ang ke xin 636730 journal

A I R Journal 2015, SEMESTER 1, TUTOR: CHEN (GROUP 7)KE XIN ANG 636730

A.1 CHURCH OF LIGHT

2 CONCEPTUALISATION CONCEPTUALISATION 3

CONTENT

4-5 A.1 DESIGN FUTURING

6-7 A.2 DESIGN COMPUTATION

8-9 A.3 COMPOSITION/ GENERATION

10 CONCLUSION

10 LEARNING OUTCOME

11 APPENDIX : ALGORITHM SKETCHBOOK

12 BIBLIOGRAPHY/ IMAGE REFERENCES

Tadao Ando’s timeless Church of light flawlessly blends nature with architecture. In this project, his all in one fundamental concepts of architecture is demonstrated: “balance, simplicity and duality” as the church contrasts between solid and void; light and dark 2. Excess ornamentation such as traditional Christianity motifs are removed but light is introduced as a powerful tool to raise spiritual awareness1. He successfully proves that “Less is more” in an abstract way.

The site of the church is located at the outskirt of Osaka and is a place of retreat for Christians2. In this sacred space, the outside world is temporarily forgotten and the connection with nature is emphasized2.

Light is playfully integrated to illuminate the concrete shell structure into a surreal ‘light box’1. This immediately transformed the dark space into a humble, meditative religious space1. Furthermore, the intersection between light and solid raises occupants’ spiritual and self-awareness2. As the openings inside are kept to a minimum, the crucified cross void from east facing façade invites maximum light penetration2. It is also the only prominent religious symbol in the church2.

Last but not least, architecture purity in conveyed by not using high technology, instead by Japanese craftsmen, which they precisely joins concrete into smooth surface2. This careful attention to the absolute detail maintains Japanese identity 2.

FOOTNOTE:

1. Andrew Kroll, ‘AD Classics: Church Of The Light / Tadao Ando’,

ArchDaily, 2011 <http://www.archdaily.com/101260/ad-classics-church-of-the-

light-tadao-ando/> [accessed 13 March 2015].

2. Www-bcf.usc.edu, ‘USC Student Precedent Studies’, 2015 <http://

www-bcf.usc.edu/~kcoleman/precedents.htm> [accessed 19 March 201

FIG.3 ENCLOSED VS OPEN SPACE

FIG.1 LIGHT AND SHADOW INTERPLAY

FIG.2 VOID CHRISTIANITY SYMBOL

A.1 FALLING WATER A.2 LAN XI CURTILAGE


Undoubtedly, Falling Water is one of the greatest masterpiece of Frank Lloyd Wright. In the case of Falling Water, Wright’s ‘organic’ architectural interpretation is represented as he blends the buildings in its natural setting harmonically by designing a house on top of the waterfall3.

In reference to Japanese architecture, Wright strongly elaborates the concept of simplicity in his design by rejecting the use of excess ornamentation in his design3. This made Wright the most successful modern architecture influencer, as opposed to merely abiding to traditional architecture conventions4.

Falling Water was built using stone walls and long cantilevered reinforced concrete terrace, which extends horizontally to outer nature. The colour tones and textures of the house also

blend in seamlessly with its unique environment 4. As an extra bonus, the soothing sound of the waterfall adds dynamic effect to the occupants4.

At the interior of the house, as Wright’s trademark design, the fireplace was situated at the centre of house as a central gathering space which inhibits social connection3. Falling Water overall has low ceilings as Wright emphasises eye level picturesque view to its beautiful outdoors3. Dark, narrow passageways were intended as major contrast between the expansions to outdoor so that occupants have a greater appreciation to nature, just like Wright3.

FOOTNOTE:

3. Adelyn Perez, ‘AD Classics: Fallingwater House / Frank Lloyd Wright’, ArchDaily,

2010 <http://www.archdaily.com/60022/ad-classics-fallingwater-frank-lloyd-

wright/> [accessed 15 March 2015].

4. Wright-house.com, ‘Fallingwater - House Over Waterfall, Frank Lloyd Wright’,

2015 <http://www.wright-house.com/frank-lloyd-wright/fallingwater.html>

[accessed 16 March 2015].

FIG.4 NESTLED IN BEAUTIFUL NATURE

FIG.5 HORIZONTAL TERRACE EXTENDING TO NATURE

FIG.6 MATERIALS DERIVED FROM NATURE

Chengdu Lanxi Curtilage is designed by Feng Yuan from Archi Union. It is the perfect interpretation of old meets new in terms of technology and exterior look5. The concept of traditional Chinese architecture such as the sloping roof using ancient blue bricks is exemplified through modern digital fabrication5.

One of its main features is the ripple wall. This actulizes he digital interpretation of water through bonded bricks patterns6. With logical set of algorithmic data, 9 different brick types were stacked together to accentuate the fluidity characteristics of water6. Additionally, this gives its aesthetic a disctinctive ‘second nature’ look.

Readily abundant and inexpensive cement blocks were assembled by local mason due to financial constraints. According to a set of brick configuration template, which are later configured using laser-cut steel plates, the construction are able to carry on rapidly in and efficient manner5.

Special hollow joint techniques are used in construction to create visual dynamic ‘wave’ effect and gives impression of lightweight as if the facade was floating6. See through walls facilitate the interplay between light and shadow thus making the wall alive.

FOOTNOTE:

5. ArchDaily, ‘The Lanxi Curtilage / Archi Union Architects’, 2012 <http://www.

archdaily.com/299269/the-lanxi-curtilage-archi-union-architects/> [accessed 16

March 2015].

6. Amy Frearson, ‘The Lan Xi Curtilage By Archi-Union’, Dezeen, 2012 <http://

www.dezeen.com/2012/12/04/the-lan-xi-curtilage-by-archi-union/> [accessed

15 March 2015].

FIG.7 REFERENCE TO TRADITIONAL CHINESE ARCHITECTURE

FIG.8 RIPPLE WALL

FIG.9 DYNAMIC RIPPLE WALL EFFECT

A.2 SILK WALL A.3 SERPENTINE PAVILLION


The silk wall façade by Archi Union is an interesting feature as it depicts the history of a 1960 warehouse which was previously located at the site7. The architect respects the history hence preserves the artefact by recreating it7.

To start off the design concept, parametric process is used as a tool to create a set of simple stacking logic7. This allows hollow cement blocks to stack at varying degree7. Angle of rotation were calculated according to the differing contours of silk texture on fabric7. These varying angles results in fun, interesting shades as light penetrates through7.

Moreover, it is also a performance oriented ecological design in response to environmental conditions, as it controls wind penetration8.

Overall, meaningful tectonic expression can be achieved through the use of 3D computation modelling and programming, instead of using merely fake decorations7.

FOOTNOTE:

7. ArchDaily, ‘AU Office And Exhibition Space / Archi Union Architects

Inc’, 2010 <http://www.archdaily.com/82251/au-office-and-exhibition-

space-archi-union-architects-inc/> [accessed 19 March 2015].

8. ‘ARCHI UNION STUDIO BY J-STUDIO’, FRAME, 2011, 1-3 <http://dx.doi.

org/00081>.

FIG.11 DESIGNING WITH PARAMETRIC TOOL

FIG.12 SILK TEXTURE ON WALL

FIG.10 VARIOUS ANGLE ROTATION OF SILK WALL

Designed by award winning Japanese Architect, Sou Fujimoto, the Serpentine Pavilion demonstrates the success of computational modelling. The cubic white steel frames seems light, semi-transparent and floats in the sky like ‘clouds’ at the same time, blurring the boundary between inside and outside9. It flawlessly blends in with the natural setting of Kensington Garden9.

The serpentine pavilion is user-friendly and multi-functional as it allows people to explore the site in diverse ways while encouraging social connectivity, where users become a part of the beautiful landscape9.

Through advanced computational programs, amount of materials for construction can be calculated precisely which results in less wastage10. Fujimoto also discovered better solutions in regards of appropriate size of the grids to enable the construction to be carried out rapidly in the allocated period10. The steel grids were prefabricated and assembled on site easily as they were marked beforehand10.

Fujimoto didn’t try to design the structure initially but at the end, managed to come up with the structure through computational design, which made all the complexity of structure grids possible10.

It is obvious that design computational tools speeds up the construction process as through 3D programs, Fujimoto and other design team members are able to visualize, re-iterate and re-evaluate the design prior to its final outcome in an efficient manner9.

FOOTNOTE:

9. Daniel Portilla, ‘Serpentine Pavilion / Sou Fujimoto’, ArchDaily, 2013 <http://

www.archdaily.com/384289/serpentine-pavilion-sou-fujimoto/> [accessed 15

March 2015].

10. ‘Winner Special Prize for Fabrication and Execution’, Nemeschek

Strucutral User Contest 2013, 2015 <http://notesweb.scia-online.

c o m / W W W/ C o n t e s t 2 013 . n s f / b a e 411d a 4 5 2 e 5 6 8 f c12 5 7 3 9 c 0 0 4 f 8 f 2 3 /

b3308d4284ffbcd0c1257bb90051a3e0/$FILE/Aecom-Serpentine.pdf> [accessed

19 March 2015].

FIG.15 TOYO ITO AND HIS BRILLIANT CREATION

FIG.13 STEEL GRID FRAME BLENDS IN WITH GARDEN

FIG.14 MULTI FUNCTIONAL

A.3 BEIJING OLYMPIC STADIUM CONCLUSION

LEARNING OUTCOME


Herzog and de Meuron successfully developed Beijing Olympics Stadium, “The nest” as a spectacular, world class multi-functional urban site that attracts general public and tourists.

The complex “nest-like” geometry of the stadium is generated through complex calculations of different fitting of twisted and bended steel sections11. It mimicks an artificial forest standing in urban Beijing city12.

Its distribution is not pure randomness but follows through a set of data which was input via computational software through careful consideration11. For example, it is able to withstand earthquakes without harmful damages11.

Computational fluid dynamics simulation was used to calculate the temperature and airflow speed at each angle of the structure hence location of ventilation openings at the façade could be determined11. This passive design integration makes the stadium sustainable11.

One of the design considerations was to bring everyone close together in such a big scale building and to cater different users’ needs at varying times; such as the sight line must be centred during football matches and the finishing line of an athletic game must be visible at all angles11. Hence, its design flexibility also open up possibilities for future uses12.

FOOTNOTE:

11. Designbuild-network.com, ‘Beijing National Stadium, ‘The Bird’s Nest’ - Design

Build Network’, 2015 <http://www.designbuild-network.com/projects/national_

stadium/> [accessed 18 March 2015].

12. Herzogdemeuron.com, ‘HERZOG & DE MEURON’, 2015 <http://www.

herzogdemeuron.com/index/projects/complete-works/226-250/226-national-

stadium.html> [accessed 19 March 2015].

FIG.16 THE NEST

FIG.17 ARTIFICIAL FOREST IN URBAN CITY

FIG.18 COMPLEXITY OF STEEL INTERTWINING

i’m interested in the dynamic, fluid organic outcome of some of my experimentation in Grasshopper. Nature is always inspiring and fascinating to me as I think that the interconection between human and nature is essential to create a balance and harmonious world. I plan to create sometihng simple that mimicks nature and a design that is green and sustainable, though user and purpose is still unknown yet at this stage. I will continue to work towards this design concept, especially looking at patterns and textures of plants, or the self-protection of animals which provide shelter for themselves and hopefully come up with something fun.

After three weeks of intense work compiling, I have gained a better insight into the 3d computational world. Through Rhino and Grasshopper plug-in, I had some hands on, brief experimentation as to how entering right data in a logical sequence can create interesting and expected outcomes. The best thing is we can think outside the box, let our imaginations run wild and create unlimited possibilities.

APPENDIX: ALGORITHMIC SKETCHES BIBLIOGRAPHY


MESH SURFACES- ‘BIRD LIKE’ WITH ‘SPIKY WINGS’

CONTOUR LINES WITH DIFFERENT LINE WEIGHTS- MIMICKING LEAF TEXTURE

SPIRAL- SHELL LIKE OBJECT WHICH PROVIDES SHELTER OR GATHERING SPACE

SIMPLE LOFTING BETWEEN CURVES- DYNAMIC WAVEY LIKE PAVILLION

ArchDaily, ‘AU Office And Exhibition Space / Archi Union Architects Inc’, 2010 <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/> [accessed 19 March 2015]

ArchDaily, ‘The Lanxi Curtilage / Archi Union Architects’, 2012 <http://www.archdaily.com/299269/the-lanxi-curtilage-archi-union-architects/> [accessed 16 March 2015]

‘ARCHI UNION STUDIO BY J-STUDIO’, FRAME, 2011, 1-3 <http://dx.doi.org/00081>

Designbuild-network.com, ‘Beijing National Stadium, ‘The Bird’s Nest’ - Design Build Network’, 2015 <http://www.designbuild-network.com/projects/national_stadium/> [accessed 18 March 2015]

Frearson, Amy, ‘The Lan Xi Curtilage By Archi-Union’, Dezeen, 2012 <http://www.dezeen.com/2012/12/04/the-lan-xi-curtilage-by-archi-union/> [accessed 15 March 2015]

Herzogdemeuron.com, ‘HERZOG & DE MEURON’, 2015 <http://www.herzogdemeuron.com/index/projects/complete-works/226-250/226-national-stadium.html> [accessed 19 March 2015]

Kroll, Andrew, ‘AD Classics: Church Of The Light / Tadao Ando’, ArchDaily, 2011 <http://www.archdaily.com/101260/ad-classics-church-of-the-light-tadao-ando/> [accessed 13 March 2015]

Perez, Adelyn, ‘AD Classics: Fallingwater House / Frank Lloyd Wright’, ArchDaily, 2010 <http://www.archdaily.com/60022/ad-classics-fallingwater-frank-lloyd-wright/> [accessed 15 March 2015]

Portilla, Daniel, ‘Serpentine Pavilion / Sou Fujimoto’, ArchDaily, 2013 <http://www.archdaily.com/384289/serpentine-pavilion-sou-fujimoto/> [accessed 15 March 2015]

‘Winner Special Prize For Fabrication And Execution’, Nemeschek Strucutral User Contest 2013, 2015 <http://notesweb.scia-online.com/WWW/Contest2013.nsf/bae411da452e568fc125739c004f8f23/b3308d4284ffbcd0c1257bb90051a3e0/$FILE/Aecom-Serpentine.pdf> [accessed 19 March 2015]

Wright-house.com, ‘Fallingwater - House Over Waterfall, Frank Lloyd Wright’, 2015 <http://www.wright-house.com/frank-lloyd-wright/fallingwater.html> [accessed 16 March 2015]

Www-bcf.usc.edu, ‘USC Student Precedent Studies’, 2015 <http://www-bcf.usc.edu/~kcoleman/precedents.htm> [accessed 19 March 2015]

IMAGE REFERENCES


FIG.1 http://www.detail-online.com/inspiration/sites/inspiration_detail_de/uploads/imagesResized/projects/780_2013082005123349fb0871801ebd3f234ab651a80b55c96cfa50d4.jpg

FIG.2 https://tokyowing2.files.wordpress.com/2011/05/dsc_8696.jpg

FIG.3 http://www.cgarchitect.com/content/portfolioitems/2012/08/57541/church_final_2_ps_copy_large.jpg

FIG.4 http://www.wright-house.com/frank-lloyd-wright/fallingwater-pictures/large-fallingwater-photos/high-resolution/25SW-falling-water-path2-L.jpg

FIG.5 http://letow.com/Wright/Falling-Water-3.jpg

FIG.6 https://s-media-cache-ak0.pinimg.com/originals/e1/af/e2/e1afe2d635c189395dbf94b5fcc8777c.jpg

FIG.7 http://ad009cdnb.archdaily.net/wp-content/uploads/2012/11/50b67ef5b3fc4b536400009d_the-lanxi-curtilage-archi-union-architects_img_1457_2.png

FIG.8 http://ad009cdnb.archdaily.net/wp-content/uploads/2012/11/50b67e55b3fc4b5364000098_the-lanxi-curtilage-archi-union-architects_wall_unit.png

FIG.9 http://ad009cdnb.archdaily.net/wp-content/uploads/2012/11/50b67dd1b3fc4b5364000093_the-lanxi-curtilage-archi-union-architects_lanxiting_5.jpg

FIG.10 https://s-media-cache-ak0.pinimg.com/originals/27/5b/e1/275be12aa974f156b566bbb7dc5cbaae.jpg

FIG.11 http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1287176139-wall-construction-2.jpg

FIG.12 http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1287176144-wall-construction.jpg

FIG.13 http://now-here-this.timeout.com/wp-content/uploads/2013/06/Serpentine-SFA-3023-Press-page.jpg

FIG.14 http://upload.wikimedia.org/wikipedia/commons/a/a8/Serpentine_Gallery_Pavilion_2013.jpg

FIG.15 http://darkroom.baltimoresun.com/wp-content/uploads/2013/06/AFPGetty-520286238.jpg

FIG.16 https://beijingbirdsnest.files.wordpress.com/2010/10/librarybeijing_national_stadium.jpg

FIG.17 http://www.bookmarc.com.au/blog/wp-content/uploads/2014/07/penetron.jpg

FIG.18 http://www.wildchina.com/blog/wp-content/uploads/2012/08/lubetkin_hdm_beijing_stadium_03x.jpeg

PART B CRITERIA DESIGN

CONCEPTUALISATION 15

CONTENT

14-21 B.1 RESEARCH FIELD

22-29 B.2 CASE STUDY 1.0

30-33 B.3 CASE STUDY 2.0

34-37 B.4 TECHNIQUE DEVELOPMENT

40-47 TECHNIQUE: PROTOTYPES

48-55 TECHNIQUE: PROPOSAL

56 LEARNING OBJECTIVES & OUTCOME

57 APPENDIX- ALGORITHMIC SKETCHE

58-68 BIBLIOGRAPHY/ IMAGE REFERENCE

B.1 STRIPS AND FOLDINGS


StripS and folding iS a flexible deSign concept. it may Seem rather

Simple but by interacting within itS form Such aS: twiSting, folding and intertwining,

complex outcomeS could be generated. intereSting and unexpected ShapeS can be created

through different interplay, thuS creating unique interaction SpaceS inSide and outSide

cuStomiSing uSerS’ experience. in termS of materiality, it iS not conStrained by

any, but moSt of theSe computational deSign proceSS focuS on material behaviour rather than

geometric Shape, which allowS for unfolding performative capacity and material reSourcefulneSS

while at the Same time expanding the deSign Space towardS unlimited architectural poSSibilitieS.

ICD RESEARCH PAVILION


icd reSearch pavilion demonStrateS an alternative approach to computational deSign: here, material behaviour computeS form2. the deSign Space iS defined and conStrained by the behaviour of birch plywood StripS

and itS poSSible modulationS through variationS in production and fabrication2.

the final toruS Shape of the pavilion waS a reSult of radial arrangement and interconnection of the Self-equilibrating arch SyStem1. overall, the Structure actS aS a Shell and the continuouS alternation of tenSion and

compreSSion increaSe itS StiffneSS and diSchargeS the whole Structure1.

we can obServe intereSting interplay of light and ShadowS in icd pavilion through the ‘gapS’. StripS and folding allow for different SectionS of StripS to be put together, hence thiS createS a unique experience for uSerS

at night; while the main form of the Structure actS aS a Shading Shelter in day time.

the aSSembly proceSS waS Straightforward and quick to execute, aS the factory manufactured planar StripS Simply needed to be connected and then automatically found their Specific Shape. in other wordS, on Site the material behaviour itSelf computeS the Shape of the pavilion. thiS alSo SpeedS up the conStruction proceSS and

waStage of materialS can be minimiSed.

footnoteS:

1. eleni morpi, ‘icd/itke reSearch pavilion 2010’, iaacblog.com, 2015 <http://www.iaacblog.com/maa2012-2013-Surface-active-StructureS/2013/04/icditke-reSearch-pavilion-2010/> [acceSSed 24 april 2015].

2. icd.uni-Stuttgart.de, ‘icd/itke reSearch pavilion 2010 « inStitute for computational deSign (icd)’, 2015 <http://icd.uni-Stuttgart.de/?p=4458> [acceSSed 25 april 2015].

LOOP 3


loop 3 demonStrateS that through folding, unexpected dynamiSm can be created, thuS evoking SenSation of movement and fluidity. it iS a topologically differentiated territory of force fieldS 1.

diStinguiShable from otherS, thiS project uSeS mathematical trigonometric functionS explored through parametric toolS in an expreSSive way to enhance itS overall aeStheticS 1. Structural Stabiliy and functionality are

balanced and workS with one another coheSively.

it demonStrateS how the complexity of a Shape iS rationaliSed through computational toolS, and not put together randomly, Such aS voluptuouS rippleS that giveS overall Stability, multiple curvature aS total Structure

Strategy and Shape aS Sorting SyStem for the deployment of functionS 2.

other conSiderationS were taken into the deSign thinking proceSS aS well, Such aS the flat partS are intended for 3d prototypeS while pictureS occupy the moSt vertical Surface partS for uSerS to interactively explore

the deSign StrategieS behind it 2.

footnoteS:

1. aleSSio erioli, ‘loop _ 3’, co-de-it.com, 2015 <http://www.co-de-it.com/wordpreSS/loop _ 3.html> [acceSSed 23 april 2015].

2. lidija grozdanic, ‘loop _ 3 inStallation inveStigateS mathematical trigonometric functionS - evolo architecture magazine’, evolo.uS, 2012 <http://www.evolo.uS/architecture/loop _ 3-inStallation-inveStigateS-mathematical-trigonometric-functionS/> [acceSSed 23 april 2015].

CASE STUDY 1.0 BIOTHING PAVILION


the SerouSSi pavilion by biothing iS deScribed aS a Self-organiSing and adapting SyStem of vectorS baSed on electromagnetic fieldS 1. the initial computationS were done in plan then lifted via microarching SectionS through different frequencieS of the Sine- wave function 1. it may look chaotic and complex but the repetition of

field lineS aS a whole createS a Strong SenSe of harmony 1.

thiS Sine-wave function then produce different angle, orientation, Size of aperture in the parametric model which reSultS in varying lightning and Shading1. the internal cocoon-like Spatial fabric iS aS a reSult of double-charged trajectorieS of the em fieldS1 . to further develop thiS, the different degreeS of cohabitation between

humanS and art are poSSible in the Swirling fibreS of the cocoonS1.

apparently, the organic and dynamic SerouSSi pavilion iS deSigned out of the blue, different from the notion of a traditional architectural plan. hence, it iS obviouS that by exploring and developing algorithmic

ScriptS, we open up to more poSSibilitieS and create unexpected deSignS.

footnoteS:

1. aliSa andraSek, ‘SerouSSi pavillion « biothing’, biothing.org, 2015 <http://www.biothing.org/?cat=5> [acceSSed 23 april 2015].

-> blendS in well with nature

-> potential to act aS Shelter

-> interconnection between uSerS

-> SenSe of flow, dynamiSm and movement

-> unique Spatial experienceS

SELECTION CRITERIA

3RD ROW: POINTS ON VORONOI (CLOCKWISE, ANTI-CLOCKWISE SPINNING

FORCE, REPULSION FORCE, ATTRACTION FORCE )

4TH ROW; RANDOM POINTS (CLOCKWISE, ANTI-CLOCKWISE SPINNING

FORCE, REPULSION FORCE, ATTRACTION FORCE )

1ST ROW: POINTS ON CURVE (CLOCKWISE,

ANTI-CLOCKWISE SPINNING

2ND ROW; POINTS ON GRID (CLOCKWISE, ANTI-CLOCKWISE

SPINNING FORCE, REPULSION FORCE, ATTRACTION FORCE )

B2: EXPERIMENTING: MATRIX


SUCCESSFUL ITERATIONS

INTERESTING POINT OF CONNECTION IN ASSYMETRICAL WAY, HIGHLIGHTS MOVEMENT & SPEED, INTERESTING INTERACTION BETWEEN INSIDE AND OUTSIDE WORLD

STRONG SENSE OF CENTRALITY; ANTICLOCKWISE SPIN FORCE REVOLVING AROUND; EMPHASISING

CONNECTION IN A NON CHAOTIC WAY

FIELD LINES AS FENCE (PROTECTING INSIDE), CENTRAL: FLUID, DYNAMIC VIA SPINNING FORCES// POTENTIAL AS SMALL PRIVATE GATHERING SPOTS

FIELD LINES ON OUTSIDE DEMONSTRATES MOVEMENT IN DIFFERENT ROTATION AND ANGLES; CONNECTION POINT GRIDS DISTRIBUTED IN ORDERING MANNER, SYSTEMATIC

FLOW, DYNAMISM AND MOVEMENT CONTROL IN A NON-CHAOTIC MANNER UNIQUE SPATIAL EXPERIENCE, POWER COMING OUT FROM CENTRE

INTERPLAY BETWEEN LIGHT AND SHADOW THROUGH ‘GAPS’POSSIBILITY: PATHWAY/ PAVILION/ MEETING PLATFORM


CASE STUDY 2.0 ARCHIPELAGO PAVILION


thiS project exemplifieS the tranSlation of digital fabrication in real life; i.e. computer generated deSign into built architectural objectS. the parametric model iS generated uSing a Set of algorithmS produced in rhino and

graSShopper.

the deSignerS experiment bending and folding capabilitieS of SteelS through compreSSion 1. Steel iS a good material for thiS particular project aS it matcheS the deSign functionality; which iS providing a Shady cool Spot

for uSerS to relax and Sit, materialS with variouS characteriSticS will reSult in different deSign outcome.

three triangleS form the baSe on which curveS are added to make up a double curved Surface uSing one conStant radiuS 1. the Surface iS trimmed to compoSe an intereSting Shape. Specific teStS were carried out to Show that the underlying geometrical Structure enhanced the overall Stability 1. through laSer cut in factory, we are able to produce StripS of Steel SheetS, curved and folded into our deSired formS and then aSSembled by hand on Site. inStead of juSt experimenting with pure Steel StripS, we could enhance the overall aeSthetic effect by creating organic-like pattern perforationS on the Surface, which allow interplay of light and intereSting ShadowS to be

created, creating memorable experienceS for the uSerS 2.

the computational way of working allowS deSignerS to underStand the complexity of conStructing 3d modelS, the logic behind complex parameterS and algorithmic thinking; that are inStrumental in a building’S formation, which they later on performed on Site i.e. in thiS caSe the Steel StripS were aSSembled by hand 2. overall, computational Simulation toolS give direct performance feedback thuS developing more reSponSive deSignS, allowing architectS to explore new deSign optionS and to analySe architectural deciSionS during the deSign

proceSS 1.

footnoteS:

1. lidija grozdanic, ‘archipelago parametrically deSigned pavilion - evolo | architecture magazine’,evolo.uS, 2012 <http://www.evolo.uS/architecture/archipelago-parametrically-deSigned-pavilion/> [acceSSed 22 april 2015].

2. Super architectS, ‘marcuS abrahamSSon & benoit croo. [built] project // the archipelago pavilion’, Super//architectS, 2015 <http://Super-architectS.com/archiveS/4961> [acceSSed 23 april 2015].


STEP 1: DRAW A SIMILAR CURVE SHAPE AS SHOWN IN THE ARCHIPELAGO PAVILION AS THE BASE.

STEP 2: CREATE A PLANAR SURFACE ON THE CURVE USING BOUNDARY SURFACES.

STEP 3: SCALE THE AREA OF THE CENTROID OF THE CURVE TO ITS CENTRAL.

STEP 4: AFTER SCALING, USE POPULATE GEOMETRY TO CREATE 3 EQUALLY SPACED POINTS ON THE SCALED CURVE.

STEP 5: APPLY VORONOI TO DEFINE THE SURFACE INTO 3 INDIVIDUAL SPACES.

STEP 6: USE REGION INTERSECTION TO INTERSECT THE SCALED CURVE AND THE BASE CURVE AT XY PLANE. APPLY SIMPLY AND GRAFT.

STEP 7: NEXT, SCALE THE INTERSECTION WHICH IS THE 3 LITTLE SEPARATE CURVE ON SURFACE AS SEEN AT BASE BY A FACTOR OF 0.4.

STEP 8: MOVE THE 3 LITTLE SEPARATE CURVE ON SURFACE IN THE INTERSECTION IN Z DIRECTION BY A FACTOR OF 25. THE HIGHER THE FACTOR, THE HIGHER THE OBJECT GETS. SIMPLIFY THE DATA.

STEP 9: LOFT THE INTERSECTED CURVE (BETWEEN BASE AND SCALED CURVE) AND THE 3 LITTLE SEPARATE CURVE TOGETHER.

STEP 10: MIRROR THE RESULTING LOFT TO XY PLANE, WHICH IS THE OPPOSITE SIDE.

STEP 11: DECONSTRUCT BREP INTO ITS CONSTITUENT PARTS.

STEP 12: APPLY MESH SURFACE (UV) TO CREATE A SURFACE UV MESH, CREATE 10 QUADS IN U AND V DIRECTION.

STEP 13: JOIN THE SETS OF MESH INTO A SINGLE MESH USING MESH JOIN.

STEP 14: USE THE WELD MESH TOOL TO CREATE CREASES ‘FOLDING’ IN A MESH.

STEP 15: CONVERT ALL THE MESH FACES TO POLYLINES USING FACE BOUNDARIES. FLATTEN THE DATA IN THE PARAMETER.

STEP 16: EXPLODE THE CURVE INTO SMALLER SEGMENTS. FLATTEN THE DATA.

STEP 17: APPLY ‘REMOVE DUPLICATE LINES’ TO GET RID OF SIMILAR (DOUBLE) LINES FROM A LIST.

STEP 18: BY INSTALLING KANGAROO PLUG-IN, WE CAN USE THE SPRING’S TOOL TO ADD SPRINGS BETWEEN THE SEPARATE LINE SEGMENTS TO CREATE THE HANGING CHAIN EFFECT.

STEP 19: MULTIPLY THE LENGTH OF THE POLYLINES OBTAINED PREVIOUSLY BY 0.50 TO MAKE EVERYTHING SMALLER AND CONNECT IT TO REST LENGTH.

STEP 20: TO RUN A SIMULATION WE WILL NEED THE KANGAROO PHYSICS COMPONENT. CONNECT ‘SPRING’ TO GEOMETRY. ADD A BOOLEAN TOGGLE. WHEN IT IS SET TO FALSE, THE STIMULATION MOVES FORWARD 1 ITERATION

EVERY TIME THE GRASSHOPPER SOLUTION UPDATES.

STEP 21: TO MAKE THE SIMULATION CONTINUOUS, ATTACH A TIMER COMPONENT. DRAG THE DOTTED LINE FROM THE TIMER TO ANY PART OF THE KANGAROO COMPONENT. THE TIMER HAS AN INTERVAL SETTING WHICH CONTROLS

HOW LONG IT WAITS BETWEEN UPDATING THE SOLUTION.

3RD ROW: VARIOUS ANCHOR POINTS ON SELCTED

POINTS USING KANGAROO SIMULATION

4TH ROW: SPRING FORCE IN KANGAROO: ALTER STIFFNESS/

REST LENGTH (VIA DIFF. ANCHOR POINTS TOO)

5TH ROW: CHANGE IN FORM VIA MESH UV (SOME ARE

1ST ROW: CULL PATTERNS ON VORONOI

2ND ROW: DECONSTRUCT MESH -> DIFFERENT

FORCES ON SELECTED POINTS

B4: EXPERIMENTING: MATRIX

-> Strong connection between architecture, uSerS and nature

-> potential to act aS Shelter or place for relaxation

-> eaSily conStructable and Simple to erect on Site

-> SenSe of flow, dynamiSm and movement

-> unique Spatial experienceS

SELECTION CRITERIA


SUCCESSFUL ITERATIONS

BASE AS A LARGE PLATFORM AS IF INSPIREDBY SPIDER WEB IN NATURE // POSSIBILITY:

PERFORMING AREA, GATHERING SPACE

FLUID MOVING SPACE, AS IF ‘CHANGING’ IN TIME // POTENTIAL AS SMALL PAVILLION, SITTING AREA, GATHERING SPOT

CANERARY TENSILE STRENGTH STRUCTURE; EMPHASISING DYNAMISM // POTENTIAL AS SMALL PAVILLION, SITTING AREA, GATHERING SPOT

NATURAL CLOUD-LIKE FLUID SEQUENCE ; ABSTRACT SPATIAL DISTRIBUTION// POSSIBILITY: STEPS, BRIDGES

ARTSY ‘FLOWER-LIKE’ MIMICKING NATURE// COMPLEX BUT STILL CONSTRUCTAB;E POTENTIAL TO BE SMALL PAVILION,

PLATFORM FOR SOCIAL GATHERING OR EVEN ART EXHIBITION


B5: PROTOTYPE

FOLLOWING WITH THE MATRIX EXPLORATIONS IN B4, I TRIED RECREATING PART OF THE CONNECTION JOINT. EACH PLYWOOD ‘STRIP’ SURFACE BY ‘INSERT

AND LOCK’ METHOD LIKE PUZZLES WHICH INTERLOCKS THE INTERSECTION AT THE CORRECT ANGLES. PLATES WILL BE BOLTED RIGHT AT THE EDGE OF THE INTERLOCKING

TO RESIST ANY BENDING FORCE. IN THIS CASE, I JUST USE CARDBOARD AS A TRIAL.

I ASSUME THIS METHOD COULD BE DONE IN AN EFFICIENT MANNER AS I CAN JUST LASER CUT EACH LABELLED INDIVIDUAL STRIP SURFACE AND

THEN PUT TOGETHER QUICKLY. IN COMPARISON WITH THE CONSTRUCTION METHOD ABOVE, I FIND THIS RATHER RIGID AND BORING. THE PLATES

THAT POPS OUT BEHIND ALL THE ‘INSERT AND LOCK’ INTERSECTION IS NOT VERY AESTHETICALLY PLEASING.


THROUGH HANDS ON MODELLING, I REALISED THAT INTERESTING FORM COULD BE CONSTRUCTED BY SHAPING ‘WIRES’ THROUGH FOLDING. IN REALITY, MILD STEEL HOLLOW ROUND TUBE COULD BE WELDED TOGETHER WITHIN ANY BOLTS TO FORM

THE BASIC STRUCTURE.

ACCORDING TO CURVY DIMENSION WIRES USED AT THE BASE AND TOP IS THICKER AS IT MUST BE STRONG TO WITHHOLD THE FORM IN PLACE. THEN LATER ON, MEMBRANE COULD BE INTEGRATED WITHIN THE STRUCTURAL SYSTEM. FOR

TESTING, I ROLLED THE PAPER ALL THE WAY DOWN AND FOLD IT BACK UP FOR EXTRA STABILITY.

HORIZONTAL ‘STRIPS’ ARE INSERTED IN BETWEEN THE MEMBRANE WHICH STRENGTHEN THE MEMBRANE. IN THE PROTOTYPING PROCESS, I FOUND THAT

PERFORATING PATTERNS ON THE MEMBRANE MAKES THE STRUCTURE MORE INTERESTING AS A RESULT OF INTERPLAY BETWEEN LIGHT AND SHADOW.


AT THIS POINT, FOR THE MEMBRANE PART, I’M STILL THINKING OF COMING UP WITH SOME SEMI-TRANSLUCENT MATERIAL AS I INTEND TO BLUR

THE BOUNDARY OF THE INSIDE AND OUTSIDE OF THE STRUCTURE, CONNECTING USERS TO NATURE.

STRETCHY FABRIC SUCH AS ‘LYCRA’ MIGHT BE A POTENTIAL MATERIAL TOO, AS I HAVE NOT SETTLE DOWN ON A FINAL DESIGN CONCEPT.

CHILDREN OR EVEN ADULTS COULD ENJOY A SENSATIONAL EXPERIENCE OF ‘ELASTICITY’, AS THE MEMBRANE BOUNCES AROUND AS ONE MOVES

THROUGH, EVOKING SECRETIVE BUT UNIQUE EXPERIENCE, BRINGING PEOPLE TOGETHER.

THIS CONSTRUCTION METHOD IS FLOWY, DYNAMIC AND FUN, BUT TAKES LONGER TIME TO PUT TOGETHER AND IS EASILY DISTORTED FROM THE

ORIGINAL DESIGN AS THE CURVING AND INSERTING WIRES ARE VERY CHALLENGING.

I AM QUITE HAPPY WITH THIS OUTCOME AND FEEL THAT THIS COULD BE DEVELOPED FURTHER FOR MY FINAL DESIGN. I WILL REFER BACK TO B2 ITERATIONS AS A DRIVING FORCE AND CONTNINUE TO WORK ON SOMETHING FLOWY AND DYNAMIC IN RELATION TO THE SITE.


THE SITE THAT I HAVE CHOSEN IN MERRI CREEK IS OPPOSITE COBURG LAKE, WHICH IS PAST THE COMMUNITY CONTEMPLATIVE GARDEN AND GRAY’SLOOKOUT. DURING THE SITE VISIT, I ENJOYED LOOKING AT HOW HUMANS INTERACT WITH SWANS IN COBURG LAKE

AS THERE IS A ‘SMALL SHORE’ WHICH ALLOWS SWANS TO COME UP TO THE GRASSY AREA, WHICH IS NEXT TO A PLAYGROUND. I PLAN TO USE THIS 2 GRASSY AREA BESIDE IT AS THE PARTICULAR SPOT FOR MY DESIGN WHICH WILL BE SPANNING ACROSS HORIZONTALLY.

THIS DOESN’T REQUIRE MUCH SPACE AND ONLY INTERVENT MINIMALLY TO THE NATURAL SURROUNDING.

THE PROPOSED SITE IS HIGHLY ACCESSIBLE, LOCATED JUST OPPOSITE GAFFNEY STREET. PEOPLE CAN ENTER VIA CARR STREET ENTRANCE VIA TRAM ROUTE 19. HOPEFULLY IT WILL BE AN EYE-CATCHER WHICH ATTRACTS MORE PEOPLE ESPECIALLY THOSE LIVING IN URBAN

AREAS TO PUT OFF THEIR HECTIC DAILY ROUTINE AND CONNECT TO NATURE.

PROPOSED SITE


IN REALTION TO THE FORM FINDING PROCESS IN B4, I AM TRYING TO MAKE MORE SENSE OF THE FORM BY LOOKING AT THE POSSIBILITIES OF WHAT IT COULD BE INSTEAD OF JUST RANDOM SHAPES CREATED IN GRASSHOPPER. I HAVE COME UP WITH A FEW VERSION OF MULTI-PURPOSE FUNCTIONAL

SMALL PAVILION. THROUGH BRAIN STORMING, I AM HAPPY WITH ONE OF THE OUTCOME, I.E. VERSION 2, ALTHOUGH IT STILL NEEDS MORE REFINING. IT CONSISTS OF BAMBOO ROOFING AND ITS BODY WILL BE MADE OUT OF STRETCHY FAçADE WHICH WILL BE CONNECTED DIRECTLY INTO THE GROUND

THROUGH A CONNECTOR JOINT. UPVC PIIPES COULD BE INSTALLED NEAR THE BOTH ENDS OF THE STRUCTURE TO ACT AS A STORM WATER COLLECTOR SYSTEM TO FACILITATE ACCESS WATER FLOWING INTO AN UNDERGROUND TANK WHICH THE RAIN WATER CAN BE REUSED THROUGH WATER TAP FOR

OUTDOOR USE. I’M STILL FIGURING OUT HOW TO CONNNECT ROOF GUTTER TO RAINWATER PIPES WITHOUT AFFECTING THE OVERALL AESHETHIC FORM.

THE IDEA OF COLLECTING RAIN WATER IS DUE TO SEEING LOTS OF SIGNAGE AROUND MERRI CREEK TRAIL DURING MY VISIT AND HENCE, I HAVE COME TO THE NOTION THAT THE SITE IS EASILY FLOODED ESPECIALLY DURING RAINY SEASONS HENCE THIS DESIGN AIMS TO MINIMISE THE PROBLEM.

MATERIALS CHOSEN ARE LINKED DIRECTLY TO ITS MATERIALITY PERFORMANCE. THE FAçADE WILL BE PUT TOGETHER USING STRETCHY FABRIC-LIKE MATERIAL TO ENSURE SAFETY AS MANY CHILDREN WILL PASS THROUGH. THE STRETCHY FABRIC WILL ALSO PROVIDE A UNIQUE SPATIAL EXPERIENCE

FOR THE USERS AS THEY MOVE THEIR WAY THROUGH, WHICH IS ‘ELASTICITY’ AND ‘BOUNCY’, BRING PEOPLE CLOSER TO EACH OTHER. THIS COULD ALSO PURELY JUST BE A RESTING AND RELAXATION SPOT WHERE IT ACTS AS A ‘HAMMOCK’. I PLAN TO MAKE THE ROOF MORE BIRD-FRIENDLY BY MAYBE CHOOSING

A MATERIAL THAT HAS NATURAL COLOUR TONE SO THAT BIRDS ARE NOT INTIMIDATED BY OUR ARCHITECTURE INTERVENTION AND INSTEAD WILL REST THERE EVERY HERE AND THEN. BAMBOO CAN BE CONNECTED AS THE INDIVIDUAL BAMBOO ‘STRIPS’ ARE LAID DOWN AND TIED TOGETHER. THEY ARE

LIGHTWEIGHT BUT STRONG ENOUGH TO SUPPORT THE ENTIRE STRUCTURE, I.E. FABRIC BODY.

WITH THIS FURTHER DEVELOPING PROCESS SET ASIDE, I NEED TO MAKE SURE MY DESIGN MATCHES MY SELECTION CRITERIA AND I WILL CONTINUE ON THE SUCCESS OF PROTOTYPING THE BENDING AND CURVY PAPER STRUCTURE PREVIOUSLY TO EXPLORE FUTURE POSSIBILITIES OF MY DESIGN, IN RELATION TO THE SITE.

B6: FURTHER THINKING / PROPOSAL


LEARNING OBJECTIVES

LEARNING OUTCOME

THROUGH ALTERING GRASSHOPER SCRIPT AND TRYING TO PRODUCE THEM, I HAVE GRADUALLY DEVELOPED MY GRASSHOPPER SKILLS COMPARED TO THE BEGINNING OF THE SEMESTER. I HAVE LEARNED BASIC KNOWLEDGE IN TERMS OF HOW TO CREATE MANIPULATIONS FOR MY DESIGN AND USE IT FOR INSPIRATION TOWARDS MY DESIGN MODEL.

EVEN IN TINY STEPS, I’M GLAD TO SEE MYSELF PROGRESSING BITS BY BITS AND ENGAGING WITH THE COURSE.

BY SELECTING FROM OUR SELF-DEFINED CRITERIA LIST, THIS HAD MADE ME CONSTANTLY THINKING MORE DEEPLY ABOUT THE DESIGN BRIEF, THEME AND ALSO CRITICALLY ANALYSING THE SITE AND LINKING IT BACK TO MY DESIGN PROPOSAL.

I HAVE ALSO FINALLY SENT MY FILES TO FAB LAB FOR LASER CUT PREFABRICATION FOR THE FIRST TIME. IT IS AMAZING HOW THROUGH COMPUTATIONAL PROCESS, MODELS CAN BE DONE EFFICIENTLY AND ACCURATELY. BY TESTING THE MATERIALITY AND MULTIPLE EFFECTS ETC, WE CAN EXPERIMENT WITH DIFFERENT POSSIBILITIES WHICH AFFECTS OUR

DESIGN.

I WILL CONTINUE TO WORK TOWARDS THE BEST VERSION OF MY DESIGN AND HOPEFULLY CAN TAKE IT TO A WHOLE NEW LEVEL AFTER REFINING.

ELIMINATING THE NEED FOR CONSTRUCTING TRADITIONAL DRAWINGS, DIGITAL MODELLING CHANGES THE WAY HOW DESIGNERS COMMUNICATE AND DELIVERS PROJECT, WHICH IS IN AN EFFICIENT MANNER.

ALGORITHMIC THINKING THROUGH A SET OF LOGICAL DATA THROUGH MULTIPLE ITERATIONS AND REVERSE ENGINEERING USING GRASSHOPPER AS A TOOL IS NECESSARY FOR MEANINGFUL ENGAGEMENT WHEN GENERATING OUR DESIGN.

BY INTEGRATING DESIGN PROPOSAL AND PHYSICAL MODELS THROUGH DETAILING AND FABRICATION, FUTURE ARCHITECTURE CAN BE REALISED AND DEFINED.

OVERALL, PART B PUSHES STUDENTS TO DEVELOP A SPECIFIC TECTONIC SYSTEM USING COMPUTATIONAL METHODS THROUGH CASE-STUDY ANALYSIS, PARAMETRIC MODELLING AND PHYSICAL PROTOTYPES.

BIBLIOGRAPHY

ANDRASEK, ALISA, ‘SEROUSSI PAVILLION Â« BIOTHING’, BIOTHING.ORG, 2015 <HTTP://WWW.BIOTHING.ORG/?CAT=5> [ACCESSED 23 APRIL 2015]

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ARCHITECTS, SUPER, ‘MARCUS ABRAHAMSSON & BENOIT CROO. [BUILT] PROJECT // THE ARCHIPELAGO PAVILION’, SUPER//ARCHITECTS, 2015 <HTTP://SUPER-ARCHITECTS.COM/ARCHIVES/4961> [ACCESSED 23 APRIL 2015]

ELENI, MEROPI, ‘ICD/ITKE RESEARCH PAVILION 2010’, IAACBLOG.COM, 2015 <HTTP://WWW.IAACBLOG.COM/MAA2012-2013-SURFACE-ACTIVE-STRUCTURES/2013/04/ICDITKE-RESEARCH-PAVILION-2010/> [ACCESSED 24 APRIL 2015]

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GROZDANIC, LIDIJA, ‘ARCHIPELAGO PARAMETRICALLY DESIGNED PAVILION - EVOLO | ARCHITECTURE MAGAZINE’, EVOLO.US, 2012 <HTTP://WWW.EVOLO.US/ARCHITECTURE/ARCHIPELAGO-PARAMETRICALLY-DESIGNED-PAVILION/> [ACCESSED 22 APRIL 2015]

GROZDANIC, LIDIJA, ‘LOOP _ 3 INSTALLATION INVESTIGATES MATHEMATICAL TRIGONOMETRIC FUNCTIONS - EVOLO | ARCHITECTURE MAGAZINE’, EVOLO.US, 2012 <HTTP://WWW.EVOLO.US/ARCHITECTURE/LOOP _ 3-INSTALLATION-INVESTIGATES-MATHEMATICAL-TRIGONOMETRIC-FUNCTIONS/> [ACCESSED 23 APRIL 2015]

ICD.UNI-STUTTGART.DE, ‘ICD/ITKE RESEARCH PAVILION 2010 Â« INSTITUTE FOR COMPUTATIONAL DESIGN (ICD)’, 2015 <HTTP://ICD.UNI-STUTTGART.DE/?P=4458> [ACCESSED 25 APRIL 2015]

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IMAGE REFERENCES



APPENDIX: ALGORITHMIC SKETCHES

EXPERIMENTING WITH VARIOUS ANCHOR POINTS IN KANGAROO SIMULATION

DYNAMIC MOVEMENT WITH ‘‘SPIKY’ EDGES



EXPERIMENTING WITH SPRING FORCE

ALTERING STIFFNESS THROUGH RANDOM ANCHOR POINTS


PATTERN 1 TOP VIEW

PATTERN 2 TOP VIEW


CULLING PATTERNS IN VORONOI



BIOTHING PAVILION ALTERATIONS USING

CLOCKWISE & ANTICLOCKWISE SPINNING FORCE/ REPULSION FORCE/ ATTRACTION FORCE

4 SPECIES (POINTS ON CURVE/RANDOM POINTS/ POINTS ON GRID/ POINTS ON VORONOI )

ang ke xin 636730 journal

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