should be able to form spaces to obtain services.

Picture notes: 1. Basic segments’ render with material of Glass. 2. Roof structure created by the points of segments with the rendered material of Glass. 3. Perspective render of segments and glass rooftop. 60

1

2

3

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B.5 Technique1: Form Exploration

As mentioned previously, I want to give my design a very organic and fluid form, to also refers to

the site’s location, which is seaside. The conceptual diagram above showing how I am intending to make the fluid shape to cover the segments and make the whole structure a closed, indoor activity area. Therefore I located all the centroid point of each segment in grasshopper, and use the points to form a mash that has the tendency of location of points, which can represent ocean waves. However, the fluid shaped roof should also form closure spaces as shelters and obtain more interesting functions.

After successfully created the rooftop structure, I found that there are 5 separated spaces that are

automatically formed. I baked the whole thing and edited the mesh to make the separation of spaces clearer by deleting some redundant mesh pieces.

Now I’m thinking how to make the separations obtain functions and let the design be more radi-

cal to the site. This could be an huge opportunity for further design development.

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B.5 Technique2: Render Test

I use Rhino and V-ray to test how the model I created previously can sits on the site with right

scale, and also the actual size of the design when zoom to right scale.

I also did lighting test in Rhino by creating spot light. As shown above the sun is shining from

south-west angle and the transparent materials are able to create some beautiful shadows on to the land.

One more thing I tested with rendering is the materiality. I rendered the segments in highly

transparent glass and the roof top structure in less-but-still-transparent glass to form a very clear and lively overall structure.

And this makes me think of making the whole design into a transparent Greenhouse.

Together with the weather conditions in Copenha-gen, which is quite cold and cool during the year, a greenhouse/warm-up place will be very helpful and useful for the city. There are no large build-ings around the site to block the sunlight there-fore the sunlight collection for the greenhouse will be very efficient.

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B.5 Technique3: Model Test

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B.5 Technique4: Material Selection

Acrylic Plexiglas is an really good alternative to conventional glass. It is easier to make, cheaper and lighter in weight compare to traditional glass without sacrificing any transparency. These years Acrylic plexiglas has been

widely used and developed with even better characteristics. It can bear even larger pressure and more durable. Acrylic glass can be used as the screen facade for aquarium. The image showing above is 10 meter deep Mon-terey Bay Aquarium tank has acrylic windows up to 33 cm thick to withstand the water pressure.

With the design I created, the whole structure using Acrylic glass can be completely transparent and function as a greenhouse. The acrylic glass pieces will be supported by stainless steel, which is good for both compres-

sion and tension forces and steel frame structure will bring more opportunities in further development. Steel frame can also help creating large ground area for obtaining more interesting services.

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B.6 Design PROPOSAL

After all the explorations and based on the LAGI brief, there are many opportunities on the site. My design proposal is to create a sculptural Greenhouse on the existing site. Together with the weather conditions of Copenhagen, which is

quite cold during the year, the greenhouse can be a warm place for people to chill and have completely different experi-ences when they are out-door. To make the place more natural and also extend the use of greenhouse, there will be plants, such as trees and flowers, planted and growing inside the greenhouse. The wasted island will be re-lived and become a indoor green garden for people to have a good time.

There will also obtain 5 different functions to make the place even more attractive, since the final selected form auto-matically created 5 separations. In construction aspect, the structure is expected in a transparent appearance and

the structure is supported by stainless steel frames, which is inspired from the structural case studies previously--Using the design itself as the supportive system.

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B.7 Learning Outcomes

After all the explorations and based on the LAGI brief, there are many opportunities on the site. My design proposal is to create a sculptural Greenhouse on the existing site. Together with the weather conditions of Copenhagen, which is

quite cold during the year, the greenhouse can be a warm place for people to chill and have completely different experi-ences when they are out-door. To make the place more natural and also extend the use of greenhouse, there will be plants, such as trees and flowers, planted and growing inside the greenhouse. The wasted island will be re-lived and become a indoor green garden for people to have a good time.

There will also obtain 5 different functions to make the place even more attractive, since the final selected form auto-matically created 5 separations. In construction aspect, the structure is expected in a transparent appearance and

the structure is supported by stainless steel frames, which is inspired from the structural case studies previously--Using the design itself as the supportive system.

The study during Part B is very inspiring, after several case studies I have decided

on the overall form of my design, which is inspired by the structural system of Matropol Parasol. I decided to create a organic form which is self-supportive, in other words the structural and aesthetic are achieved at the same time.

I am looking forward to develope my design further using Grasshopper. There may be

more opportunities to push my design to an-other limit, for example I probably can extend the wavy roof into the water.

I have not yet done any solid prototypes and preparing to make one junction detail model

in acrylic glass and steel and test how they will fit together. I will also think about the services and aiming audiences that the site can bring. The energy generating system is another step to sit on in my part C.

After the mid-term presentation I have gathered some more ideas and advises.

Rather than only focus on the design itself, I can also manipulate the landscape to create even more interesting experiences. Rather than create the single segments, I will make the segments gathering area(5 separations) into each single large rooms to obtain services and greenhouses, and the segments can be the representation of the size of plants that is going to be planted inside the greenhouse.

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MORE RENDERS & Possible circulation plan

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B.8 Appendix

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C 77

C Detailed Design

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C.1 DESIGN CONCEPT

>SiteSolar condition analysis

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There were many useful innovative ideas and suggestions gathered from the in-terim presentation. After the mid-term presentation I have gathered some more

ideas and advises. Rather than only focus on the design itself, I can also manipulate the landscape to create even more interesting experiences. Rather than create the single segments, I will make the segments gathering area(5 separations) into each single large rooms to obtain services and greenhouses, and the segments can be the representation of the size of plants that is going to be planted inside the greenhouse.

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>Form Generation Stage 1

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Use curve closest point to create series of points, attract and shove point though adjusting polyline. Create and extrude polygons based on points and created all series of segments.

The segments were originally planed to perform as separated single greenhouses, and each of the greenhouse contains a single piece of plant. The different sizes of greenhouses will define different plant size, and these

greenhouses together formed my original design concept of a URBAN FOREST.

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Draping surface

SESIDE CAFE

GREEN-HOUSE SPA

STORAGE ROOM

KIDS PLAY-GROUND

FLOWER GREENHOUSE

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Consider the difficulties of managing all the small sized, and large numbers of single greenhouses in real life situa-tion, the design could be un-achievable. Therefore I decided to use the segments as the representation of plants

and use Kangaroo to drape a surface over the segments to create several large greenhouses at the segments gathered places.

The surface acts as the shelter and can form big room for people to have different activities. Considering the cold weather in Copenhagen, the greenhouses can also act as the “warm place” for local citizens have great experi-

ences.

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Sequence of Design

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The flat and empty site now has been reformed into a wavy and organic artistic landscape. More interestingly there are functions filled inside to make the site even more fascinating and attractive.

Now the design stepped into a crucial stage, structure. To make the massive structure possible to be built, it is better to choose a easy panel, because it gives more possibility and less risks for the structure to collapse. I used

triangular mesh in Grasshopper and use weaverbird to thicken the mesh to form the bone structure.

Glass Panels

Bone Structure (Stainless steel frame)

Base Surface

Primary Segments

Hypersolar concentrator and solar panel . . .

A=40048/2 m2r=1062.6 kWhH=0.67 (Annual average solar radiation in Copenhagen)PR=0.75 (default value)

E=20024*1062.6*0.67*0.75 = 10691940 kWh86

>Energy Production

Hypersolar concentrator and solar panel . . .

A=40048/2 m2r=1062.6 kWhH=0.67 (Annual average solar radiation in Copenhagen)PR=0.75 (default value)

E=20024*1062.6*0.67*0.75 = 10691940 kWh 87

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C.2 TECTONIC/PROTOTYPES

Based on research , there are two possible ways of junction to form the wavy glass panels. Every single triangulated glass panels is flat and connected and

fixed onto the stainless steel frame.

In the following joints detail diagrams, the first type of connection is called the stainless steel claws. Based on my design form, 6 triangulated glass panels are

connected onto one steel claw, and the claws connect to the structural frames to form a unit of joints, real-life example is shown below in the photograph of Guang-zhou international airport curtain wall.

The second joint below is Preconstructed stainless steel frames. The stainless steel frame is constructed in the industrial factory, consists of 6 units of glass

panels sections and welded together using the “spider-liked” junction. The glass panels are bolted onto the frame after the steel structure is fully completed. There are gaps for fixing the glass panels on the frame and the final stage is pouring the sealing rubbers between gaps of glass panels to prevent air and water leakage.

The second connection method is selected after all, because of it’s easy construc-tion process and high stability. The second one is easier to fix when there are

problem or malfunction on the certain part of structure. Whereas the steel claw is connected larger area and harder to fix singularly.

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>Stainless steel claws

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>Stainless steel pre-constructed frames

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How can the structure be BUILT. . .

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How can the structure be BUILT. . .

getting more detailed . . . Joints100

Welded 101

IN reality . . .

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C.3 FINAL

>MODEL

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>RENDER

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C.4 LEARNING OBJECTIVE&OUTCOMES

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By the end of this semester, the study of studio Air definitely has taught me a lot, and I have also gained lots of useful skills. Studio Air is quite a intensive course,

and during the 12 weeks of design generating the requirement of skill and knowl-edge me quite broad.

The most important skill I have gained is parametric design skill and how it can achieve unbelievable forms. Using Grasshopper to create design is quite a inter-

esting and explorative process. I think I will continue using parametric design as a supplementary design method for my future projects and works.

Another thing I have learnt is the integrating all the perspectives and aspects into one design and how to manage them to be done radically. For LAGI brief,

I have to consider many things, such as site, energy, parametrical form, functions and structure, at the same time because they are interrelated and have certain sequence in constructing process. Therefore it is crucial for logical thinking during the design generating process.

For the structure exploring process, I have incorporated Grasshopper definitions in many plug-ins, for example kangaroo, weaverbird and attracting points. It is

interesting to see how the design can be easily altered and created in parametric tools.

Wang qilu 582024 journal pages

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