air 2016 journal_ chen mo_ 691947

Studio Air Journal 1

AIR2016, SEMESTER 1, Brad Elias

Mo Chen 691947


Hi! My name is Mo Chen from beautiful Shanghai, China. My official full name is Mo Chen but my parents gave me an English nick name Kallen when I was born. So even my grandma who knows no English will sometimes call me Kallen in Shanghai accent.

I have always been fascinated and attracted into beautiful things like fluffy animals, dolls, clothing, furniture, pottery and so on.

But I decided to be an architect because career means something more serious and realistic which I need to be sincere, ready to be responsible for my decision making and not just a heat that intrude and left. I believe that studying architecture will help me gain the ability of not just how to design but also having a more comprehensive and broad view of the world.

Introduction

I previously enrolled in the subject of “Digital Fabrication and Design”. The project is to design a “Second Skin’ which defines th personal space with my group mate Venansia Frisca Natasya 657609.

We used Rhino as a modeling tool to model digitally as well as a instrument of data generator for fabrication the prototypes and final design. Through utilization of computerized machines that delivers the data precisly to the digital model, I have the chance to speculate and experiment with my interim ideas and solutions physically. Eveytime something has been made, new ideas and problems jumped out which leads and inspired me towards the goal one step closer.

Studio Air Journal 4 Studio Air Journal 5

PART A CONSEPTUALIZATIONA.1 Design FuturingA.2 Design ComputationA.3 Computation/GenerationA.4 ConclusionA.5 Learning outcomesA.6 Appendix - Algorithmic Sketches

PART B CRITERIA DESIGNB.1 Research FieldB.2 Case Study 1.0B.3 Case Study 2.0B.4 Technique DevelopmentB.5 Technique PrototypesB.6 Technique ProposalB.7 Learning Objectives and OutcomesB.8 Appendix - Algorithmic Sketches

PART C DETAILED DESIGNC.1 Design ConceptC.2 Techtonic Elements & PrototypesC.3 Final Detail ModelC.4 Learning Objectives and Outcomes

REFERENCES

Content

PART A CONCEPTUALIZATION



A.1 DESIGN FUTURING


Like Fry and Tony said, human was born with ‘insatiable desire’ 1and ‘innate anthropocentric mode of worldly habitation’.2 Everyone wants to have a better life and future.

However, We human are confronting a time which the future is ‘defuturing and unsustainable’ and the condition is even accelerating by the technology development which amplified our influences onto the natural environment3.

Architecture Design is one of the ‘decisive factor’ to curb the inertia of ‘defuturing’.

1 Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–162 Fry, Tonypp. 1–163 Fry, Tonypp. 1–16

A.1 Design Futuring

China Garden Expo ‘Where the river runs’ Lanscape Pavillion

Fig.1 Landscape of hills valleys and a pathway of river [penda architecture & design]

]

Visitors also take over the function of the river1. Seeds are given. As planting seeds into the shores of the pathway, visitor are ‘bringing life to the pavilion’ 2just like the river(See Figure 3). The idea of appreciate water and natural environment is well evocative through this engaging experience.

Protecting is not just a statement of this design, it is also embedded into the water usage of the pavilion(See Figure 4). Rain water is collected by the edge and reused for plants irrigation. Therefore, the ethical implication is more persuasive to the visitors through practical action of the architects design decision.

1 Katie Watkins, Penda Designs River-Inspired Landscape Pavilion for China’s Garden Expo, 11.3(2015)<http://www.archdaily.com/776474/penda-designs-river-inspired-landscape-pavilion-for-chinas-garden-expo>[accessed 7 March 2016]

2 Katie Watkins, Penda Designs River-Inspired Landscape Pavilion for China’s Garden Expo, 11.3(2015)<http://www.archdaily.com/776474/penda-designs-river-inspired-landscape-pavilion-for-chinas-garden-expo>[accessed 7 March 2016]


Penda’s landscape pavilion is the winner of an international competition for the 10th international Garden Expo in Wuhan, China. The expo is held from October 2015 to April 2016 with estimated 12 million visitors1.

This design makes people feel pleasant, peaceful but also unforgettable about the message of the importance of clean water and preservation of the environment through the architecture language that speaks naturally within the experience.

The architects conceived the whole pavilion into a landscape with hills, valleys and the fluid pathway is a river2. The cozy aura conveyed by the design is convective. Visitor is an indispensable part of the design(See Figure 2). As you walk in to the pavilion together with others, you are the river, the fundamental element of life, the mother of all living presence on earth and the precious resource that circulated and shared by everyone. 1 Katie Watkins, Penda Designs River-Inspired Landscape Pavilion for China’s Garden Expo, 11.3(2015)<http://www.archdaily.com/776474/penda-designs-river-inspired-landscape-pavilion-for-chinas-garden-expo>[accessed 7 March 2016]2 Katie Watkins, 11.3(2015)

Fig.2 Visitors Engagement [penda architecture & design]

Fig.4 seed planting participation [penda architecture & design]

Fig.3 Rainwater Collection and Reuse [penda architecture & design]

Studio Air Journal 14 Studio Air Journal 15Fig.5 Evocative Experience [penda architecture & design]

The winning proposal ‘Multi-Layered City’ for Ternes-Villers site is located at Boulevard Périphérique. The competition organizer is aimed to ‘transform Paris at a highly strategic spot’ by offering architects a ‘unique opportunity’1.

The winner responds with an answer that connects Paris and Neuilly with ‘a network of gardens’2 which grows beyond the spot of the site towards whole city from the Bois de Boulogne to the Porte de Champerret.

‘All good critical design offers an alternative to how things are.’3 Unlike traditional horizontal gardens design, the architects take into account of the current condition of Paris and designs the city of gardens with multiple layers three-dimensionally. A landscape bridge is crossed over the ring road with covered public markets, shops, an urban horticulture school and a co-working space. Additional on the top of everything, a public garden is sited which provides accessible entry points to the public space.

1 Eric Oh, Jacques Ferrier Architecture, Chartier Dalix and SLA Architects Unveil Their Multi-Layered City Design for Reinventer. Paris, 2.18 (2016), <http://www.archdaily.com/781871/the-multi-layered-city-plus-chartier-da-lix-architectes-plus-jacques-ferrier-architecture-plus-sla-landskab>[accessed 7 March 2016]2 Eric Oh, Jacques Ferrier Architecture, 2.18 (2016)3 Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

A.1 Design Futuring

Paris Multi-Layered City Design


Fig.6 Exterior Rendered View. [Image Courtesy of Jacques Ferrier chartier dalix architectes / image SPLANN]

Not only thinking of the current situation, the architects also put considerations into the future visions of Paris where city evolution and expansion happened and requires more space. Residential units and offices are planned above the landscape bridge with the roofs that could be used and connected as an ‘urban farm’ 1which will be dedicated for ‘the first Parisian tea’.2 Both residents and officers can enjoy their leisure time in the garden surrounded by the twigs and shades of the plants.

1 Eric Oh, Jacques Ferrier Architecture, Chartier Dalix and SLA Architects Unveil Their Multi-Layered City Design for Reinventer. Paris, 2.18 (2016), <http://www.archdaily.com/781871/the-multi-layered-city-plus-chartier-da-lix-architectes-plus-jacques-ferrier-architecture-plus-sla-landskab>[accessed 7 March 2016]2 Eric Oh, Jacques Ferrier Architecture, 2.18 (2016)

Fig.7 Plan [Courtesy of Jacques Ferrier chartier dalix architectes / image SPLANN]

The need of city gardens and public open space is then not contradictory with the space requirements of other utilizations. With the help of the ‘network of gardens’ as ‘an environmental machine’, the city of Paris will become greener and full of vitality as every citizen will be benefit from this design and occupants’ pattern of living will be more natural friendly and intimately.

Fig 8 Section [Courtesy of Jacques Ferrier chartier dalix architectes / image SPLANN , Courtesy of Jacques Ferrier chartier dalix architectes]


Bjarke Ingels indicated in his design of Denmark Pavillion in Shanghai Expo 2010 that ‘Sustainability is often misunderstood as the neo-protestant notion’1. We have been taught that we need to control our shower time, we are not supposed to take airplane for holidays in countries or places that are far away from our home. ‘Gradually we all get the feeling that sustainable life simply is less fun’ than what people are currently having as a “normal” life.

Fry and Tony mentioned the reason of ‘defuturing’2 is the ‘human centredness’ and the ‘myopically’ idea of owning infinite resourses. Therefore, we need to embedded the ethical implications within our design and alter the way people think and consequently how they make decisions and behave.

Fry and Tony’s discourse is agreeable, while Bjake’s idea point out that “puely moral or political reasons”3 will make the target audience feel resisiting subconsciously.

1 Bjarke Ingels,Denmark Pavilion, Shanghai Expo 2010 / BIG, 5.3(2010), <http://www.archdaily.com/57922/denmark-pavilion-shanghai-ex-po-2010-big>[accessed 7 March 2016]2 Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Ox-ford: Berg), pp. 1–163 Bjarke Ingels,5.3(2010)

The meaning or the responsibily of our design as one of the crucial means to “save” the current situation is to change people’s accumulated not so positive cognition of ‘sustainability life’1 through sustainable designs which offers a experience and life pattern that is ‘more attractive and desirable than non- sustainable alternatives’ while inducing the target audience to think more about the planet before thay act.

On the other hand, ‘Dark Design’2 which is the ‘positive use of negativity’ is meant to draw attention of the visitor to ‘a scary possibility’ as a ‘cautionary tale’ and raise the awareness of the issue. This “negative” effect can possibilty become more influencing than “good” experience do in long term because bad memories tend to leave deeper expression in our mind.

However, the implement of this ‘dark’ factor is extremly hard to a degree which is just right for the audience to accept so the risk and return of this ‘dark’ investment need to be carefully speculated during design.

1 Bjarke Ingels,5.3(2010)2 Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45


A.2 DESIGN COMPUTATION

Fig.9 Interior Seating [diephtodesigner. De]


A.2 Design Computation

Tverrfjellhytta / Snøhetta

Along with the integration of new digital technologies, digital evolution in architecture has caused the ‘Vitruvian effect’ where architecture is considered to be reborn against within last decade1. Benefits of integral computers into the process of design is shown and experienced through many architecture. Unlike computerized design which only transfer design into data and numbers, Computation design makes computer be a part of the design process and increase the capacity of the design creativity and modulation.

The implement of computation design especially parametric design forms a new ‘logic of digital design thinking’2. It enables architect to produce or “grow” aesthetic tectonics by material system with the possibility of studying and experimenting the performative behaviors of energy and structural in the digital ecological environment. It also established a “bridge” between architects, engineers and structural engineer to form a ‘collaborative design’ of people from different professions and disciplines.

Additionally, incorporation with CNC machines and robots, rapid prototypes can be produced which provides physical evaluations and feedback of the previous interim design to the architects. A new linkage between ‘design conception to production’ and ‘file to factory’3 is developed. The way architects design in computation process also helps the way it is going to be fabricated supported with computer technologies.

1 Rivka Oxmanand Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–102 Rivka Oxmanand Robert Oxman, eds (2014),pp. 1–103 Rivka Oxmanand Robert Oxman, eds (2014),pp. 1–10

Fig.10 External outer shelll [Ketil Jacobsen]

Fig.11 Digital milled timber [ Ketil Jacobsen]

Fig12 Specutacular Panorama [Ketil Jacobsen]


On the outskirts of Dovrefjell National Park, the Norwegian Wild Reindeer Centre Pavilion is located with a fabulous overlooking view at the massif of the Snøhetta mountain.

The mountain range has a long history of natural and cultural importance. It is Europe’s last wild reindeers’ home and a place where marks of ‘travelers, hunting traditions, mining and military’1 could be found. What’s more, it holds the national legend and ‘Norwegian consciousness’ which is well-known as a mystic powerful place.

1 Snøhetta Oslo AS, Tverrfjellhytta / Snøhetta, 11.2(2011), <http://www.archdaily.com/180932/tverrfjellhytta-snohetta/> [accessed 14 March 2016]

The basis of the architectural idea from Snøhetta is largely influenced by this unique landscape. A rigid outer shell which provides protection, an organic inner core that arouses ‘warm gathering place’1 and the ‘spectacular panorama’2 view that all visitors will be fascinated is well preserved.

Utilization of computation design is integral and required in the design process and the fabrication process to achieve the organic shape made of excellent quality and durability materials that could ‘withstand the harsh climate’. Milling machine is driven by digital 3D-models to create the required shape from 10 inch square pine timber beams. It is such a waste of time, labor and money if all the shaping and milling of the organic shape was asked to finish by traditional carpenter. While the assembly of the wood is done by the traditional way with only wood pegs as fasteners which is difficult to achieve accuracy if it is designed by hand sketching.

1 Snøhetta Oslo AS,11.2(2011)2 Snøhetta Oslo AS,11.2(2011)

Architects: Zha Hadid Architect

Location: Baku, Azernaijan

Design: Zaha Hadid, Patrik Schumacher

Project Designer and Architect: Saffet Kaya Bekiroglu

Client: The republic of Azerbaijan

Area: 101801.0 sqm

Project Year: 2013

Photographs: Iwan Baan, Hufton+Crow, Helene Binet

Project Team: Sara Sheikh Akbari, Shiqi Li, Phil Soo Kim, Marc Boles, Yelda Gin, Liat Muller, Deniz Manisali, Lillie Liu, Jose Lemos, Simone Fuchs, Jose Ramon Tramoyeres, Yu Du, Tahmina Parvin, Erhan Patat, Fadi Mansour, Jaime Bartolome, Josef Glas, Michael Grau, Deepti Zachariah, Ceyhun Baskin, Daniel Widrig, Murat Mutlu and special thanks to Charles Walker

Main Contractor and Architect of Record: DiA Holding

Consulayants: Tuncel Engineering, AKT (Structure), GMD Project (Mechanical), HB Engineering (Electrical), Werner Sobek (Facade), Etik Fire Consultancy (Fire), Mezzo Studyo (Acoustic), Enar Engineering (Geotechnical), Sigal (Infrastructure), MBLD (Lighting), Subcontractors and manufacturers MERO (Steel Space Frame System) + Bilim Makina (Installation of Space Frame System), Doka (Formwork), Arabian Profile (External Cladding Panels / GRC & GRP), Lindner (Internal Skin Cladding), Sanset Ikoor (Auditorium Wooden Cladding), Quinette (Auditorium Seats), Zumtobel (Lighting Fixtures), Baswa (Special Acoustic Ceilings) + Astas (Installation of Ceilings), Solarlux (Multipurpose Hall Facade Door), Bolidt (Polyurethane Floor Finish), Kone Elevators + Ikma (Installation of Elevators) MM Muhendisler Mermer (Marble Cladding Works) HRN Dizayn (Landscape LED Installation) Thyssen Group (Escalator) Remak Makina (Fire Doors and Concrete-Cladded Doors) Tema (Gypsum Panel Works) MIM Muhendislik (Structural Steel) Elekon Enerji Sistemleri (Main Building Lighting Control System), NIS Epoksi Kaplama Sistemleri (Epoxy Works) Light Projects Group (Lighting Fixtures), Limit Insaat (External Skin Insulations and Structure)

A.2 Design Computation

Heydar Aliyev Center / Zaha Hadid Architects

Fig13 Heydar Aliyev Center [Iwan Baan]


Fig14 External envelope [Helene Binet]

Fig15 Internal Freeform Design [Iwan Baan] Studio Air Journal 28 Studio Air Journal 29

The Heydar Aliyev Center is designed to be distinct from Baku’s Soviet architecture background of prevailing rigid and monumental form and become a ‘primary building for the nation’s cultural programs’1. Architects intend to express the other side of Azeri culture which is the sensibility and the optimism towards the future through a ‘continuous, fluid relationship’2 between the design and the plaza that is embracing it. The differentiation between architectural object and urban landscape is blurred.

1 Zaha Hadid, Patrik Schumacher, Heydar Aliyev Center / Zaha Hadid Architects, 11.14(2013), <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/>[accessed 14 March 2016]2 Zaha Hadid, Patrik Schumacher,11.14(2013)

The most challenging and critical elements during the design and fabrication process is the external skin because of the unconventional shape of the surface. Collaborative work between different disciplinary profession of the construction, structural and the technical systems are required and integrated into the development of the envelope. Between building’s exterior and interior, continuous relationship is also emphasized and expressed as the fluidity of the interior design.

Utilization of computation design constructs a passage that ensures the continuous monitoring control and fluent communication among the ‘numerous project participants’1 and realization of these unique design is now become possible.

1 Zaha Hadid, Patrik Schumacher,11.14(2013)

Fig16 Fluidity of interior space [Helene Binet] Studio Air Journal 30 Studio Air Journal 31

However, queries and concerns about lack of creativity in computation design is raised at the same time because computers are ‘totally incapable of making up new instructions’ and unlike human they have no creative ‘ability and intuition’1.

But we human do. Architects have the control of the computers. Architects are the one with creativity, intuition and sense to input the design ideas and decide the next step of the design after digesting broader potential designs made by the rational information and visual representation generated from the computer. And the inputs of the result is also plugged in previously by human. Computers are just as a tool or a method that can benefits our design as a more speculated solution towards the goal.

The future of computation design should from a ‘powerful symbiotic design system’ where human’s ability of create is assisted with computers’ ‘superb rational & research abilities.’2

1 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-252 Kalay, Yehuda E. (2004),pp. 5-25


A.3 COMPOSITION GENERATION

Fig17 Fondation Louis Viotton [Iwan Baan]


In the era where computation design starts to shift the architecture’s attention of both literature and practice from composition into generation, algorithms thinking which is not just simply digitizing ‘existing procedures’ 1 is leading the computation design process. The definition of Algorithms as defined by Robert A. and Frank C. Keil is ‘an unambiguous, precise, list of simple operations applied mechanically and systematically to a set of tokens or objects’. 2

And as in architectural algorithmic thinking, it means the architect does not foreseen or draft the form of design in mind before computation design starts to interact but as an ‘interpretive role’ who understands the underlying theory, geometry and algorithms logic of architecture and applies the knowledge to write the algorithm process where architectural spaces and concepts can be generated and explored in parametric modelling world. Once the architect understands the results of the ‘generating code’ and hold the ability to control and modify ‘element placement, element configuration and relationships between elements’ 3, parametric models are generated as a visual outcome of the algorithm process which brings the architect ‘new options’ and potential speculated design for further adaption.

Design stages or phases have weaved into an interlinked and mutually effected system where traditional hierarchy order that goes vertically from the top stage is blurred and diminished. More responsive design with performance feedback based on simulation of material, energy and structural systems in the digital world helps to ‘analysis architectural decisions’4 made by the architects where the ‘virtual design environment’ is linked with the physical world.

Utilization of computation and digital technologies simplify the communication between architects and other professions through ‘sharing of codes, tools and ideas’5 more accurately and comprehensively than traditional scripting culture. Especially the communication of the constructional aspects, where absurd mistakes might happen if ideas and information are delivered without fully understanding and digestion by the second party.

1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-152 Robert A. and Frank C. Keil, eds (1999), Definition of ‘Algorithm’ in Wilson, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 123 Peters, Brady. (2013), 83, 2, pp. 08-154 Peters, Brady. (2013), 83, 2, pp. 08-155 Peters, Brady. (2013), 83, 2, pp. 08-15

A.3 Composition/ Generation

Fondation Louis Vuitton / Gehry Partners

Fig18 Detail of the iceberg [Todd Eberle]

Fig19 Structural Diagram [Fondation Louis Vuitton]

Fig20 Structure Diagram [Fondation Louis Vuitton]


As a ‘catalyst’ for digital design and construction innovation internationally, the project is ‘setting a new standard for the use of advanced digital and fabrication technologies’1. The design models are contributed by more than 400 people where rules of engineering and constraints of assembly to form ‘a common web-hosted 3D digital model’ is integral itself into the design ‘intelligently’2. Through use of ‘mathematical techniques’ and molding by ‘advanced industrial robots’, more than ‘3600 glass panels and 19000 concrete panels’ of the façade were all simulated and ‘automated from the shared 3D model’3. Evolution of software was developed and designed to allow ‘sharing and working with complex design’ specifically.

Benefiting from the integration with computation design, the glass room structure improves the ‘geothermal power’4 of the building through collecting and reusing rainwater. The Fondation’s overall goal of HQR (Haute Qualite Environmentale) certification is attained.1 Hehry Partners, 10.13(2014).2 Hehry Partners, 10.13(2014).3 Hehry Partners, 10.13(2014).4 Hehry Partners, 10.13(2014).

‘Evoking the tradition of 19th-century glass garden buildings’ 1, the design of Fondation Louis Vuitton is trying to ‘respond the setting of Jardin d’Acclimatation’. Taking its role of a contemporary museum that represents the ‘cultural memory’, an inviting and pleasant place is desired to children and families.

On the water garden’s edge(created for the project especially), the building is constructed with ‘an assemblage of white blocks (known as “the iceberg”) clad in panels of fiber-reinforced concrete with ‘twelve immense glass “sails” surrounded with support by ‘wooden beams’2. The ‘transparency and sense of movement’ is realized by the “sails” which also allow the building to ‘reflect the water, woods and garden’ with change of the light continually.

1 Hehry Partners, Fondation Louis Vuitton / Gehry Partners, 10.13(2014), <http://www.archdaily.com/555694/fondation-louis-vuitton-gehry-partners>[ accessed 15 March 2016]2 Hehry Partners, 10.13(2014).

Fig21 Foundation night scenery [Courtesy of L’Observatoire International] Studio Air Journal 38 Studio Air Journal 39

A.3 Composition/ Generation

Shenzhen Bao’an International Airport / Studio Fuksas

Evoking the image of ‘a manta ray’1, the architectural concept of Terminal 3 of Shenzen Bao’an International airport is a breathing fish who alters its shape into a bird under varies transformations to ‘celebrate the emotion and fantasy of a flight’2. In order to achieve an ‘organic-shaped sculpture’ of Terminal 3’s structure which is an approximately 1.5 km’s long tunnel, roofing profile is varied in different height as metaphor of the natural landscape.

The ‘honeycomb motif’3 skin double layered both internally and externally wrapping up the structure is the ‘symbolic element’ that invites natural light in to the interior space to create the special light passage effect. Especially at the ‘key-area’ of the airport where an intersection point of 3 levels, natural light is expected to filter from the highest level of the ‘full-height voids’ down to the ‘waiting room’ on level 0 node.

The ‘perforated’4 cladding of the skin consists of ‘60000 different façade elements and 40000 individual steel members’5 such as ‘alveolus-shaped metal’6 and different sized glass panels to allow opened partially. In order to control the sizes and slopes of the openings, parametric modelling is adapted to fulfill the requirements from ‘daylight, solar gain, viewing angles’ to the metaphor meaning and aesthetic of the architectural intentions.

1 Studio Fuksas, Shenzhen Bao’an International Airport / Studio Fuksas, 1.31(2014), < http://www.archdaily.com/472197/shenzhen-bao-an-interna-tional-airport-studio-fuksas>[ accessed 15 March 2016]2 Studio Fuksas,1.31(2014).3 Studio Fuksas,1.31(2014).4 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-155 Peters, Brady. (2013),83, 2, pp. 08-15.6 Studio Fuksas,1.31(2014).

Fig22 Manta ray and bird concept [Studio Fuksas]


Fig23 Check-in Counters [Studio Fuksas]

Fig24 Double -layered cladding [Studio Fuksas]

Fig25 Fantasy of Flight [Studio Fuksas]

According to different design brief and aim, evolution in computational techniques enables architects make custom tools specifically to each design case with flexible ability to accommodate change so there is ‘no separation between design intent and computational technique’. Utilization of computation is in a ‘natural and unconscious way’1.

However, nowadays computation is still something new and different where ‘collections of essay’2 is written about this. Architects haven’t achieve a ‘sufficient understanding of algorithmic concepts’ where the use of this digital language is integrated as an intuitive naturally.

1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-152 Peters, Brady. (2013),83, 2, pp. 08-15.

And there’s a danger indicated by Peters, Brady that real design objectives might become obscured and diverted if the computation skills are excessively celebrated and obsessive.

Therefore, we need to be clear that algorithms as a process which is not definitely in a ‘certain state’ or a ‘certain next state1’ that will lead to a final solution of the design. It mainly enables a new way of thinking with the power of modifying in hands of the architect who has the control of the design process with intuitive and creative mind.

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



A universal problem for all architects in this era is confronted which is to decelerate the ‘defuturing and unsustainable’1 inertia of current natural and ecological environment. Architectures should now embed deliberate consideration of the ‘speculated’2 potential consequences that may exert onto the environment and modify the design towards the sustainable goal.

While public audience are holding an unconscious ‘misunderstood’3 towards sustainable life style because it is somehow antagonist to ideal ‘human centredness’4 normal life. In order to alter the accumulated cognition of sustainable life style, architecture that is aiming to achieve sustainability need to offer a more ‘attractive and desirable’ experience and life pattern’ than existing one.

When architects set up the goals of the design, the next question is how to develop the design. Digital technology evolution brings computation design in front of architects. Computation design is the integration of computers and software into design process rather than ‘simply digitizing existing procedures’ 5that have been scripted manually. ‘Logic of digital design thinking’6 or ‘algorithm thinking’7 is cascading the design process where the from or outcome of the design is not foreseen or drafted in mind but an initial algorithm is established primarily based on the knowledge of the architects about the underlying algorithm logic of architecture which will then visually represented by parametric models generated in the digital world.

Why does people choose to learn this new language of architectural thinking? The answer is it benefits in many aspects of the design process.

1 Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Ox-ford: Berg), pp. 1–162 Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-453 Bjarke Ingels, Denmark Pavilion, Shanghai Expo 2010 / BIG, 5.3(2010), <http://www.archdaily.com/57922/denmark-pavilion-shanghai-expo-2010-big>[accessed 7 March 2016]4 Fry, Tony, pp. 1–16.5 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-156 Rivka Oxmanand Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–107 Peters, Brady. (2013), 83, 2, pp. 08-15.

First, computation design empower the architects to generate a design rather than composite one. In the digital 3D world, architects as the ‘interpretive role’1 “grow” and explore options through modifying ‘element placement, element configuration and relationships between elements’2 in the algorithm which is similar to modifying the DNA code of the architecture. Broader potential options and faster alterations in design is then achieved due to the generation ability.

Second, computation design empower the architects to modify design decisions through responsive performances. The digital 3D world integrated with the material system, energy system and structural system3 of the physical world provides performative feedbacks directly to the architect within the design process. With help of computation design, the universal sustainability goal of architecture could be approached more rationally. With the ‘increasing simulation capabilities’4, ‘encounter’ between architecture and the public can also be simulated more realistically and ‘the experience and creation of meaning’5 of the architecture could be explored further to induce the public towards sustainable thinking and lifestyle6 through better living experience of the architecture7.

Third, computation design promotes the efficiency and accuracy of communications between different disciplines’ boundaries. With the utilization of computation design, ‘codes, tools and ideas’8 are sharing through the digital model among contributors which forms the ‘collaborative design’9. In additional, digital files and compatible CNC machines and robots forms a new linkage between ‘conception to production’ and ‘file to factory’10 where construction aspects of complex and unique design will be largely benefited.

1 Peters, Brady. (2013), 83, 2, pp. 08-15.2 Peters, Brady. (2013), 83, 2, pp. 08-15.3 Rivka Oxmanand Robert Oxman, eds (2014), pp. 1–10.4 Peters, Brady. (2013), 83, 2, pp. 08-15.5 Peters, Brady. (2013), 83, 2, pp. 08-15.6 Fry, Tony, pp. 1–16.7 Bjarke Ingels, 5.3(2010).8 Peters, Brady. (2013), 83, 2, pp. 08-15.9 Rivka Oxmanand Robert Oxman, eds (2014), pp. 1–10.10 Rivka Oxmanand Robert Oxman, eds (2014), pp. 1–10.

A.4 Conclusion1 Summary

I am fascinated by the idea of generating architecture with algorithm thinking is similar to writing the DNA code of a building. The slightly change in the code may give birth to many surprising outcomes that might inspire me towards further development. Therefore, I‘d like to explore different forms and tectonics of the design

At the same time, the “invariant” parts of the DNA such as the brief requirements, the site constraints and the needs of my target audience is conserved consciously to defend the initial goal during the design process without being lost in the parametric world. Therefore, the target audience of my design will be benefit through a more broadly considered design solution which at the same time fulfill their needs.

2. Design Approach


A.5 Learning Outcomes

Octree components acts as a tool for abstracting main figure of a complex object and presented in simple blocks. It inspires me that ideas and information can still be delivered through a more ab-stract or even “clunky” form as long as the essential part of the idea is well-translated and interesting results might generated through the process.

A.6 Appendix - Algorithmic Sketches

Abstracted Sculpture

Following the online practical tutorial gives me a sense of what architectural computing could do and how that effect is achieved. With the help of learning the theories behind the algorithm system makes me being able to understand why these effects are achieved when the codes is modified in this way. Synchronizing the two aspects of architectural computing provide me a more comprehensive understanding of the system.

In my previous design, it’s hard for me to keep the fluency between two curves. While after learning the essential mathematics for computational design, I know the rule behind the fluency is the geometric continuity which I can adjust the tangent vector and curvature vector precisely in the parametric model to achieve the results I preferred. So the result would be one step closer to my intention.


Contour components originally as a topography representing tool under the logic of sectioning are exposing more possibilities when the patterns and shades of the lines are carefully examined. Spacing between the lines are another signal of the gradient of the slope where dense line spacing will cause darker shades and loose line spacing create lighter shades. When the two shades collaborate, a 2D image could transmit the visual communication of 3D objects.

What’s more, the circles within the pattern indicates the pointy area which acts like a radiant origin where radius are emitted from it and collide with the radius from another origin. Process of emit, colliding and integration is very interesting to look at.

I tried the colour display component tieh the contours as the input and create these marble painting effect which colours are drip onto a sepcial solution and paper is put on the surface of the solution to project the fluid movement of the paint.

A.6 Appendix- Algorithmic Sketches

Pattern of the contours


Bibliography Figure Bibliography

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designs-river-inspired-landscape-pavilion-for-chinas-garden-expo

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pavilion-for-chinas-garden-expo

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gehry-partners

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fuksas

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fuksas

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PART B CRITERIA DESIGN



B.1 RESEARCH FIELD


B.1 Research Field

Sectioning

Section is conventionally refer to subset of orthographic projection drawings where intersecting between the projection plane and the objects or ‘space of interest’ is occuring1. Sections are primary projections were all dimensions of a section are ‘true and geometrically governed’2 which is important to demonstrate architectural design as it reveals the interior ‘interrelation of adjacent spaces’3, composition of the structural systems and also how the building itself interact within the context of surrounding environment. Along with plans, sections are acknowledged as ‘one of the most valuable representational tools’ for architectural proposal4.

As the digital technology develops and evolves, Sectioning are no longer just two dimensional drawing. The idea is adopted and expanding into a ‘prominent’5 methodology of architectural design aspect and digital fabrication approach. An approach where a three dimensional geometry is cut into numerous ‘profiles’6 by corresponding series of intersected orthographic planes which arranged following the certain order or hierarchy of the ‘surface geometry’7 that represents the dominating feature of a nonuniform geometry shape. The process now could be achieved digitally in the modeling software by ‘sectioning or contouring commands’8 that effectively cut sections parallel through controllable ‘designated intervals’9 applied to any geometry.

1 Section Drawings, 9.10(2014)<http://studiomaven.org/index.php?title=Tool:Part_25270>[accessed 4 April 2016]2 Architectural drawings, Orthographic projection, 2013 2.12(2013)<https://architecturedesignprimer.wordpress.com/2013/02/12/architectural-drawings/>[accessed 4 April 2016]3 Architecural Sections, 9.10(2014)4 Lisa Iwamoto, Digital Fabrication: Architectural and Material Techniques., New York: Princeton Architectural Press, 1.8(2009).5 Lisa Iwamoto, 1.8(2009)6 Lisa Iwamoto, 1.8(2009)7 Lisa Iwamoto, 1.8(2009)8 Lisa Iwamoto, 1.8(2009)9 Lisa Iwamoto, 1.8(2009)

Utilization of sectioning enables the ability to express different sensation such as transparency and ‘curvilinearity’1 as in Webb Bridge, fluidity, ‘transitional, dynamic and atmospheric space’2 as in One Main street project as well as monumentality of the volume and void in TEK building through varied base geometry and different choices of sectioning methodology exerted on the origin.

Consideration of the relationship between profile spacing, thickness of planar elements and the entire geometry is also important to control the extent of the abstraction of the base geometry. Tricky area is around corners and peak angles where the ‘surface geometry’3 might get lost.

1dECOi architects, ‘One Main’, (2015)<http://www.decoi-architects.org/2011/10/onemain/>[accessed 26 March 2016]2 Australia Institute of Architects, ‘Webb Bridge’, (2005)http://dynamic.architecture.com.au/awards_search?option=showaward&entryno=20053006[accessed 26 March 2016]3 Lisa Iwamoto, 1.8(2009)

Figure 1: One Main Project [Anton Grassl]

Figure 2 ICD Pavilion during daytime

Figure 3 ICD Pavilion night lighting effect

Figure 4 Plywood bending elasticity experiment Figure 5 ICD Pavilion digital modelling

Figure 6 ICD Pavilion robotic planar cutting Figure 7 ICD Pavilion on site bending and seembly


One of the crucial benefits of sectioning is it translates complex three-dimensional geometry volume into flat two-dimensional fabrication components which could be fabricated through both CNC cutting machine (and manual labor cutting as well). This fabrication method is relatively cheaper, easier, quicker, more flexible and achievable compare to the fabrication of non-planar components.However, in some instances the sectioning profiles of the design is not two-dimensional due to the specific sectioning methodology. For example, in ICD/ITKE Research Pavilion 2010, a ‘bending-active structure’1 is construct by ‘extremely thin, elastically-bent plywood strips’ entirely. As an alternative approach of designing, the structure is designed entirely based on ‘the elastic bending behavior birch plywood strips’ digitally and the strips are manufactured robotically as ‘planar elements’2 but an additional process of bending is required to achieve the final form which is connected and assembled subsequently. Therefore in such cases, the fabrication is not only digital manufacturing two dimensional planar elements but also further three dimensionally shaping with consideration and examination of the materiality.

1 2010 ICD Reasearch Buildings / prototypes<http://icd.uni-stuttgart.de/?p=4458>[accessed 4 April 2016]2 2010 ICD Reasearch Buildings / prototypes

B.1 Research FieldSectioning

Figure 8 One Main Project fabrication of benches and floor Figure 9 One Main project suspended ceiling


What’s more, the assembly of the prefabricated sections requires precise spacing control, accurate orientation, and connection that assure the position of the sections is steady. Because the relationship between each sections and gaps is a decisive factor that determines the precision and completion of the finished physical outcome compare to the initial digital design model. Different joints and fixation systems will need to be developed corresponding to different application of sectioning onto different purpose of design.

For example, in One Main Street project, two essential planes are comprised which is the floor and the ceiling through continuous surfaces that are articulated and ‘inflected by function’1. Although sectioning is utilized in both planes, the joints and fixation are applied diversely.

1 dEOi architects, One Main, projects<http://www.decoi-architects.org/2011/10/onemain/>[accessed 4 April 2016]

As for the floor, especially the benches that ‘curl out of floors’1 and the ‘reception desks that merge as inflections from the general field’ of the floor, a continuous machining process is applied to ‘executes cured cuts’ that enables the ‘continuity of surface’ of the floor and the functions assembled into unity with ‘customized parts’ works like rabbet so that the ‘multi-component assembly’ on site is not needed2.

As for the ceiling, the elements are robotically cut into planar elements fixed together by components aligned perpendicular to the section elements in the factory and then the entity part is transported in site and suspended by the hangers and rods that connected to the structural beams to provide space for functional needs such as LED light shrouds and sprinklers3.

1 dEOi architects, One Main, projects2 dEOi architects, One Main, projects3 dEOi architects, One Main, projects


B.2 CASE STUDY 1.0

Figure 10 BanQ suspended ceiling

Figure 11 BanQ longitudinal axis


B.2 Case Study 1.0

BanQ / Office dA

BanQ is a restaurant which has two functional division of the area with the front area as a bar and dining hall that sits behind. While the design of the interior space does not draw a distinct line between the zones, it actually considers in the direction of the ‘z axis’1 which is the space between ‘the ceiling and the ground’2. Ground is the space which occupies all the ‘fluctuating activities’3 of the restaurant and on the other hand the ceiling is considered to be a space which holds permanent infrastructure programs of the building.

In order to ‘conceal the view’4 of the functional systems, sectioning ‘striated’ wood slats are used which also grows and merges with the columns and wine shelf which creates the floating and suspended effect that go against the gravity. The relationship between components that’s adjacent to each other is then smoothened and the whole space is converted into an ensemble of ‘seamless landscape’5.

The ceiling’s ‘drip and slump’6 rhythm achieved by sectioning is designed as a responsive feature which is ‘acknowledging’ correspondingly to the location of the details of the space such as ‘exit signs’ and ‘lighting features7’. This indicates the fluid organic surface geometry of the design is consciously planned as a whole system instead of just aesthetically experimented.

1 Office dA, BanQ 12.3 (2009),<http://www.archdaily.com/42581/banq-office-da>[accessed 4 April 2012 Office dA, BanQ 12.3 (2009).3 Office dA, BanQ 12.3 (2009).4 Office dA, BanQ 12.3 (2009).5 Office dA, BanQ 12.3 (2009).6 Office dA, BanQ 12.3 (2009).7 Office dA, BanQ 12.3 (2009).

The connection method between each plywood slats is similar to One Main Street project where the ‘continuous members are fastened to the main structural ribs running perpendicular to the lattice’ and then connected to the structural members above as support. However, the suspended feature is not just conserving spaces for services systems but also protecting all interior wall of the ‘historical setting of the building’ Therefore, it manifest that the choice of the joints and fixation would also need to take into account of the context that is surrounded.

The design also demonstrates the relationship between every planar sectioning element is quite crucial as there is ‘only one possible location for each unit’1 to formulate the continuous member of the final form where ‘visual densities’ are varied from ‘compressing’ to ‘releasing’ controlled by the profile spacing.

The utilization of the sectioning thus enables the well translation of the design concept into unique birch plywood pieces ‘adhered’ together which inherent the DNA of the ‘surface geometry’2. The sectioning process could be achieved in grasshopper by inputting base surface from rhino and then cut it by intersecting planes generated with control of the direction, number and spacing. Therefore the variation of base geometry combined with the variation of sectioning algorithm methodology could create interesting effect and possibilities.

1 Office dA, BanQ 12.3 (2009).2 Lisa Iwamoto, Digital Fabrication: Architectural and Material Techniques., New York: Princeton Architectural Press, 1.8(2009).


B.2 Iteration MatrixS

peci

es 1

Spe

cies

2


B.2 Iteration MatrixS

peci

es 3

Spe

cies

4S

peci

es 5


B.2 Iteration Matrix

Species 6



Species 7



Species 8

Species 9

2.7

6.4

4.3

7.6

2.7 Application of double contouring command allows me to translating waffle-like or net-like structure onto the original geometry. With fully control of the intersecting angles and direction this iteration is now showing a weaving effect of strings of fabric as well as the fiber of plants. Messy and crowding overlapping of sectioning curves are prevented.

4.3 The Series input of the the contouring spacing allows me to achieve uneven and ruled relationships between each sectioning curve. The outcome is quite dynamic and interesting. What’s more the varied spacing also performs well on inheriting the surface geometry of the sphere union especially the top circles is not missed comparing to other outcomes.

6.4 The experiment of the collision of two spaces defined by the sectiong curves could also be seen as the relationship between nature and human beings through the merging and subtracting movement of the intersecting space curves. This iteration represents the idea of human (as the shpere union on the right) is part of the nature (as the sphere on the left). At the same time, it sould also raise the awareness that we are now trying break the harmonious coexistence like how the shpere union on the right try to exceeding the boundary of the nature and cause distortion to the sphere union on the left.

7.6 This iteration is expressing a motion of fluttering and wafting effect that caused by the force of the wind. A nice effect I want to have achieve in my final design where the invention sits well within the surrounding environment. While this form is now seem to be too abstracted and couldn’t be used as a self-stand structure without additional support (which might ruining this motion). But it provides a nice start.


B.2 Iteration Analysis

Selection Criteria

The process of systematically applying alterations and additions into the fundamental definition is exploring all the possibilities and limitations of the algorithm of sectioning.During the process, I try to keep some elements of the command same consistently with varied input into one specific socket to push and test the control and influence of this factor exerting on the final effect of the sectioning.

While I found out that exploring only one the sectioning algorithm may not able to achieve the purpose of final form finding as sectioning is acting like an addition function on the base geometry. Therefore, further explorations on the base geometry will be developed in following design process. And then sectioning algorithm will be tested on the successful form to achieve “best” outcomes

The design brief our Air Studio is to design a architectural invention which should express, support, amplify or question the continuous relationship between technical, cultural and natural systems and also fundamentally improving the life. In term of considering the relationships between different stakeholders, the design should be able to contribute for human, wildlife and plants so the form should be flexible to adopt and used for further development in respond to the site and environment. The surface geometry should be well inherent by the section algorithm outcome and the architectural effect should be promoted through the specific selection of the sectioning algorithm.

B.3 CASE STUDY 2.0 Studio Air Journal 78 Studio Air Journal 79

Figure 12: Webb Brigde body

The Webb Bridge located in Docklands is a winning competition proposal of a public art project where a bridge over Yarra River for pedestrians and bicycles is requested. The design brief of the project call for reusing the Webb Dock Rail Bridge’s remaining sections and serves as a linkage between the north side of Docklands and the south side new residential development1.

Therefore, an evolved step of promoting the existing sectioning form is expected. A curved ramp is added and linked to the previous existing structure. Two main components of the bridge is the ‘pigmented concrete’2 deck and the steel net.

1 Th e Royal Australian Institute of Architects, Webb Bridge<http://dynamic.architecture.com.au/awards_search?option=showaward&entryno=20053006>[accessed 8 April 2016]2 Th e Royal Australian Institute of Architects, Webb Bridge

Figure 14: Webb Bridge pathwaysFigure 13: Webb Bridge Panorama

Sectioning idea is well represented in the steel net, where the first sectioning is the ‘circular and ovoid hoops’1 varied with different radius which defines most of the surface geometry of the form and the second sectioning is customized or patterned ‘steel straps’2 interconnected upon the hoops defining the transverse feature of the form.

The designer aimed to make ‘a new connection, or a knot between the old and the new, past and future’3 through the design and it is relatively successful as it merges the existing and the new parts well through the movements of the sectioning hoops. The transverse steel straps are adding the “industrial” or “modernity” into the curved ramp as the bridge is surrounded by skyscrapers in the city of Melbourne.

1 Th e Royal Australian Institute of Architects, Webb Bridge2 Th e Royal Australian Institute of Architects, Webb Bridge3 Th e Royal Australian Institute of Architects, Webb Bridge<http://dynamic.architecture.com.au/awards_search?option=showaward&entryno=20053006>[accessed 8 April 2016]


B.3 Case Study 2.0

Webb Bridge


The reason of choosing Webb Bridge as the reverse-engineering study case is to explore and upgrade my ability of control and manipulation of sectioning algorithm applied on the base geometry which might lead to new possibilities.The patterned effect of the transverse sectioning curves are primarily based on the understanding and utilisation ability of the data tree of parameter in grasshopper.The process of reverse-engineering is very difficult for me. I put a lot of effort and time into the process and tried with many different potential solutions.

In order to have more contol on the base curve and have as close as I can to the origin form, I then start to create the two base curves in Rhino then reference them into Grasshopper. The base curves now looks much better.

Firstly, I tried to generate the whole model in Grasshopper. So I started to use the same curve generation algorithm I used in Case Study 1.0 with Graph mapper to create the first base curve. It is hard to get exactly like the case study. Then I tried offsetting the first curve to gain the second base curve, but the outcome is not satisfying because the offset cure is not smooth enough like the first one.

Base Curve Experiment

B.3 Case Study 2.0

Reverse Engineering Process

The next step I did is divide the base curves into points with same amount of segment numbers and generate arcs through these two groups of points with a tangent vector of z direction. So the longitudinal sectioning hoops are created.

Through lofting by the arcs, the base geometry is created.

Then aiming for the transverse sectioning curves on the surface, I tried with dividing the base surfaces into grid of points according to the uv.I now start to exploring with the data structure of these points. I tried listing the items in each transverse lists of points individually. This process has to be done manually same times as the number of the lists.

In order to creating the intersected pattern of the transverse sectioning curves, I used commands such as: cull patterns with self written rules; shift data with different index; explode tree matching the amount of grafted points (most dumb method); extract edge of the surface and offset; extract the isocurves in both u and v direction then offset them along the surface; curve on surface and so on. I also try to find the answer online, but these are not applicable or working in my case. All these trys are failed and the best I could get in that moment is to create longitude and transverse curves that flows along the surface with no patterns.

When I was stucked in the process, thankfully I received help from my tutor Brad Elias who solve the problem of not being able to create curves diagonally between different lists of points. After a relative well understanding of the algorithm logic, transition and variation in the data structure, I explored with the input pattern rule of the jitter component with alterations to a satisfied outcome and then commenced upon to create the surfaces and extruded solids generated from the sectioning curves.


Step 1: Base Curve

Creat two curves in Rhino which has the abstructed geometry of the case study. (Curve 1 & Curve 2)

Successful Process

B.3 Case Study 2.0

Reverse Engineering Process

Step 2: Generating Longitudinal Sections

-Divide Curve 1 into points with segment number “A” (Point group 1); Project Point group 1 onto Curve 2 (Point group 2).

-Create lines between Point group 1 & 2; Find the mid points of the lines (Mid point group); Move Mid point group along Z direction using half length of the lines as the distance (Point group 3).

-Generate circles through Point group 1 & 2 & 3 as the longitudinal hoops base curves of the bridge.


Step 3: Generating Transverse Sections with Pattern

- Progressive Rotation of Circles: rotate circles in its own plane with angles from a range of “A” steps and a domain of degree from 0-360.

-Divide the circles into points with segment number “B” (Point group 4).

-Shift data: simplify data into 1 dimension; shift list by random interger (generated with same number of values as the branch number).

-Shuffle values: randomly shuffle the values in branches. Jitter with customised intensity(generated through list of “A+1” values listed from a list of written rules which is duplicated “A+1” times) and seed of a list from 0 - “A”

-Flip matrix: flip branch number (A+1) with value number (B+1) to invert point control from longitudinal to transverse

-Simplify into branches of 1 dimensions (Point group5).

-Create polyline through Point group 5 as the transverse patterned sectioning.

B.3 Case Study 2.0

Reverse Engineering Successful Process

Step 4: Generating Surface of Longitudinal sections

-Create surface boundary edge curve 1: Simplift data of Point Group 1 into 1 dimension; repeat data to cap the start and end points; Create interpolate line throught points.

-Create surface boundary edge curve 2: move simplified Point group 2 towards Mid point group; Repeat data; Create interpolate line through.

-Generate planar surface from the two boundary edge curves

-Extrude along normal of the planar surface


Step 5: Generating Surface of Transverse sections

-Create surface defined curve 1 = Transverse patterned sectioning curves.

-Create surface defined curve 2: move Point Group 5 towards Mid point group; Creat polyline through

-Generate a ruled surface between the two boundary edge curves

Step 6: Generating Concrete Deck

-Generate a ruled surface between the two base curves referenced from Rhino

Step 7: Baking

-Bake the concrete deck into Rhino

-Bake the longitudinal section solids into Rhino

-Bake the transverse section surfaces into Rhino

B.3 Case Study 2.0

Reverse Engineering Successful Process


B.3 Case Study 2.0

Reverse Engineering DIagram


Figure 15 Webb Bridge Cliche

B.3 Case Study 2.0Final Outcome

SimilaritiesThe base geometry of my attempt is quite close to the original base form. The longitudinal sectioning has extruded along the correct direction. Both sectioning has contributed well on defining the space and the atmosphere accurately same as the case study. The shadow created by the sections are well generated as the original effect.

DiferencesThe pattern of the transverse sectioning curve is not exactly same as the origin as it is very hard to find the rule through fragments of photos. The Extrusion surface of the transverse sectioning is different to the case study which might be resolved through offsetting curve along the surface.Several diversed spaced longitudinal hoops are not shown which might able to achieved through spacing control in my iteration of Case study 1.0.

Further PotentialsUpon the reverse-engineering try out on this study case, I have a more comprehensive understanding of the data tree structure manipulation in grasshopper through learning how to generate tangent and patterned section lines which would benefits my future development on the design. However, the patterned and intersected effect of the transverse sectioing seems too stiff, tough or “industrial” for my design intention where I hope it could be represented as more fluid and flowing curves naturally.I would also try to explore the possibilities of the base geometry through adapting new commands and experimenting on the effect of different contouring algorithm methodology.

B.4 TECHNIQUE DEVELOPMENT Studio Air Journal 94 Studio Air Journal 95


Species 1

The pattern of the Webb Bridge is too “mechanical”. In order to ameliorate the messy & mechanical effect of the case study, I think it might be neater and softer if the number of the patterned section line decrease. Although they are structurally dependent on the longitudinal sections, I choose to show the transverse sections only to have a better demonstration of the outcomes.However, these iterations do the opposite and make the “engineer” feeling even stronger due to less poins are collected on the surface to control the sections which also decrease the ability of the sections to inherent the base surface geometry. Some iterations are interesting as an abstracted sculpture but it is against my design intention, so I will start to modulate the pattern instead for the next species.

Species 2

Because of the Jitter and Random components are used in the definition no matter how I try to alter and customise the intensity, the result is still too messy and hard to control due to the nature of these components. Although when the value I input into the intensity is smaller the results looks better, the outcome is not satisfying.After rejecting Random & Jitter command the pattern now look more streaked and systematic relied on the shuffle components in the definition. The additional Range components wirks quite well which generates many fluid and flowing iterations. However, one thing I noticed after extrude the curves into surface, the section curves are curvy three dimensionally which is against my will of fabricates two dimentionally as planar surfaces(one of main reason choose Sectioning). The only exception 3.11 is when the domain and step are equal to the branch number of the data and the curvy 3D constant curves are translated into straight polyline segments.

B.4 Iteration Development Process B.4 Iteration Development Process

Species 3

The outcome of alter range into series components is acting periodically. The period is 12 where the pattern is most interleaved in the middle and releasing at both the start and end of the period.After testing the patterned sectioning methodology on the base geometry of the Webb Bridge, I will now start to apply the section methodology iteration I developed in Case study 1 and the patterned section methodology to other geometry.

Species 4

I start my geometry exploration with Sweep 2 command where I reference 2 rails and 1 section curve from rhino which is highly applicable and flexible in terms of creating any curves or shapes specifically respond to the site in future design.I then applied all preferred sectioning methodology from feedback of previous iteration both in Case study 1 and Technique development. I find the contour component with 3D vector as direction could lead to beautiful results at specific angle which creates a sense of weaving so I then applied extrusion on the curves. However, since the sectioing direction is three dimensional, the section solids are three dimentional as well thus not able to fabricated as 2D planar components. So I reject the 3D vectors as input of sectioning direction and stick to one dimentional section direction for application of sectioning at a time.The neat and well organised waffle grid sections generated by both contour command and divide surface into points of uv direction works perfectly with same distribution along the surface which is quite different as using the contour command or divide surface command alone.In order to push the limits and exam the ability of these three better sectioning methodology, more explorations will be in the next species.


Species 5

Previous species test out the inherent ability of the 3 preferred sectioning methodology so far: contour alone(first row), contour + divide surface (second row) and divide surface alone(third row). I generate 4 kinds of organic surfaces and applied the three methodology. The outcome indicates that using contour or divide surface command alone have better edge inherent and acute angle represent ability. Because the hybrid combination failed to generate the same surface and I have to reduce the amplify of the curve. Contour component creates beautiful patterns which enhance the architectural effect better. Divide surface into grid of points allow logic and neat control of the surface structure.

Species 6

Now for this species I explores two layers of section skins with the chosen sectioning methodology which I would like to applied in my future design. Different combination seems similar, but they actually have very distinct and obvious effect in term of the ability to see through the weaved skins and having contact with the environment. I find the longitudinal sectioning works better to define the surface geometry of the base curve as well as acting as the least obstacles towards the scenery.

B.4 Iteration Development Process

Species 7

For the last species I would like to exploring voronoi component and using sectioning to reveal the patterns. My design is intend to serve for both human and birds so I think the voronoi pattern will be nice for birds to stand on ans also adding complexity to the overall effect. The outcome is interesting while when the spacing is big the surface geometry is lost and interfered by the voronoi pattern that revealed through the gap. On the other hand, If the spacing is too small, the birds might get trapped in the “maze” and the whole design looks too “baroque” and monument.

Species 8

During the exploration of the voronoi sectioning pattern, I find difficulties to boolean the pattern out of the base geometry and used Rhino instead to achieve the correct outcome. Therefore, I explored a further step beyond species 7 to find a way to achieve any patterns on the sectioning. Instead of having a base geometry and cut it into sections, I referenced a base curve in Rhino and a section pattern and orient this section pattern onto the planes which follows the curvature and flow of the base curve. This is now applicale to any section patterns I would like to have.

B.4 Iteration Development Process

5.5 The shape of this iteration has the possibility to providing seating and shelter for people who visit the site.The sectioning line is fluid and flowing along the surface neatly and defines the semi-open space well through the weaved-like transverse and longitudinal strips.The gaps between could also provide resting space for birds.

6.1 This iteration has a base geometry that grows upper and wider which gives a sense of progression and transition. The wider and flater top parts provides a optimal playground of the birds. The neatly organized grid of the section ensures the bird wouldn’t lost in the “parameter” world.

7.3 This double skined sectioning is very close to my design intention. Where the whole structure could provide a resting and meeting space for both human and birds through the weaved section curves that interleaved rationally from three directions. The inner layer for people to sit on and the outer grid skin is the playground for birds. The gap between two skins serves as a buffer zone between the two clients.And the materials and connection between different members could be further developed upon to best define the relationship between the two.


Selection Criteria

First of all, the sectioning methodology applied on the base geometry should hold the ability to fully inherent the surface geometry without losing the edge or scute angles.

In addition to selection criteria of Case study 1, the fabrication and assembly possibility of the section components are taking into account as well. I finalised 2 sectioning methodologies from many other iteration and possibilities which could enables two dimensional fabrication of the components and also enhance architectural effects logically and fluently with possibilities of different outcomes reserved.

Upon the sectioning methodology, I tend to design for both human and birds which should be embrace and friendly for both target audience. It should also be able to sits within the surrounding context flexibly and provides connection with the site.

5.5

6.1

B.4 Iteration Analysis

7.3

8.1

8.1 This sectioning algorithm works most flexible and applicable in terms of data adoption from Rhino.Organic or complex section pattern can be placed and oriented along the rail defined in Rhino and achieve the final fluid form. This algorithm is quite different to the others because it is more like generating the sectioning instead of cutting a surface or solid to gain the sections from it.

B.5 TECHNIQUE PROTOTYPE Studio Air Journal 124 Studio Air Journal 125


B.5 Technique PrototypesFixing & Joint Exploration

Material List•Balsa Wood Panel 6.5 * 100 * 915•Balsa Wood Panel 12.5 * 100 * 915

•Craft PVA Glue•White Cable Tie 10cm (single-use)

•Angle Brackets 20mm (zinc plated) & Screws•Chicago Screws 5mm & 15mm

Tools List•Cutting Knife•Cutting Mat•Metal Ruler

•Scissor•Sand Paper (Caorse & medium)

•Drilling / Driver•Plus Screw Head

5/32” (4.0 mm) Drill Bit

Upon the successful technique iteration 7.3, the fixing and joint of the assembly between the sectioning components will be developed as the crucial tache of the design and fabrication process.

In order to be able to have a nice control of the composition method, I choose balsa wood panels as the exploration material for the sectioning components in this exploration due to its “soft” and “esay” handle materiality which allows me to do alterations easier. Because it is probably the most fragile timber, more attention is required during the cutting, polishing and drilling process to prevent craking and shattering. And these incidents happened during the prototyping process will be useful for future development.

The fixing and joint of the sectioing components are required to be fixed and stable to ensure each geometry inherent elements are assigned to the scheduled position permanently so that the progressive and transitional characteristics of the digital technique is well translated into the real world with maximum realisation. Aesthetics of the joints with least interfering with the final form is considered as one of the slection criteria.

Upon my exploration, The combination of angle brackets and screw achieves most stable fixing. Chicago scre do has a neater finish while it is not as stable as conventional screws. While the brackets requires certain spacing between the sections due to its standard dimension in the market. The combination of the cable tie and glue as the most flexible possibilities as there’s not much requirement for the spaing and the translucent appearance is nice for the final effect.

The screw is longer than the balsa wood, extra bits of wood block is needed to hide the tail.

The angle brackets are glued onto the balsa wood before adding further reinforcement anf fixing to ensure accuracy.

Cable tie + PVA glue Cable tie + PVA glue

Angle Bracket + Cable tie + PVA Angle Bracket + Cable tie + PVA

Angle Bracket + screw/Chicago scew Angle Bracket + screw/Chicago scew


B.5 Technique Prototypes

7.3

Additional Materials

Clear Tape Clear Tube

Elastic StringPaper String

Section digital Fabrication & String Exploration

Rhino Laser Cutter File Laser Cutted Sheet

Sand paper burn Drill holes for cable ties

Fix the sections onto the Base with cable tie and

PVA glue

Reinforce the outer Shell

with clear tube as the beam

Rhino Prototype Model

Paper String (not Satsfied) Elastic String (better result)

Stick Stopper + Glue String Stopper (neater control)

Assembled Prototype

Plywood as the material for the formal model appears to be approving for both the aesthetic and structural requirements. The tenacity and high strength provided by the gluing durability of the timber sheets satisfied the potential force exerted onto the continuous structure by the weight of the the visitors on the seating as well as the weight of the Magpies onto the the outer shell. The warm color, timber-like texture and light weight characteristics content the architectural intention of the transitional and progressive motion achieved by thin sections.

Paper string are used to approximate as naturally friendly as possible, while the paper stings are too brickle for twisting and folding which is required in assembly process and it is also hard to get the strings of it being tightly straightened between the section ribs. Therefore, I then used elastic strings as a replacement for its advantages of being able to create a nice straight and tensional effect.

What’s need to be improved is the method of stopping the strings slip off the section ribs where I tried with two method: stick stopper and string stopper. But both are perform not ideally.


B.5 Technique PrototypesString Exploration Refinement

Cut the balsa wood in to stripUse Driller to make holes

Cut the tubes into uniform lengthUsed at ends and middle as spacing controller

Use string to connect the two balsa wood pieces like sewing

Needs just 2 extra pieces to stop the string slip away

This prototype is improving the string connection on the outer skin which runs transversly between the longitudinal pieces. Because the focus will be on the string connection, the sectiong form wil be abstracted in to just two pieces. This is a refined prototype aesthetically and structurally from the feedback of the previous one. I decide to combine the two slip stopper options based on the advantages and disadvantages of these two methods. The string will be the main components to stop slipping and two sticks are used to finalise the fixing.

Nice and Neat Finishing

String slip stopper that aligned with the section piece

Stick stopper that aligned with the section piece

B.6 TECHNIQUE PROPOSAL Studio Air Journal 132 Studio Air Journal 133


B.6 Technique Proposal

The design brief of Studio Air is to design a human or non-human interface which is an object or space which allows humans to interact with other species.

During my site visit, the wildlife that encountered most and gained most of my attention is the magpie. The jubilant tweeting and caroling of magpies are heard even you when you couldn’t see their silhouette. While when you try to get closer and have a good photo of them, they flew away left you standing with a catfooted pose.

So my design proposal is a meeting or “rendezvous” place for HUMAN and MAGPIE where the two species could get along with each other harmoniously.

A meeting or “rendezvous” place for HUMAN and MAGPIE where the two species could get along with each other harmoniously.


Figure 17 Merri Creek Map [Google Map]


Magpies

Magpies is a species that is familiar to Australia. They can be found when there is a combination of ‘trees and adjacent open areas’1. Grasslands are also a nice spot where magpies ‘walk along the ground searching for insects and their larvae’2. Water as the fundamental element of life should also be considered as a factor of site selection.

1 Birds in Backyards, Australian Magpie, <http://www.birdsinbackyards.net/species/Cracticus-tibicen>[accessed 15 April 2016]

2 Birds in Backyards, Australian Magpie

Figure 16 Magpie [Birdlife Australia]

Site Selection

•Trees•Adjacent open grass land•Water resource

The site I am going to build my design is one of the turning point of the Merri Creek where open grasslands, leafy and lofty trees as well as water resource is equipped. It is also the place where I have my first encounter with the magpies.

Figure 18 Selected Site Map [Google Map]



Dark Architecture

•Urban drain-pipe•Accumulated litter•Water shared by all inhabitants•Conflicting•Arousing awareness & consciousness

Despite the fulfilling conditions of the site according to Magpie’s needs, there’s a huge urban drain-pipe exposed with graffiti sprayed on the bare concrete face. Some litters are even accumulated at the rugged edge of the water bank. This breaks the balance on the site.

While the visitors are enjoying a good time with the magpies harmoniously, they see them drinking rom the dirty water. This instant conflict which happened right in front of your eyes make you have the intense awareness to do something about this situation and really consider the environment as something important in your life not just a story of someone else.

As the site is also surounded by residential areas and the Northcote High School, It will be a nice spot to spread the message towards the wide audience.

Figure 19 Neighbour Map [Google Map]


Sectioning

Sectioning is highly applicable onto any base geometry and used as a means of efficient fabrication translator as well as a tool of enhancing the architectural intentions.

•Flow and fluid progressive base curve created in Rhino referenced in Grasshopper•Two successful adaptable sectioning algorithm through exploration of different outcomes of sectioning due to different surface geometry inherent ability in small details (Orient + Divide Curve/Surface)•Flexible spacing and direction manipulation

•Two alternative layers of sectioning skins defines the volume•Different needs of the two groups of clients•Incorporated &weaved as a whole entirety•Full sensational experience with the site through air flow, sunlight,, sound and smell.•Transitional and progressive expansion of the volume•No floor, wall or ceiling, but as a whole space•Light and shadow, gap and obstacles

Inner skin•Seating and promenade pathways for human visitors•Relative higher density and less spacing to define a concretized volume

Outer skin•Clear and logic grids follows the uv direction inherent from the base surface•The playgrounds for magpies


Magpie Preference

During my observation of the site visit, Magpies also like to resting on trusses and grids which makes sectioning an appropriate approach towards my design goal.


Site Consideration & Data Adaption

Therefore my design will take into account of the trees positions(Tree =chance to encounter magpie =potential of being attacked(sensitive seaso) on the site for defining the base curve of the design and where should the entrance and exit locate to prevent arousing the feeling of threatening of the magpies towards the human.

What’s more, part of the design will be placed above the water to induce the attention and conflict to the giant pipe. So the location and opening direction of the urban drain-pipe will also be used for defining the base curve as well as the seating orientation for the human visitors.

•Tree distribution positions•Location of drain-pipe; opening direction•Existing trail•Define base curve•Define entrance & exit•Define seating orientation

Figure 20 Magpie [Bird life Australia]


Although generally the Australian Magpie is ‘quite tame’1 apart from the pleasant song from them, they are sometimes actually aggressive. During their ‘springtime nesting season’, some individual magpie would become offensive with ‘tendency to swoop’ at any intruders who is too close to their nest site and considered as threats. Their nests are constructed by ‘sticks and twigs, with a small interior bowl lined with grass and hair’2 located in the ‘outer branches of a tree, up to 15m above the ground’.

1 Birlife Australia, Australian Magpie,<http://birdlife.org.au/bird-profi le/australian-magpie>[accessed 15 April 2016]2 Birlife Australia, Australian Magpie

Existing Trail

Figure 21 Annotated Map [Google Map]

Rhino Base Curve Possible Attempt

B.7 LEARNING OBJECTIVES AND OUTCOMES



B.7 Learning Objectives and Outcomes

Objective 1My design brief is to create “a meeting place for human and magpie”. This brief has guided my utilization and manipulation direction of the parameter tools in the Developmemt of the iterations. I am aiming to focus on iterations with nice unifromly distrubuted grid-like or net-like sectioning algorithm which has the further potential application for my design intention.

Objective 2Through learning and practising the algorithm from the online tutorial, I am able to control and build upon the given basic algorithm to create new outcomes and possibilities. I then adopted the knowledge and apply them in my development of the iterations especially the data structure manipulation and control is very important and influential during my exploration of the iterations.

Objective 5The digital modeling tools allow enormous possibilities of the design. While through setting up the selection criteria and design intention, I am able to criticize and decide among the species and iterations which refines and restrained my exploration scope to the more rational and useful path towards the goal.

Objective 6Through learning and developing the skills and knowledge of parametric design tools, I could now speculate the possible design approach of very complex contemporary architectural projects which I have no idea of its generation before. And after acknowledging the technique thay used, I could be more rational and unperturbed when analysising the design.

Objective 3I learned and used 3D software such as Grasshopper and Rhino incorporated through reverse-engineering, iteration development and approach towards my design proposal. During the prototyping process, I also learned how to translate 3D digital models into physical models through machines such as laser sutter.

Objective 4The word “Air” means the architecture should be creating and defining a volume, a space and atmosphere that filled with air. And the form of it also flow freely or progressive through the movement of the air.The incorporation of Rhino and Grasshopper enabled me to generate organic, free-form base geometries which then could be referenced in grasshopper to have enormous possibilities as the form is growing and expanding in the air.

Objective 7I have a relative comprehensive learning experience of the fundamental understanding of the computational geometry, data structure and types of programming through the process of the iteration development and reverse-engineering. The process of reverse-engineering and iteration exploration is capricious where I encounter many difficulties while through trying out different components, learning from forum and asking for tutor’s help. I resolve the problems.

Objective 8

Sectioning research field is a tricky approach because there are many different sectioning algorithm which could achieve quite similar outcomes. However, during the developmemt and exploration of the iterations, I have setted up a criteria according to the outcomes and the embedded logic with a well understanding of the advantages and disadvantages of each algorithm. I then able to apply them differently for different purpose in the design.

B.8 APPENDIX - ALGORITHMIC SKETCH



B.8 Appendix- Algorithmic Sketches

Flowing Brick Wall


B.8 Appendix- Algorithmic Sketches

Recursion Cluster Onion


Bibliography

Australia Institute of Architects, ‘Webb Bridge’, (2005)http://dynamic.architecture.com.au/awards_search?option=showaward&entryno=20053006[accessed 26 March 2016]

Architectural drawings, Orthographic projection, 2013 2.12(2013)<https://architecturedesignprimer.wordpress.com/2013/02/12/architectural-drawings/>[accessed 4 April 2016]

Birlife Australia, Australian Magpie,<http://birdlife.org.au/bird-profile/australian-magpie>[accessed 15 April 2016]

Birds in Backyards, Australian Magpie, <http://www.birdsinbackyards.net/species/Cracticus-tibicen>[accessed 15 April 2016]

dECOi architects, ‘One Main’, (2015)<http://www.decoi-architects.org/2011/10/onemain/>[accessed 26 March 2016]

Lisa Iwamoto, Digital Fabrication: Architectural and Material Techniques., New York: Princeton Architectural Press, 1.8(2009).

Office dA, BanQ 12.3 (2009),<http://www.archdaily.com/42581/banq-office-da>[accessed 4 April 2016]

Section Drawings, 9.10(2014)<http://studiomaven.org/index.php?title=Tool:Part_25270>[accessed 4 April 2016]

The Royal Australian Institute of Architects, Webb Bridge<http://dynamic.architecture.com.au/awards_search?option=showaward&entryno=20053006>[accessed 8 April 2016]

2010 ICD Reasearch Buildings / prototypes<http://icd.uni-stuttgart.de/?p=4458>[accessed 4 April 2016]

Figure Bibliography

Figure 1 One Main Project, photo by Anton Grassl, Retrieved from http://www.decoi-architects.org/2011/10/onemain/

Figure 2 ICD Pavilion during daytime, Retrieved from http://icd.uni-stuttgart.de/?p=4458

Figure 3 ICD Pavilion night lighting effect, Retrieved from http://icd.uni-stuttgart.de/?p=4458

Figure 4 Plywood bending elasticity experiment, Retrieved from http://icd.uni-stuttgart.de/?p=4458

Figure 5 ICD/ITKE Research Pavilion digital modelling, Retrieved from http://www.detail-online.com/inspiration/research-pavilion-in-stuttgart-106075.html

Figure 6 ICD Pavilion robot planar cutting, Retrieved from http://icd.uni-stuttgart.de/?p=4458

Figure 7 ICD Pavilion on site bending and assembly, Retrieved from http://icd.uni-stuttgart.de/?p=4458

Figure 8 One Main Project fabrication of benches and floor, Retrieved from http://www.decoi-architects.org/2011/10/onemain/

Figure 9 One Main project suspended ceiling, Retrieved from http://www.decoi-architects.org/2011/10/onemain/

Figure 10 BanQ suspended ceiling, Retrieved from http://www.archdaily.com/42581/banq-office-da

Figure 11 BanQ longitudinal axis, Retrieved from http://www.archdaily.com/42581/banq-office-da

Figure 12 Webb Bridge body, Melbourne, 4.15 (2014), Retrieved from http://www.therawimage.com/blog/2014/4/25/webb-bridge-melbourne

Figure 13 Webb Bridge panorama, Retrieved from http://melbournestreet.net/2013/01/11/webb-bridge-panorama/

Figure 14 Webb Bridge pathways, Melboune, 1.11(2018), Retrieved from http://fourthirds-user.com/galleries/showphoto.php/photo/2885/size/big/cat/

Figure 15 Webb bridge cliché, Retrieved from http://melbournestreet.net/2010/10/21/webb-bridge-clich/

Figure 16 Magpie, Bird life Australia, Retrieved from http://birdlife.org.au/bird-profile/australian-magpie

Figure 17 Merri Creek Map, Google Map Earth, Retrived from https://www.google.com/maps/place/Willowbank+Rd,+Fitzroy+North+VIC+3068,+Australia/@-37.7721839,144.95757,8226m/data=!3m1!1e3!4m2!3m1!1s0x6ad643684e5dadf9:0x660cf7117ce184e9

Figure 18 Selected Site Map, Google Map Earth, Retrieved from https://www.google.com/maps/place/Willowbank+Rd,+Fitzroy+North+VIC+3068,+Australia/@-37.7721839,144.95757,8226m/data=!3m1!1e3!4m2!3m1!1s0x6ad643684e5dadf9:0x660cf7117ce184e9

Figure 19 Neighbour Map, Google Map Earth, Retrieved from https://www.google.com/maps/place/Willowbank+Rd,+Fitzroy+North+VIC+3068,+Australia/@-37.7721839,144.95757,8226m/data=!3m1!1e3!4m2!3m1!1s0x6ad643684e5dadf9:0x660cf7117ce184e9

Figure 20 Magpie, Bird life Australia, Retrieved from http://birdlife.org.au/bird-profile/australian-magpie

Figure 21 Annotated Map, Google Map Earth, Retrived from https://www.google.com/maps/place/Willowbank+Rd,+Fitzroy+North+VIC+3068,+Australia/@-37.7721839,144.95757,8226m/data=!3m1!1e3!4m2!3m1!1s0x6ad643684e5dadf9:0x660cf7117ce184e9

PART C DETAILED DESIGN


C.1 DESIGN CONCEPT Studio Air Journal 158 Studio Air Journal 159

Magpie

Magpies are well-konwn for its “lack of shyness” and is quite “popular with suburban gardeners and farmers” because of their carolling song and “appetite for insect pests”1.

They rely on the environment where feeding is sufficient and reliable, watering areas is nearby and tall trees are existed as the shlter and nesting place for them2.

Magpies are “being territorial birds” and at most ten might sometimes “group together ... in a ‘tribe” in order to defending their home against other magpie tribes3.Most of the year, magpies are not aggressive, only four to six weeks during nesting seasons which is between August and October, they will defend their territory vigorously against any species to protect their offsprings especially the males4.Their attack is “quite alarming” where they would “fly low and fast over the person, dacking their bills as they pass overhead. But usually only swooping as a warning except some unique occasions where intruders were hurt by the beaks and calws of the magpie5.

1 Offi ce of Environment & Heritage, Australian magpie<http://www.environment.nsw.gov.au/animals/Th eAustralianMagpie.htm>[accessed 8 May 2016]2 Offi ce of Environment & Heritage, Australian magpie3 Offi ce of Environment & Heritage, Australian magpie4 Offi ce of Environment & Heritage, Australian magpie5 Offi ce of Environment & Heritage, Australian magpie

Target Audience & Site Selection

The Target audiences of the detailed design remains same as my design proposal in Part B which focuses on two species: Magpies and Human.

The site selection of the detailed design remains the same as in my Part B proposal which is one of the turning point of the Merri Creek and the place I encountered magpies. The site satisfies the need of Magpie’s ideal living where open grasslands, leafy and lofty trees as well as water resource is equipped.

•Trees•Adjacent open grass land•Water resource

However, instead of including the idea of dark architecture with highlighting the existence of the downpipes at the north river bank of the site in the design concept, the area of the site is scoped into the south open grasslands as the location of the detailed design to just focus on the relatiship and communication between the two target audience groups and developing this concept more throughly and radically.

The magpies inhabitats within the territory of the grasslands and the residents of the surrounding housing are the main target audiences.


C.1 Design Concept

Figure 1 Australian Magpie [Rosie Nicolai]

Figure 2 Merri Creek Map [Google Map] Figure 3 Selected Site overall Map [Google Map] Figure 4 Open Grasslands Map [Google Map]

Iinstead of designing as protection boundary between human and magpie to prevent or “negate” the swooping attack of Mapie during the breeding season (my interim design proposal in Part B), I am now promoting a design which is acknowledging, embracing and integrating this “dangerous” characteristic of Magpies into the design bodily and interactively, after receiving and following the nice suggestion of our tutor Brad Elias. And this design will be collaborated with my three team mates.

At the same time, safety of the human visitors are not neglected and are still considered as one of the most important considerations of the design.

The final design could still serves as the meeting place in non-breeding seasons for harmonious communication between the two species (as in my Part B proposal). Therefore, the design could be made use of thoroughly throughout the whole seasons.

Part B Design Proposal

Part C Design Proposal


An INTERACTIVE pavilion where MAGPIES are induced to SWOOP through

the tunnel pathway by mirror installation which reflects the movements of the

HUMAN visitors during the BREEDING season.

In NON-BREEDING seasons, it is the harmonious MEETING place of MAGPIES

and HUMAN visitors where the tunnels are contributed as a shelter and resting

space for human visitors and the top of the pavillion becomes the playground of

the magpies.

C.1 Design Concept

C.1 Design Concept

Site Data Adoption & Base Outline Curves

As mentioned in Part B’s interim design proposal, trees are the key factor that determines the orientation and location and openess of the design(Tree =chance to encounter magpie =potential of being attacked in sensitive season). The positions of the trees in the south open grasslands are marked and adopted in the process of defining the base outline curves of the pavillion.The existing trail in Merri creek is also taking into account of the base curve generation as well to ensure the accessibility of the passage.

I sychronized the information extracted from the site into a diagram as the reference points and guidelines of the base curve development and explored several different combination and ways of utilisation of the reference points and guidelines.

Tree Position

Existing Merri Creek Trail

Site Adoption Base Curve Iterations

1

2

3

4

5

6


Figure 5 Site Map [Google Map] Site Tree and Trail Digram

1. Site Adopted Canopy Base Curve Finalise

2. Site Adopted Pathway Base Curve Finalise

C.1 Design Concept

Upon development of previous iterations, the trees located in the relatively middle of the grasslands are considered as the focus points of my consideration because magpies will only attempt to swoop when the distance from their nest is causing threats to their offsprings. So the trees which are not so close to the middle of the grassland are not highlighted as the reference points of the base curve development.

The flow of the base curve is more fluid, fluent and organic and the shape defined by the base curve are more smooth and approachable within the surrounding environment compare to the previous attempts. And the use and adoption of the site data makes the design seems to belong to this site specifically.

And after receiving positive feedbacks from my group mates, this finalised version of site adopted base curves is decided to be our final site adoption base curve for my further development of the form finding.


C.1 Design Concept

First Attempt

The first formal attempt has two discrete layers. One is served as the canopy for human visitors which is an diamond sectioning grid of plywood structure. Another one is served as a guiding pathway for magpie generate by Kangaroo. It is made by fabric hanging on four trees at the corner of the design and falling naturally towards the ground. An attraction area is motivated by firefly’s camera capture function located in the centre of the pathway. This complex first attempt is aimed to incorporating the technique knowledge of all group members into the design.

However, this idea is rejected by our tutor Brad Elias, because it is too complicated. Firstly it will cost too much time to figure out how the attractions would actually mechaically working with firefly plug-in in reality. Secondly, the two layers are transformed by totally different techniques and made out of different materials which makes the two layers become too isolated with each other to create “intimate” connection between human and magpie as a whole complete entity of the design.

Canopy Plywood Diamond Grid

Pathway Kangaroo Surface

Combined Structure

Base Site Adoption Curve Transformed Base Curve Canopy Base Surface

Base Site Adoption Curve Pathway Hanging Fabric


C.1 Design Concept

Second Attempt

After hearing the suggestion of our Tutor Brad Elias, we decide to combine the canopy and magpie tunnel into one unity with same material (plywood is my number one preference material bacause of the warm and friendly texture and the high tenacity) in our second attampt to enhance the contuity of the cohesive structure which represents the integrated relationship between the Human and Magpie.

So I start to exploring the transformation of the base site adoption curves adjusted along z axis according to the direction of entrance depedent on the height of human, positions of trees, height of trees, estimated pathway of the magpies. The base surface was then generated in Rhino from the transformed site adoption curves.

Base Site Adoption Curve

Species 1 Species 2

1.1

1.2

1.3

1.4

2.1

2.2

2.3

2.4


C.1 Design Concept

Transformed Base Curve

First Layer: Boundary Surface

Second Layer: Mirror Surface

Integrated Two Base Surfaces

300cm 350cm 300cm

300cm 350cm 300cm

300cm 350cm 300cm0cm

Control Points

Section for Base Curve Transformation

Base Site Adoption Curve

Comparing Species 1 and Species 2, Species 2 has separated the space into more partitions of spaces, where the swooping action could take in place through three tunnels at the same time and human visitors could experience and interact with magpies swooping acitivities from both sides of the tunnels. What’s more, Species 1 seems more discrete because the start and end of the two layers are not connected. While, the two layers of Species 2 are linked end by end which incorporate tightly as an infinite loop. Each layer is equally important to contribute for the final design of fluid, organic and flowwing form. Therefore, Species 2 is chosen.

Then according to the requirement of the height (at least 2.5 m) and space(at least two person) for human to enter, stay and exit freely. I further scoped the choice into Iteration 2.4 where the the middle of the three tunnels all touching the ground so the load could be transferred and distributed uniformly and the structure could stand by itself. Human visitors are then able to enter the tunnels from the ground freely in non-bredding seasons without climbing upwards into the tunnels. The height of the space between the two layers reserved for human visitors during bredding season is 3m which satisfies most human’s body dimension without too much spare spaces which would allow magpies swoop through.

Base Surface


C.1 Design Concept

Sectioning

In order to enhance the communication and interaction between human and magpie as well as the surrounding environment, sectioning algorithm is continued to use as the major technique of the detailed design to allow fully sensational experience without solid and mass boundary.

The final base geometry in Rhino is referenced into grasshopper and sectioning is apllied on both of the two base surfaces into two layers of interlocking section strips. These two interlocking layers of define the three dimensional volume and structure cooperatively with the help of the uniform utilisation of the sectioning technique which emphasis the sense of entirety.

This collaborative structure of the second attempt also shows a better inherent logic development from my PartB interm proposal where two sectioning skins are also integrated to weave as one structure.

First Layer•Define the floor of the middle tunnel and the ceiling of the side tunnels•Transfer the load of the middile runnel into the ground

First Base surface

Second Base surface

First & Second Layer•Interlocking relationship to enhance the lightness, transition, fluidity and integration of different layers•Define 3D volume and space copperativly as a whole system•Define the obeservation & interaction space for human visitors between the tunnels in breeding season•Tunnel Create relavent safe distance between two species in non-breeding season, magpies are not scared when human visitors enter the shelter.

First Female Interlocking Section Layer

Second Male Interlocking Section Layer

First and Second interlocked Layer

Second Layer•Define the floor of the side tunnels and the ceiling of the middle tunnel•Transfer the load of the side tunnels into the ground


C.1 Design Concept

A third layer is developed upon the two strucrual interlocking sectioning layers follows a neat and logic pattern which indicates the placement of the mirror inducer of the swooping attack inside the tunnels.

Third Layer•Distribute upon the interlocking pattern of the first two layers•Organised with an additional neat and logic pattern•Reflects the human movement as the inducer for magpie swooping attack•located on the inner surface of the three tunnels

Combination of Three Layers Inner Third Layer of Mirror

First Female Interlocking Section Layer


First Female Mirror Layer


Third Mirror Layer


C.1 Design Concept

Loft curves Create a lofted surface

through a set of

undulating curves

Mirror Mirror the lofted surface

in the Z direction for

a second surface

ContourCreate evenly spaced

curves A mm apart

on the referenced

surface using contour

Extrude Extrude curves in the

Z and Y directions by

B mm giving material

thickness or volume to

the referenced curves

Cull patternCreate an interlocking, weaving

geometry from the two lofted

surfaces by removing the second

curve for every two curves using

cull pattern on the first geometry

Cull patternSimilarly remove the first

curve for every two curves

for the mirrored geometry

Brep intersectionExtract curves describing

where the two offseted

surfaces intersect

Brep intersectionExtract curves describing where

the two initial surfaces (base

surface and its mirror) intersect

Contour & ExtrudeCreate evenly spaced curves

on the surfaces and extrude the

curves in the Y direction same

as the process done above

Interlocking form

Tunnel mirrors

Middle tunnelmirror

Side tunnelmirrors

Finished model

Cull patternRemove the last three

for every five curves of

the remaining curves

on the first surface

Cull patternRemove the first three

for every five curves of

the remaining curves on

the mirrored surface

Surface splitSplit the remaining curves

with the curve at intersection

Surface splitSplit the remaining curves

with the curve at intersection

List ItemSelect surfaces on the

side tunnels matching the

selected surfaces of the

middle tunnel resulting in

a continuous pattern

List ItemSelect surfaces on the

middle tunnel using list item

OffsetOffset both surfaces

by A mm to the

direction of the

mirror plane (offset

(towards inside

Parametric Definition Diagram


C.1 Design Concept

Construction Process Diagram

Sending files to manufacturer for

prefabrication

Translatingdigital modelinto computer

operatedmachine

commutable files

Preparingdigital modelfor fabrication

Digital modelling Resolving

connections of separate parts

and materiality atactual built scale

2.32.22.1

Componentparts preparation

off site

Weatherexposure

protection andtermite solution

Transportingpre-cut parts

to site

Assembling partsusing digital modeland correspondinglabelled codes as

a guide, temporaryfasteners used ifnecessary beforepermanent fixing

Site works levelling unevenor bumpy ground


C.1 Design Concept

Finalised Digital Model


C.1 Design Concept

Sequence Diagram During Bredding Season

Users arriving to the site via existing pathways

and walking into the two tunnels designated for

people under the structure

People movement to the structure

Existing pathway access

People movement in thedesignated area inside tunnel

Reflective mirrors

Mirrors reflect movement of users through the

tunnel, reflections bounce off adjacent mirrors

with its curvature

Magpies attracted to the reflected movements

on the mirror, swoopingthrough the three tunnels

Bird flight path

Targeted cluster of trees


C.1 Design Concept

Magpie & Human Circulation Diagram During Breeding Season

People movement to the structure

Bird flight path


C.1 Design Concept

Breeding Season Interaction Diagram

Non-Breeding Season Interaction Diagram


C.1 Design Concept

West Elevation

East Elevation

Section

North Elevation

South Elevation


C.1 Design Concept

View from South Residence


C.1 Design Concept

Close-up View During Non-Breeding Season


C.1 Design Concept

View Towards Tunnel Under the Layers


C.1 Design Concept

Human & Magpie Interation During Breeding Season


C.2 TECTONIC ELEMENTS & PROTOTYPES


Initial Straight & Flat Status Punch Two Holes as Control Points

Use a String to Connect the Two Control Points Control the Length of the String to Adjust the curvature of the Curve

Long and Slender Plywood could be Bend Easily in one direction


C.2 Tectonic Elements & Prototypes

While finalising the design form and concept, prototyping is processing at the same time. Instead of carving the curved strips directly out of plywood through laser cut machines, we primarly considersed to have bending plywood to realised the curved strip form of our design. As tension created by the bending will empower and reinforce the material against compression force and maximise the strength of the material could afford.

The first attempt is a roughly experiment with the bending ability of the plywood. A slender strip of plywood at 1:20 scale was punched with two holes close to the ends which is used as the control points of the beding curvature.

This experiment indicates that the plywood has outstanding ability to bend the curvature we would like to have according to our design form. However, this roughly attempt does not take into account of the actual curvature precisly. Only two control points could not achieve the more complex variation of the curvature in our final design form. Therefore, we will further explorring a prototype which has more accurate calculation and control of the bending curvature of each strips.

Prototype 1


Prototype 2

Assembly Diagram

Grass Hopper Partitioned Perspective View

Grass Hopper Partitioned Detail

Digital Lasercut File Laser cutted plywood

Stainless Metal Thread Screws & Hex Nuts Interleaved Top Piece & Base Piece

Top Connection Detials Side Connection Detials Bottom Connection Detials

Failed Bending Fracture Due to the Small Scale & Wrong arrangement of the Timber Grain


For Prototype 2, one of our team mates came up a solution in grasshopper which partitions one strip into two layers. And then further divided the upper layer and bottom layer into small segments evenly. The arrangement of the small segments are interleaved.

At the ends of each segments, holes are punched in the digital model when the strips are still bended to define curvature of the design by the connection of the screws and nuts. Therefore, the bending curvatures of the whole strip is now able to be controlled and translated into reality more precisely and acuratly through multiple control points at each connection joints.

The three-dimensional segments of the two layers were then unrolled into laser cut ready files with corresponding codes etched beside as the assembly guidance.

We received the laser cutted plywood and started to assembly the prototype. Each segments were supposed to be bent forehand to allow the screws pass through the interleaved holes between the two layers. However, 1:20 is too small for the bending to occur dramatically. The assemblied strips remained straight.

When we try to force it into the destinated curvature, plywood snapped at the connection. After showing this prototype to our tutor Brad Elias, he reminded us to cut the strips perpendicular with the timber grain which maximise the bending ability of the plywood.Therefore, for the next prototype, we will increase the scale of the segments and cut the strips perpendicular with the timber grain.

Stainless Metal Thread Screws & Hex NutsLaser cutted plywood

Side Connection Detials

Bottom Connection Detials Successfully bending into the designated curvature

The segments are bend forhand to allow the screws pass through the interleaved holes


Prototype 3 continue to use the logic of bending from prototype 2 with a larger 1:10 scale. And the components of the strip are laser cutted perpendicular with the timber grain according to the feed back of prototype 2.

The screws and hex nuts used for the connection remained the same as they works nicely in previous attempt.

This time, when the segments were being assemblied, they could easily bend to enable the screws pass across the holes punched intentionally interlaced on different layers. As soon as the two layers are connected by the screws and nuts through the holes on the two layer, the designated curvature is formed naturally during the process of assembly.

Therefore, Prototype 3 is counted as a very succesfull attempt which could be used to realised the digital design form of our design in 1:1 scale.

Prototype 3


strip4.2

strip3.1

strip2.2

joints

strip 1 strip2.1

strip4.1 strip4.1

strip4

strip 1

strip3.2strip3.2

strip3

trip 2

strip2.1

strip2.1strip 1

strip 1

Digital Lasercut File Laser cutted plywood

Stick the faces of the plywood into 3D solid with box notches

Insert the female notch with the male notch to connect the intersecting solids

Explaination Diagram of the Notch System at the Intersection of the Two Layers


Prototype 4


While searching for the solution of the bending system of the plywood strip, another attempt of finding the connection between each strip is processing at the same time. This attempt is seemed as an “insurance” to me. If the bending is not suceesful, we might have to take the second option of directly carving the curved strips out of plywood sheets.

As the two layers of strips are interlocking with each other, one of our team member came up a solution of connecting each strips at the intersection of the two layers.

A notch system is developed where one strip has a heave and the one adjoining to it has a crater of the same shape a the same location to connect the two. The third one will have the notch arranged interleaved to avoid penetrating the solid.

While the material available for us to lasercut is limited so we couldn’t have a plywood sheet which has sufficient thickness for the strips. The solids are exploded and transferred into surfaces which we then stick them together as a hollow solid to stisfied the need of the thickness.

The glue does not has enough strength to bend the plywood at the side surface into the curvature designed in the model. But in 1:1 construction where the plywood sheets have the required thickness is acessible, glue is not needed and the bending could be archieved by the logic of the bending prototype.

strip3.2

strip3.1

strip3.3

strip2.2strip2.1

strip1.2strip1.1 strip1.1strip1.3strip1.2

strip2.2

strip2.1

strip3.1

strip2.3

strip3.2

strip3.3

Laser Cut File Laser cutted Connection Plate

Stainless Metal Thread Screws & Hex NutsLaser cutted Partition Strips

Failed estimination of the spacing of the holes for screws

Not able to fit two screw due to the small scale


Prototype 5


Because the scale of our final design is relativly large in relation to the scale of a human. The sectioning strips used to composite the whole curved strip at 1:1 scale would not be able to laser cutted once as a whole strip as in our Plan B.

For prototype 5, we developed a connection which is contributing for potential issue of partitioning a whole curved strip into several parts for more convinient transportation and realistic shaping process.

The curved strips are partitioned into two parts with a “Tetris” like joints. Screws and hex nuts for the mechanical connection. And an additional connection plates is generated digitally which corresponds to the holes position reserved for the screws on the strips and lasercutted with the strips together on the plywood sheets.

However, without realising the space preserved for the head of the screws is necessary, the components could not be assemblied together. The spacing between the two screws are so close that it couldn’t fit teo screws at the same time.

Therefore, for the next prototype, we will increase the scale and adjust the spacing to realise this connection.

Laser Cut File

Drilled components (Three Screws)

Drilled components (Two Screws)

Apply Screw using screw-driver

Connection Detail Top View Connection Detail Side View

Connection Detail Bottom View


Prototype 6


For prototype 6, I decided to focus just onto the connection joint. Therefore instead of lasercut the whole curved strips, the strips are abstracted into 1:1 scaled connections without any curving.

Two versions were planned in Rhino, one has three intersection notches and another has two intersectiong notches. The positions of the holes are marked in Rhino but not up to the scale of fitting the screws, only as the demonstration point for future drilling because if the holes are too small bigger drill bits could be applied untill the screw could fit in the holes.

I started with 3.2mm drill bits which is slightly bigger than the 3mm diameter of the screws. The holes are still not big enough to inserty by hand but with the help of the screw-driver it could be easily applied and the fits tightly into the holes. This indicates that at least of 0.2mm extra space is needed for the holes to fiting the screws.

The three notched version did not have much difference with the two notched version. So the two notch version is more efficient in terms of shaping and material use under the same ability of joining the two pieces.

Laser cutted strips & Plates (Three screws)

Laser cutted strips & Plates (Two screws)

Drill bits of 3.2mm to fit the screw of 3mm diameter

Drill the hole by driller at the positioned marked

previously in Rhino

Sand & clean the drill traces

2.22.1

2.4

Base

B1 B3B1

T2 T3

2.3

T1

1.1

1.31.4

1.2

Laser Cut FileDigital Strips & Support & Base Model

Strips are connected to the adjoining one with the support components in between

Sandwich-like strips and support components connection

Wire rope is used to fasten the absstracted connection

Extra metal plates could be applied to the connection to reinforce the joint

Wire rope is used to connect the “load transferring strips” with the base components

The support components and base components indicates and arrange the

strips correctly in the designated position


Prototype 7


When I examining the final digital model and consider the availability and possibility of constructing the whole model with current prototype techniques, I found out that some strips in one layer does not intersecting with the other layer which means it is not connected to any support or joints if the connection is only located at the intersection of the two layers. So the notch system at intersection of the tweo layers devloped in prototype 4 is not applicable to achieve the final form of the whole model.

Therefore, extra support is needed between adjoining strips to ensure each strips are located at the designated position especially those “floating” strips at the start and end of the structure.

Support components between adjoining strips are generated in grasshopper to accurately arrange the relationships between each strips. A base components with holes correspond to the holes on the “load transferring” strips

In order to test out the ability of accuratly translating the digital form, I selected first four strips of the first and second layer which include the “floating” component, “intersecting” components as well as the “load transfeering” components. And the scale is 1:50 inorder to fit the laser cut file on to the existing available plywood sheets.

Because of the limitation of the scale, the bending tectonics is abstracted to laser cutted curved strips and the connection between the support component and the curved strips tested in previous prototype is abstracted. The location of the support components and the base and their ability to indicate the final form is the focus of this prototype.

After the assembly of the strips, support components and base components together, the prototype shows a well inherented translation of the digital model. Therefore, this abstracted prototype technique is used to produce the final model at 1:50 scale to represent the whole model because bending tectonics could only be realised at a scale of at least 1:10 which is not applicable and achivable for the fabrication of the whole model.


Prototype 8

Prepare the screws on the designated

positions of the holes

Applying the screws & nuts to fixed the connection

First Strip Attach the support connection components

according to the position of the holes

Insert the second strip onto the sipport

connection components

Support Connection Components

Insert the strips onto the connection

Use Driller to drill the holes for the screws

Apply Screws to fix the joints by screw driver

Top view of the connection Side view of the connection Back view of the connection

Upon the support components development for the final demonstration model in Prototype 7, I devloped prototype 8 to resolve the details of the connection problem between support components and adjoining strips of the structure. This prototype attempt accomodates the successful bending plywood technique in Prototype 3 where the strips are intentionally thin for bending and not able to connect by screws directly at the side.

Thefore the support components of this prototype are designed to hold both the adjoining strips together in between the gaps and fixed with the machnical fixtures on the top side.I modelled the connection digitally and assume the strips are bended. While in the physical realisation of the prototype, I simplified the bended strips into straight pieces and concentrated on the connection between each components itself.

I chose to use balsa wood for the material of the prototype to enable fast and efficient testing of the connection because the materiality of plywood is not mainly concerned. So I don’t need to wait in queue for the laser cut machine.

In the digital model I placed six crews for the connection to ensure the stability of the joints in 1:1 scale. In the physical prototype, I used only two screws to connect the adjoining strips which are in a smaller scale.

The result of this prototype is satisfying which promotes and refines the support connection in prototype 7 further and solve the problem of “floating” strips which is not intersect with the other layer under the consideration of the bending plywood tectonics.



Prototype 8

Prototype 8 Accurate Application

Prototype 8 has a satisfying result which solve the problems of the “floating” strips. So I then applied the tectonics onto part of the final digital model for accuracy. Because each strips are not positioned on the same height, the support components could not simply be just flat panels. I improved the components according to the arrangements of the final digital model and eliminate the unnecessary middle block between the two support layers. Because the screw itself already controls the relationship between the support components and the strips.

Base & Bottom Support Bottom Support Components

Bottom Support Components Top Support Components

After applying the connection panels onto the strips, I realised the improved version is very conspicuous comparing to the abstract version for the final demonstrate model. I then choose to use transparent material for the support and base components to reduce the negative distracting influence of the structural joints onto the architectural effect.


First top support layer Second top support layer Attach onto the plywood strips Aapply the screw Fix the connections


Prototype 9

For Prototype 9， the fabrication of the third mirror layer in our final model is tested. We have two potential options of the material use as the mirror: Baking Aluminium Foil and Canson Foilboard.Both of the materials have their own advantages and disadvantages which we negociated between and decide to use silver cardboard for the final presentational model to have a better neat and controllable finishes.

Baking Aluminium Foil

•Highly reflective•Very flexible in relation to follow any curved curface•Very difficult to handle in terms of keeping the surface neat and flattening.

Foilboard

•Relativly blurred reflection, therefore less glaring but less accuracy•Less flexible to follow the curvature of the surface•Always neat and flat

The foil is hard to keep flattened when cutting into the shape. On the other side, the silver card bord is much easier to cut into the shape.

•Foilboard(Left) has blurred and gradually transformed reflection which is quite different to the surface of metals and the normal mirror. But the excursive reflection helps to reduce the potential glaring of the mirror layer.

•Foil(right) has shiny but crankled reflection (might be useful for other design concept) which is not desirable for our design.

•Foilboard’s relfetion has not much difference at different angle as they are evenly applied onto the base surface.

•Foil due to the crankled surface finish has much more distorted effect of reflection at inclined angle and the reflection effect alters along the variation of the angle.

Side view of the Foilboard stick onto the plywood piece indicates that the attachment process of the material need to be taken more care. The mirror attachment should take place after the plywood base strip is properly bent, positioned and fixed so there will be no more variation of the base shape whiich will cause problem of not fully sealed shown in this photo.

The foil on the other hand has excellent fitting ability to follow the curvature of the surface without any gaps in between even when the base shape is varied.While, the difficulty of keeping the surface nice and neat during cutting and attaching process defeats all the advantages of the foil. Therefore, Canson Foilboard is chosen as the demonstration material of the mirror layer in our final model.


C.3 FINAL DETAIL MODEL Studio Air Journal 222 Studio Air Journal 223

C.3 Final Detail Model

Digital Modelling

Final Model-making Digital Planning

Final Model-making Outline Extraction

Top Support Components Bottom Support Components

Left Base Components Right Base Components

First & Second Layer Outline Top & Bottom Support Outline

Base Outline Mirror Layer Outline



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Layer 1 Lasercut File

Laser Cut Files

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Laser Cut Files

Mid Base

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Support Components Base Components

Trees Lasercut File

Site Lasercut File



Layer 1 Lasercutted Plywood

Layer 2 & Support Components Lasercutted Plywood

Base Components Lasercutted Perspex

Final Modelling Process

Burnt Assemblied First Layer

Customised Remix Paint

Painting the Burnt Surfaces

The front face of the lasercutted strips is not so burt so we tried to sand the burnt traces off the front surface. However, the side burnt could not be removed just by sanding and the result of the burnt is so “alarming” and “eye-catching” that we have to find a way to cover it up.We tried mixing up the colour using acrylic paint and using spray paint with similar colour of plywood but these attempts does not turns out a satisfying result.

The successful paint is customised from bunnings professional colour mixing paint of walls.The colour of the paint is nice, soft and close to the natrual plywood which does not distract the representation of the design form and solve the problem of over-burnt “carbon” surface.The paint does not have weird smell which is nice but we are not sure if it is toxic or not.

As soon as we find the solution of solving the burnt surfaces, I with my other two group members grouped into two sides(The fourth person is only responsible for diagram production). One side assembly the second layer and other side paint the burnt surface of the assemblied first layer.While the inner surface of the tunnel will be attached with a third mirror so the first round of the painting is rough application to prevent waste of paint on the surface with mirror.



Mirror template & Foildboard

Mirror Attachment Test

Attached the Mirror Layer

The template of the mirror layer is sticked onto the back side of the foilboard. And then the mirror strips are cutted out by scissors and stick onto the plywood strps at the designated position.

The image on the right shows the test of the mirror attachment which nicely resolved the problem encountered in the prototyping. The mirror strips sits nicely on the surface.

After the mirror attachment process is finished, a second round of painting refinement is undertaking. This process is slow, difficult and torturing using very small brushes to fill in all the gaps of the plywood for a uniform finish without polluting the mirror surface.

Final Modelling Process

The most difficult stage of the final model comes where the three of us became nearly desperate when we thought we coudln’t able to get the interlocking angle corretly.

After finding difficulty of interlocking the two layers at once, we subsided the anxious and scared feelings to calm down and face the problem with rational minds. We decide to partition the layer into parts and interlock the layer progressively.

Interlocking the Layers

After interlocking the parts one by one, we finally have some confidence of finishing the final model with correct interlocking angle as the digital model.

We reconnect the parts of the layer again after finalising the interlocking of the two layers.

Interlocking the layers

Fianlising the Model


C.3 Final Detail Model Studio Air Journal 234 Studio Air Journal 235

C.4 LEARNING OBJECTIVES AND OUTCOMES



C.4 Learning Objectives and Outcomes

Objective 1In the Final detailed design, the final form is not envisioned before I start the exploration. Iterations are developed upon the reference points and guidelines adopted from the site data. Therefore, the direction of my parametric devlopement is leaded and guided towards the goal without running out of the track.

Objective 2Through considering and processing the algorithm develppment more specifically towards the design proposal, the knowledge I leanred and the practices I received from the previous study of the parametric design is being used in a relativly more practical situation. And incorporating with other students as a group also allows me to gain more knowledge about the parametric design in other technique concepts.

Objective 5The Species are analysised and selected based on the requirements of the design goals to satisfy the functions and aesthetics requirements. And the selected one is then further developed and scoped down until a final form is decided.

Objective 6Although utilisation of the new techniques into the design has many benefits, it does not mean that including as many techniques and algorithms in one design project as possible will achieve better results. Studying the temporary utilisation of the parametric techniques with a rational and critical view helps to filter out unsufficient and unappropriate solutions to achieve the most effective and applicable result.

Objective 3During the prototyping and final model making process, three dimensional parametric tools are used to estimate, calculate, arrange and plan the model making files, components and process which will be undertaking in the real phsical world accuratly and efficiently. Therefore, many attempts are able to produced and tested quickly at different scales through incorporating the digital tools.

Objective 4Space are filled with “Air”this could also be explained as embracing and permeate all the gaps and rules of the life. A big influence of the Part C design on me which I learned from our tutor Bradley Eilas is to accept, follow and re-utilise the rule or characteristics of existing laws and rules instead of fighting against it. In this way, the negative emotions and intentions against the nature becomes positive and advantages of the design. And these swooping activities is also a part of the life which we must accomodate within. Then why not think of the problem in another way and embrace it?

Objective 7After applying the knowledge and techniques of the previous learning onto the final detailed design, my parametric design skill is further developed with more accurate consideration of the scale, dimensions and applicable ability of the parametric model within the realistic site. The data structure and arrangement is still a key part of my sectioning technique concept to creat rational and neat logical pattern to upgrading the sectioning effect.

Objective 8

Sectioning allows the realisation of almost every possible organic and irregualr surface. My tutor Bradley Eilas pointed out that I could make the base geometry of the final detailed design even more complex and “weird” to maximise the inherent ability of the sectioning technique.I appriciate this feedback which is a quite rewarding suggestion for future refinement of the design. While for this moment it is too late for me to change the base geometry because the final model has been made with lots of efforts and care. But this makes me believe there are more possiilities and potentials for me to develope in sectioning concepts.


C.4 Learning Objectives and Outcomes

Team Work

In Part C I grouped with other three team mates: Kai, Vermy and Stella. During the journey as a member of the team, I have learned many things from this experience.

Firstly, we all have our own views of architecture with very different opinions and preferences upon the same issue. Although we do argues (many times) and discussed about the design according to our own reasons and “believes”. I learned to listen and negotiated with the ideas of other team memebrs and achieve a common agreement of the design decisions towards our common goal. And we received a more comprehensive and rich resources of knowledge which brings more possibility and creativity into our design projects.

Secondly, we all have different paces of doing things and timetables. I am a relativly anxious and nervous people who is always worrying about the progression of the design. While, I leanred to be a bit patient about the progression during the experience of working with others and not forcing my pace onto them. (Although I still keep in touch with team mates frequently to communicate and exchange the progression of our project through social media and group meetings.)

Thirdly, working as a team makes me feel “safer” and more confident about the project. I kind of like the feeling of sharing anxiety and pressure of the design project with others as a team. Because there’s some one who understands the situation and I could talked and worked together with to overcome the difficulties together mentally. Especially, during the model making process of the final model, when we try to put the two layers into interlocking position, it is so “torturing” that we nearly thought we are not able to assembly it and start to questioning about our modelling plan itself. We feel so desparate that it is like witness our “baby” where we spent so much time and effort on it is dying in front of us and we could not do anything about it. While, I guess it is the power of team work, we throw away the negative emotions and decide to exam the model agagin with our calm and rational eyes. And thankfully, we walked out of the dead-end and resolved the “crisis” of the completion of the final model.

I would like to say to my team mates that “We work nicely as a team. I appreciate all the efforts and support received from you. I am glad that we could walk through this project together. Thank you for everything!”

Criticized Feedback

One crucial factor of the design direction is inspired by our tutor Bradley Eilas who provides rational and reliable feedbacks upon the initial proposals and intentions. Especially in the decision-making stage of our team’s final design concept and final design form where he directed our visions of the final design into the right track.

In the developmenmt of the prototype, he indicates valuable and rewarding suggestions and guidance which helps us to achieve better results. He also helped me with the technical problems I encountered in grasshopper all the way through the studio, such as how to draw diagnoal lines through a grid of points on a surface, how to find the accurate location of the points on strips which touches the ground and so on.

He is an important person who sits both in and out of our project because he knows well about our project but at the same time keeps a distance from it to have a sharper and clearer critique vision of the reality.

I would like to express my grateful feelings here that “I apppriciate the help, lessons and patience received from you and feel honoured to be your student. You are a great teacher for being caring and honest about the work at all the time. I have learned a lot from your teaching and feedbacks. Thank you millions!”

C.5 APPENDIX - ALGORITHMIC SKETCH


C.5 Appendix- Algorithmic Sketches

Loop & Panel



Loop & Panel



Diamond Hurricane



BibliographyOffice of Environment & Heritage, Australian magpie <http://www.environment.nsw.gov.au/animals/TheAustralianMagpie.htm>[accessed 8 May 2016]

Figure BibliographyFigure 1 Australian Magpie (Cracticus tibicen), photo by Rosie Nicolai, Retrieved from http://www.environment.nsw.gov.au/images/animals/australianMagpieSm.jpg

Figure 2 Merri Creek Map, Google Map Earth, Retrieved from https://www.google.com/maps/place/Willowbank+Rd,+Fitzroy+North+VIC+3068,+Australia/@-37.7721839,144.95757,8226m/data=!3m1!1e3!4m2!3m1!1s0x6ad643684e5dadf9:0x660cf7117ce184e9

Figure 3 Selected Site Overall Map, Google Map Earth, Retrieved from https://www.google.com/maps/place/Willowbank+Rd,+Fitzroy+North+VIC+3068,+Australia/@-37.7721839,144.95757,8226m/data=!3m1!1e3!4m2!3m1!1s0x6ad643684e5dadf9:0x660cf7117ce184e9

Figure 4 Open Grasslands Map, Google Map Earth, Retrieved from https://www.google.com.au/maps/place/Willowbank+Rd,+Fitzroy+North+VIC+3068/@-37.7754198,144.9877457,103m/data=!3m1!1e3!4m5!3m4!1s0x6ad643684e5dadf9:0x660cf7117ce184e9!8m2!3d-37.7753745!4d144.9852343

Figure 5 Site Map, Google Map Earth, Retrieved from https://www.google.com/maps/place/Willowbank+Rd,+Fitzroy+North+VIC+3068,+Australia/@-37.7721839,144.95757,8226m/data=!3m1!1e3!4m2!3m1!1s0x6ad643684e5dadf9:0x660cf7117ce184e9

Figure 6 Site Levelling, Youtube, Retrieved from https://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwit7tX24vzMAhUBLpQKHTs-CS4QjRwIBw&url=http%3A%2F%2Fwww.oneprojectcloser.com%2Fhow-to-level-a-plywood-or-osb-subf loor-using-asphalt-shingles-construction-felt%2F&bvm=bv.123325700,d.dGo&psig=AFQjCNHeFlu6PrmOS7dVUg1VWk9zGzlfjg&ust=1464524916425344

Figure 7 Transport, flickrive, Retrieved from http://www.flickriver.com/photos/tags/valueliner/interesting/

Figure 8 Weather protection, Retrieved from https://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwiom7bt5PzMAhUDX5QKHcIpBjkQjRwIBw&url=http%3A%2F%2Faftek.com.au%2Fwoodcare.html&bvm=bv.123325700,d.dGo&psig=AFQjCNHZMJINA2co4jxrAX8nzbxtoct8RQ&ust=1464525515815609

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