374433Sabrina Fung

the ideas is started from a natural process “cracking of rock”. over 90% of the landform on Earth is formed by element silicon which its element structure is mainly in hexagon form.the main idea is to borrow the form/shape that we can found in natural environment which has the power to shape our environment. it is a good ideas to start the ideas with nature.

ideas can be used in the Wyndham Gate-way Project:1) nature2) hexagon form (since it is commonly found under compression forces which is a natural process)3) lighting (based on clients requested “Daytime and Nighttime viewing“)

“Complex surfaces with in-tegrated structures prom-ise a quantum leap of en-gineering elegance and intellectual satisfaction.”Joseph Giovannini

REN- People‘s Building ShanghaiArchitecture as sign

The REN building is a proposal for a hotel, sports and conference centre for the World Expo 2010 in Shanghai. The building is conceived as two buildings merging into one. The first building, emerging from the water is devoted to the activities of the body, and houses the sports and water culture centre. The second building emerging from the land, is devoted to the spirit and enlightenment, and houses the con-ference centre and meeting facilities. The building becomes the Chinese sign for “The People”, and a recognizable landmark for the World Expo in China.

Also, it has consider the Chinese Tai Ji- the five ele-ments, metal, wood, water, fire and earth, and which they have to be balanced to maintain a stable world.

ideas can be used in the Wyndham Gateway Project:1) understanding of culture of a place2) according to the Gateway project brief, “Iconic feature“,“

Symbols

=PeopleFire= triangleEarth= perfect square (in between the two tower)Metal= circle (circular ring beams)Water= waveWood= triangle

“REN“, people’s build-ing has bridged the gap in between ancient wis-doms of China and the progsive future of China” Wang Qishan, Vice-Pre-mier of China

AUTI 2010Audi Urban Future Awards 2010Architecture and Urban Experience

The concept of the automatic car operation is gradually shifting from plausible to prob-able. Cars have been able to drive auton-omously for over three decades. There are self-parking cars on the mass market, ac-tive cruise control, and even crash-preven-tion systems that take control of steering to evade danger. Predictions by several major car manufactures claim that the driverless car will be presented to the market by 2015.

The main reason that I interested in this pro-ject is because it describes and predicts the evolution in transport technology. The idea of driverless car experience is gener-ated from the Law of Accelerating Returns.

Ideas generated in this project:They raised a question during the studies:Car infrastructure takes up a lot of spacethe size of highway intersection= to the entire Copenhagen city in 1850How people can reduce the infrastructure space?

Automatic Car Operation(no driver)left hand-side page:diagrams that examine car infrastructure takes up many space

top images:architects generates the driving patterns from the natural phenomenon- a pool of swimming fishes that couldn’t crash each anothers

closest left hand-side:by studying the urban transport system now and with the technology growth prediction, they generate the possible urban circulation space and pattern

One aspect that makes the BIG Audi Urban Future Awards 2010 very for-ward inclined and contribute im-mensely to the architectural dis-course is that it challenges a widely held idea that have been taken for granted: what a normal transporta-tion experience looks like and what establish a suitable urban experience. A more important design logic from the design is the concept of architecture as an experience that is impressive and dominant, and is strong enough to wipe out all prejudice of space and common understandings of urban ex-perience. Like the driverless concept that BIG suggested, this intention will have to be achieved visually, and also will employ materiality and theatrical-ity that will be best achieved through the use of computational means.

diagrams that examine car infrastructure takes up many space

architects generates the driving patterns from the natural phenomenon- a pool of swimming fishes that couldn’t crash each anothers

by examine the urban transport system now and with the technology growth prediction, they generate the possible urban circulation space and pattern

Whilst Atelier Manferdini tends to focus on surface effects,Matsys’ C_Wall demon-strates an integration be-tween structuralconsiderations and visual performance as a a part ofongoing research into hon-eycomb and voronoi geom-

Voronoi MorphologiesI.1.2. Computing in Architecture

“A building that is truly a work of art in its nature, essence, physical being an emotional expression. This being so, and I feel that this is so, it must have, almost literally, a life.”Robert Seyfarth

The central aim of the research is the development of a material system with a high degree of integration between its design and per-formance. This integration is inherent to natural material systems for they have been developed through evolutionary means which intricately tie together the form, growth, and behavior of the organism. In industrial material systems, the level of integration is far lower resulting in wide and potentially problematic gaps between its means of production, its geometric and material definition, and its en-vironmental performance. This research explores integration strategies for a particular industrially produced material system for use in architectural applications.This research develops a honeycomb system that is able to adapt to diverse performance requirements through the modulation of the system inherent geometric and material parameters while remaining within the limits of available production technologies. The Honey-comb Morphologies Project is based on the desire to form an integrated and generative design strategy using a biomimetic approach to architectural design and fabrication.The system developed in this research presents an open framework through which the designer can work, enabling a more integral rela-tionship between the various conflicting and overlapping issues in the development of an architectural project. The research represents a tool, waiting to be actively used with specific project data and embedded in a built artifact.The Manifold installation was a large scale prototype constructed for the AA 2004 Projects Review. The installation explored the research developed in the Honeycomb Morphologies Project and extended it to a more architectural scale.

Description: Voronoi Morphologies is the latest development in an ongoing area of research into cellular aggregate structures. The voro-noi algorithm is used in a wide range of fields including satellite navigation, animal habitat mapping, and urban planning as it can easily adapt to local contingent conditions. Within our research, it is used as a tool to facilitate the translation and materialization of data from particle-simulations and other point-based data into volumetric form. Through this process, it becomes much easier to produce highly differentiated structures that are responsive to local performance criteria. The project was developed though both 2D and 3D voronoi cellular structures. In both cases, a field of points is used to determine regions of space, or cells, that are closer to a certain point than any other point. As the cells are not constrained by a fixed geometric topology, the cells properties can be tuned in much more specific ways than a tradition rectangular or hexagonal cell arrangement. A custom-designed script was written to connect Rhino with Qhull which did the actual voronoi calculations. The script also digitally un-folds, labels, and prepares the geometry for CNC fabrication.

Chrysalis (III)Parametric Design

Materials: Laser-cut cherry and poplar wood veneerTools: Grasshopper, Kangaroo, Python, Lunchbox, Rhi-noscript

What’s important about this, in terms of the EOI, is the assurance that computa-tional and fabrication tools are capable of handling such complex concept over a natural form (forms under compression force) and fabrication of forms. The mortar method allows for complex hollow organic forms and surfaces that has the poten-tial to create particular experiential qualities of being within a space, and as this relates top our main design theme, is something we could explore in more depth in the coming weeks.

For our Wyndham city gateway project, we are interested in how contemporary computational cultures could redefine forms and decoration to create a revolution-ary design that bursy into flames specific experiential qualities. We will implement a similar contouring apporach to get a rich but not neccessarily complex outcome, to augment the driver’s experience when passing the site. The gateway proposal will also be selective in the use of materials so that it will evoke a similar sense of curiosity and wonder, which is an important aspect relating to the demand for an eye-catching, inspiring, and enriching experience.

1 Honeycomb- fill in a frame with balloon to study form changes under compression2 fill in he frame with mortar and water balloon in order to document the shape of materials changes over compression3,4&5 dried mortar framework6 document the mortar frame-work in computer (which in this process, cumputation helps a lots in recording the principles)also, Andrew Kudless finds that most likely, a hexagon shape can be found under compression.7 Voronoi- 3D modelling8&9 playing with layers and lighting

1 2

3 4 5

6 7

8 9

The latest in a series of projects exploring cellular morphologies, Chrysalis (III) investigates the self-organization of barnacle-like cells across an underlying substrate surface. The cells shift and slide across the surface as they attempt to find a more balanced packed state through the use of a relaxed spring network constrained to the surface. Each cell is composed of two parts: a cone-like outer surface made from cherry veneer and a non-planer inner plate made from poplar ve-neer that stresses the outer cone into shape. Each of the 1000 cell components are unfolded flat in the digital model, digitally fabricated, and hand assembled.Matsys’ Chrysalis (III) demonstrates integration between structural considerations and visual per-formance as a part of ongoing research into ‘Honeycomb’ and ‘Voronoi’ geometries.In this case, computational tools are used to document and analyze natural form, but not only assist in manufacturing processes. The Voronoi procedure can be particularly useful as it can easily adapt to local contingent conditions and respond to inputted parameters, marking a shift away from static, permanent architecture. Through this process, it becomes much easier to pro-duce structures that are responsive to local performance criteria/parameters, allowing for multi-ple possible solutions to be generated. Digital tools were then also used to aid in cutting out the numerous openings, allowing for a more delicate use in material, as well as assist in the assembly process. The complexity of the Chrysalis (III) demonstrates how computing can be used to create complex, intricate forms which are “original and engaging in form” (Gateway brief).

DYNAMIC PERFORMANCE OF NATURE, SOFT RIGID The Dynamic Performance of Nature installation, designed by SoftRigid, is an example of static move ment created by the conturing of specififed geometry. In this case, the effect of movement is generated via three-dimensional methods, with extruded, pinch-like elements attributing. The variation in light and shadow that occurrs at the extruded areas provides the effect. This same principle can be applied to the Wyndham City Gateway by situating the geometry somewhat paralell to the road as opposed to it beingn perpendicular. This would be reverting back to the idea of layering, as each contour would be strategically placed behind the next, allowing the effect of movement to travel with the motorists on the highway. The inclusion of strategicaly placed lighting, and or from the light emitted by car headlights will add depth the the effect of movement.

The facade of the Galleria Centrecity shopping centre, designed by UN Studio, demonstrates the effects of opticl illu-sion through the use or moire patterning.Comprised of two seperate layers, the moire works due to a slight variation in the patterning or geometry of the lay-ers. In this instance, the pattern on the internal layer deviates slightly at calcu-lated points, resulting in the perception of a wave cascading down the building.The space in between the layers, although minimal, is vital in achieving ths effect. The space also allows the facade to look as though it is moving as ones point of view alters.

GALLERIA CENTRECITY FACADE, UN STUDIODYNAMIC PERFORMANCE OF NATURE, SOFT RIGID

Research Project: CUT: Develop

Functioning: This project reinterprets the ordinary flat ceilings of modern commercial structure. The curving timbers are now both ornamenta-tion, identity, as well as the focus of the restaurant.Design: Undulating meandering ‘contours’ that are used to hide the ceil-ing, the collumns, and create a wavy feeling for the restaurantStructure: A very successful technique would have to be in the way this cladding was fabricated. The joints between each cladding module are well-arranged.

CUT case studiesBANQ restaurant

Functioning: Facade were created from three layers of metal cladding that form an intricate, weaving visual effect.Design: The voronoi layering creates a different effect of a confusion between positive-negative spaces. This difference comes to life during the change between daytime and nighttime. Due to the interior of the building lights up during nighttime and transforms the layers into sill-houette.This building rejoices its facade during daytime, and it rejoices its interior during night time.Structure: Voronoi patterning is used to design these three layers of cladding.

Airspace Tokyo[Faulders Studio]

Functioning: Facade were created from one layer but creates motion, rotation visual effects.Design: The layering creates a diffusion effect of a confusion between indoor and outdoor. Structure: increasing the depth a facade may creates the illusion visual effects.

OMA- McCor-mick Tribune

Campus Center

v

CUT case studiesBANQ restaurant

For the case studies, we further pick up BANQ res-taurant to look at.

1) Materials- Timber, which will changes its textures, load-capacity, colour over time and weathers

2) Waving form creates the feelings of motion

conclusion:1) adding or overlapping layers can creates the feel-ing of motion

2) the differences in between which layers should not be that large. the scale of each layers should change gradually in order to see the changing pat-tern.

CUT modelling 1 rolling in the deep

“Rolling in the Deep“1) overlapping of layers2) depth formed with structure3) create visual confusion/ strike

a&b Daytime view & Nighttime view (contrast/ changes over time in terms of colour and form)c Daytime viewd Twilight viewe Night view with flashlight

a b

c d e

v

ideas came up with this model:

1) texture2) colour3) water4) bubble5) light reflection

Further experimentdeterioration

v

CUT modelling 2 light, shadow, dynamic

v

Cantilever structure

Driving experience

Construction: Load support

different surfaces

Patterns changing

• Structural purpose

• Design proposal

light, shadow, dynamicanalysis

DESIGN DIRECTION:The measured use of layering, light and shadow will be critical in the formation of static movement in the final design. In order implement this percieved form of movement, two desin strategies will be used, both of which have been previously discussed.CONTOURING / PROFILING: This method will be adopted in order to create a form of movement that is experiential. Situated in a manner that is marginally parallel to the highway, fluctuations in the geometry of each layered panel create the illusion of movement as one moves past. The panels will be positioned in accordance to the speed of the passing vehicles in order to avoid becoming blurred and ineffecive.MOIRE PATTERNING: Will have the most impact on drivers approaching the gateway. The high speed will destroy the effects of the pattern if viewed at the exact time motorists are passing it. Rather than situat-ing this part of the gateway parallel to the highway, perpindicular will allow the patterns to be appreci-ated before the geomteyr shifts into a series of contours.The use of perforations will not be effective as the detail would surrender any effects due to high speeds. However, research into perforations and layering has formed the direction and form of the final design. So whilst not being part of the design, the analysis of perforations has been crucial in forming design concepts.

site analysiselectricity supply: no electricitywind condition: heavy windtraffic condition: medium to heavy condition, no pedestrianadjunct structurelandscape contour: 1 meter max on the site

important aspect that affacts the design1. sun paththe angle of sun affects the shading and the sun shading period of a day. summer has a longer daytime and higher angle of sun (shorter shading); while in winter, there is a shorter daytime and lower angle of sun (longer shading).2. frequent usersthe main users of princes highway are trucks, private cars and bikes; and hence, the design has to considered the dimension of allowing the cars safely pass through.tunnel height: not less than 3500mm3. speedcar speed will affect the visual effect of the design. speed: distance/timethe max. speed: 100 kilometres per hour

PROJECT PROPOSAL:WESTERN GATEWAY DESIGN PROJECT

concept 1- pandora boxideas:curiosityfull of surprisescontain many thingssecretmyth

concept 2- tunnel experienceideas is mainly generated from movie “Spirited Away” which inspired me the idea of tunnel experience. in the movie, people feel uncertainty towards tunnel but they react differently. some may feel exciting while some may feel insecure. this kind of idea match the ideas of pandora box. and people would like to experence the design under curiosity and uncertainty.secondly, “spirited Away“ creates a big contrast be-fore and after passing though the tunnel which sur-prised many people and increases interests of peo-ple. this idea can also be generated in the design.

1st roll: learning from the past ideasscale changing of paramatric design overlapping- create layerstrim- creating space “rolling in the deep”- create a feeling of absorb-ing you into the hole/ deep2nd roll: tunnel adding layers simplify enclosure

3rd roll: generating new conceptsquare- Pandora boxadding layers- combining the past ideasexpanding dimension- adjusted with the site different experience in 3 parts- middle part is the core, suprising designdeveloping entries- tunnel creates insecurity and curiosity

PROPOSAL

expe

rienc

ing

the

driv

ing

jour

ney

dar

k at

the

bega

nnin

g &

end

; sud

den

brig

ht in

the

mid

dle

Shading effectshading changes over time when the angle of sun change. and the shading create a compressed para-matric design through the layering/ overlapping.

Wateringmaterials reflects under water and it carries different brightness and colour under reflection.

top:night shot

beautiful colour with the support from lightmaterial shinning with different reflective colours

flashingshining

diamond

right hand-side top:daytime view & nighttime view

right hand-side below:rushing

colour of materials changes over time

Part III: Learning Objectives and Outcomes 3.1 Learning Objectives

From week 9 to week 12, my group decided to combine our previous concepts into the Wyndham Gateway

which could strengthen the concept of “motion” by contouring, perforation and layering. Although our

previous design did bring something interesting results with the layering and contouring, the ideas of “motion”

was not clearly achieved or developed in our previous design. Then, we put a lot more effort to redesign the

ideas of “motion”.

One of my major learning experience throughout much of this subject is arbitrary. This term applies

predominantly to the first 6-8 weeks of the studio experience as opposed to the last 4. Many of my colleagues

had differing perceptions of expectation in terms of week-to-week submission requirements. Fundamental

research with parametric software was encouraged, however with an extremely limited knowledge of such a

design tool, the ability to gauge ones progress was bordering on impossible. Admittedly, the subjectiveness of

the subject also allowed for a broader, more flexible method of learning, but it did seem to lack a logical

direction or progression of learning.

3.2 Learning Progress

I found that this was the most painful part of the entire design of the final Wyndham Gateway

because I was stressed after getting the feedback from the mid-semester presentation. Our team had come up

with some crazy ideas regarding to create some really new ideas with the layering which we turns up had to

pay a really high cost to our model-making. We argued and depressed but I learned this is what the reality is

when we work in the future. It also tells our team did work really hard which I never expected before this

semester. Even though we argued a lots for this project, I do appreciate what our team has achieved and I am

really happy to meet my colleagues. I am impressed by the effort that my colleagues and I have put for this

project and feel so excited to see the ‘out of budget’ fabricated model after weeks of intensive workload.

The explorations of new form appeared to be the first issue. However, I was inspired by the movie “Spirated

Away” which contrasting an experience of journey will be really interesting and attractive. The ‘tunnel’ can help

to provide this opportunity since it blocks the view and hence create uncertainty.

The most significant aspect of the subject was the learning of a new, architecturally progressive design

technology. Prior to this studio I was completely unfamiliar with parametric design. I didn’t know how to use it

or why it would be used in the field of architecture. Certainly, 12 weeks of Grasshopper practices is not sufficient

to become an expert of parametric technology, yet my skills within the software have improved a lots. I have

now learnt the basics but feel that more time needs to be invested in the design software if I were to

incorporate it within my design ‘toolbox’. Nonetheless, it was the learning of the theory behind parametric

design, and the reasons as to why it is used in architecture, or any other field of design for that matter, that

were most beneficial. To have the ability to make alterations without unnecessary complexity and utilize various

parameters as design input are at the core of parametric technology (Woodbury, 2010). Whilst programs such

as Grasshopper have the ability to generate unimaginable geometries, it is through efficiency that parametric

software is most valuable. Efficiency in both design and fabrication methods allows for changes to be made

swiftly whilst ensuring that fabrication can occur with minimal fuss, time and material wastage. Personally, the

most compelling aspects of parametric design software lay within its precision and responsiveness. These

aspects instill a significantly greater level of control within the computer user as opposed to CAD software and

the like. As the computer user, you can see the design evolving in front of you, which is typical of any digital

design software.

Parametric design enables one to respond to the evolution of the design as required, targeting specific areas

that require alteration, without impeding on the entire design. This runs somewhat parallel with Burry’s (2011)

depiction of the benefits of scripting when he states that scripting allows the designer to escape the strictures

inherent in design software. Basically, scripting and parametric techniques add additional layers to that of the

primary design software, allowing the performance of actions that would not otherwise be possible.

3.3 Learning Outcomes

Basically, I am satisfied with the final outcome of the Wyndham City Gateway although t is still not perfect. But

nothing is perfect at all and my group has already considered the feedback from tutors and tried our best to

improve it. The whole design progress involves a lot of communication of ideas between group mates which is

quite prominent and my communication skill has a great improvement throughout this studio. Time

management is also another critical issue for my case as my group has only 3 weeks time to finish our final

design and we managed to get through it by helping and supporting each other, which fulfills one of the

learning objectives as to work as a team.

3.4 Future Work

I’m pleased to be a part of this studio learning parametric design which leads me to a wider field in architecture

that I have never had chance to get to know it. I am also impressed by myself to get through such intensive

course in my second year and learn various new design software such as Rhino, Grasshopper, Illustrator and

Indesign in this short period of time. It is a good start for me to explore deeper about parametric design in

architecture and more importantly, the principles behind it. I will keep on using it in the future because I believe

I can get more out from it and apply it in my own design in a more rational way.

The past 12 weeks have been arduous and intense, however in an opportune manner. I have been provided

with a foundation that will allow me to become more directional in my learning on my quest to becoming an

architect. Whilst being introduced to and learning the very basic elements of parametric modeling, it is the

theory behind this style of design that was most influential. The reading material through the semester detailed

the capabilities of parametric and scripting software; the most important aspect being the ability for such

software to not only break the barriers of primary design programs, but to enhance the level of understanding

between man and machine (Kalay 2004). This is the way in which I plan to evolve my skill set. I aim to integrate

a variety of design methods, intending to create a dynamic, yet flexible mode of architectural design.

Integrating the best of both worlds approach, using technology and human intellect in an alternating fashion,

the style of design suited to a modern society has been realized, yet not perfected. Parametric design is still raw.

It is used in both realized and conceptual design projects, however the surface has only been scratched in

terms of what it can achieve. Having now been introduced to this technology at such an early stage of my

career can only be of benefit, allowing much time to experiment and hopefully implement it to its full capacity

in years to come.

RERERENCES

Achim Menges & Sean Ahlquis, Computational Design Thinking: Computation Design Thinking (United

Kingdom: John Wiley and Sons, 2011)

Archi Daily 2009, Broadcasting Architecture Worldwide, USA

<http://www.archdaily.com/42581/banq-office-da/ Biothing 2007> [accessed 11 April 2012]

C. B. Liddell ‘Talking With Taniguchi’, in Architecture Week

< http://www.architectureweek.com/2008/0213/design_5-1.html> [accessed 2 April 2012]

Dezeen Magazine 2011, Dezeen Limited 2006-2010, London

<http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/> [accessed 11

April 2012]

E/B Office , ‘The Dynamic Performance of Nature, ’in Soft Rigid

<http://softrigid.com/2010/06/21/the-dynamic-performance-of-nature/> [accessed 11 May 2012]

Jesse Reiser & Nanako Umemoto, The Atlas of Novel Tectonics (New York: Princeton Architectural Press)

Juhani Pallasmaa, The Eyes of the Skin (England: John Wiley and Sons, 2005)

Mark Burry, Scripting Cultures (United Kingdom: John Wiley and Sons Ltd, 2011)

Office dA Inc. 2006-2008, BANQ restaurant, structure perspective,

<http://homedecorhousedesign.com/wp-content/uploads/2011/06/Unique-Restaurant-

Interior-concept.jpg> [accessed 11 April 2012]

Patrik Schumacher, The Paramtericist Manifesto (London, 2008)

Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts,

ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 108– 15

Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010)

Yehuda Kalay, Architectures New Media: Principles, Theory and Methods of Computer-Aided Design

(Cambridge: MIT Press, 2004)