AIR CHEN (RICK) LIU . 531834 . GWYLL & ANGELA . GROUP 8 & 9

ARCHITECTURE DESIGN STUDIO . ABPL30048 . SEMESTER 1

CONTENTS

INTRODUCTION

PART A EOI I CASE FOR INNOVATIONA1 ARCHITECTURE AS DISCOURSE

A2 COMPUTATIONAL ARCHITECTUREA3 PARAMETRIC MODELLING

A4 ALGORITHMIC EXPLORATIONSA5 CONCLUTION

A6 LEARNING OUTCOME

Part B EOI II DESIGN APPROACHB1 DESIGN FOCUSB2 CASE STUDY 1B3 CASE STUDY 2

B4 TECHNIQUE DEVELOPMENTB5 TECHNIQUE PROTOTYPEB6 TECHNIQUE PROPOSAL

B7 ALGORTHMIC SKETCHESB8 LEARNING OBJECTIVES AND OUTCOMES

PART C. PROJECT PROPOSALC1. Gateway Project: Design Concept

C2. Gateway Project: Tectonic ElementsC3. Gateway Project: Final Model

C4. Algorithmic SketchesC5. Learning Objectives and Outcomes

Hi there, my name is Chen (Rick) Liu, a third year Bachelor of Environments student major in Architecture. This journal showcases my progress as an architecture student during my Architecture Design Studio: Air includes my exploration of the key themes. Since I do hand drawing most of the time, digital drafting is never my strong point, however I love the challenge as digital design is more and more important in modern day design industry.

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I started to use digital design tools since Year Eleven, which basically only the Adobe products at that moment. I also start learning digital design theory pretty much the same time. The first time I started to use digital architecture design tools was when I entry the university to begin my architect professional training.

After 4 years of practice, I believe I developed a good understanding of the Adobe products, also with a general knowledge of using architecture design tools.

Digital Architecture creates both virtual forms and physical structures by using computer modeling, programing, simulation and imaging. This terminology has also been used to refer to other aspects of architecture that feature digital technologies. Those architectures created digitally may not involve the use of actual materials, such as timber, grass, brick, stone and steel.

Virtual Environments ‘Body Space‘ project inspired by ink-drop into water, Chen (Rick) Liu, by using Rhinoceros 4, 2011.

Site Tectonics ‘Site Re-Build with Farnsworth House’ Proj-ect, Chen (Rick) Liu, by using Rhinoceros 4, AutoCAD & 3ds Max, 2012.

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Part A. EOI I: Case for Innovation

A1. Architecture as Discourse

Architectures are not designed only for shelters anymore, since there is more architecture are designed by the

digital design tools, they’re not necessarily need to be complete built. This kind of architectures aim to produce information that may change the way people view the space that surround them

or just simply solve problem by provoking a new way of thinking...

Fig.1 Walking CityImage source: ©http://designito.wordpress.com/2013/04/04/architectural-discourse-digital-computation-and-parametricism/

Architectural discourse is where design ideas grow stronger and improved by way of community analysis from different audience community groups. Its important for design concepts to be challenged by others and built on, to become relative to a broader audience.

All architecture elements are open for discussion before being built into a physical form. Each elements or idea is incomplete on its own. We need each other both reflecting on the work and ideas of others through history, across the world and over a variety of skill areas and professions.

In this course, we are mainly concerned with the discourse surrounding digital design techniques. But Traditionally, equality and community are the two of the important elements that involves in architecture discourse. Regardless of whether anyone agrees, discourse is not about agreement or it would not be successful in its job to create useful change. With disagreement and critical discussion the outcome can only be more completed and rounded. 6

Fig. 2 Exterior view of Museo SoumayaImage source: Rafael Gamo; pp 67, 68(t&b), 69(t) © FREE / Fernando Romero Enter-prisE; p 69(b) © FREE / Fernando Romero EnterprisE, Photo: Raúl Soria

Museo Soumaya, Mexico City, MexicoFernando Romero EnterprisE(FREE)

The Museo Soumaya was conceived as an iconic structure with two missions: to host one of the largest private art collections in the world, and to reshape an old industrial area of Mexico City.

Mexico has a great tradition of craft and its artisans have a deep understanding of space, light and material. Stone, wood and masonry have historically been the key material elements of this language, and skilled artisans are able to create almost anything from them.1 Fernando Romero’s challenge lies not solely in the craft of building or the engineering of a project, but how to organize the creation of a culture collaboration to allow new possibilities of building form be created.

1 Bridging a culture the Design of Museo Soumaya, Architecture Design, http://onlinelibrary.wiley.com/journal/10.1002/%28ISSN%291554-2769/issues

Fig. 3 The Honeycomb shape exterial panels Image source: Rafael Gamo; pp 67, 68(t&b), 69(t) © FREE / Fernando Romero EnterprisE; p 69(b) © FREE / Fernando Romero EnterprisE, Photo: Raúl Soria

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The surface was divided into two zones: the most curved and the most regular. For the most regular zone,

similar sized hexagons were grouped into ‘families’.

Fig. 4 Panel Families DefinationsImage source: Rafael Gamo; pp 67, 68(t&b), 69(t) © FREE / Fernando Romero Enter-prisE; p 69(b) © FREE / Fernando Romero EnterprisE, Photo: Raúl Soria

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The whole design process was based on central digital modeling. Due to the complex form of the building, the design of interior elements such as ramps, structure and roof would not have been possible using a traditional 2-D drawing and design process that leaves a lot of room for interpretation.21

As architecture becomes more complex, it requires a simple, integrated process to understand and communicate this complexity. In architecture, unlike in other design disciplines, the process is unique to every project and so constant recalibration is necessary.

Personally I think they cannot continue to use traditional linear design processes because this form is too complex and required the parametric design tools. A concurrent, integrated process is required in which all the different concepts to merge

2 Bridging a culture the Design of Museo Soumaya, Architecture Design, http://onlinelibrary.wiley.com/journal/10.1002/%28ISSN%291554-2769/issues

together and the only way to achieve this is through technology.

Fig. 5 Form DefinationImage source: Rafael Gamo; pp 67, 68(t&b), 69(t) © FREE / Fernando Romero Enter-

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Kuwait International AirportForster + Partners2011

The Kuwait International Airport designed by Forster + partners has

same idea as FREE’s design. Thisenvironmental responsive building

demonstrates the capabilities of new technology. It contains a huble

form but the design and construction process is innovative.

Fig. 6 Exterior view of the AirportImages © Foster + Partners

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The design process includes using CAD and digital modeling. The airport bases on triple rotational symmetry computational geometry shape around its origin, moreover, each of its wings has mirror symmetry. The interfaces between the bays are highly complex in terms of curvature and benefited from the symmetry-encoded representation. In terms of the geometry method statement – used for communication with contractors – the notation that is given by the symmetric representation becomes clearer, more compact and less prone to errors.31

Airport as one of the busiest location that welcomes the visitors from all over the world, it’s the face of Kuwait. The design concept with new technology need to find a balance point with the traditional Kuwait architecture forms.

3 Symmetry As Geometry Kuwait international Airport, Architecture Design, http://onlinelibrary.wiley.com/journal/10.10

02/%28ISSN%291554-2769/issues

Fig. 7 Symmetry EncodingImages © Foster + Partners

Fig. 8 Early Design StageImages © Foster + Partners

Fig. 9 Space under the RoofImages © Foster + Partners

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“Architects often work with objects of non-trivial topology, and it is now becoming possible to incorporate the

topological considerations of a design using digital tools. This will lead to a simplified computational approach as the advent

of new software that exploits symmetry and geometry opens up new design capabilities. “

--John Wiley & Sons Ltd.

Fig.10 Interior space under the roofImages © Foster + Partners

Fig.11 Interior space under the roofImages © Foster + Partners

Fig.12 Interior space under the roofImages © Foster + Partners13

Fig. 13 Exterior view of the AirportImages © Foster + Partners

Fig. 14 Space under the RoofImages © Foster + Partners

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A2. Computational Architecture

Computational architecture involves that using the digital design tools during the design process in modern day industry. It helps to create the form that never be created before, and expend the

“satisfy“ solution options.

Kalay discussed the relationship between human and computers in design industry in his book. He thinks computers as the digital design tools which been pre programed, it can help avoid the errors and mistakes that could happen during the normal design process. And human as the one who provide the “creativities“, that normally has been limited the design solution range can extend the searching range for their solutions with the digital design tools.

However, is it true that there will be more design solution will match the “Goal Space“ where the solutions meet the design agenda. Or it can be simply gives us more design solutions out side without expending the goal space which still could not help us to find more solution options because human still don’t have he ability to reach them. Image source: Tehuda E. Kalay Architecture’s New Media

: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004),

Fig. 15 Kalay’s idea of design solutions

Fig. 16 Kalay’s idea of design after using digital tools

Fig. 17 The other possibility that after using digital design tools

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The design and construction industries become more and more rely on digital tools, they saves much more time to solving the problem by processing through all the possible solutions that can come out follows the program and then choose a few which are the closest to the design agenda.

Because of most of the programing are following the mathematics way, which includes a huge amount of geometries, it can simply creates different geometry shapes by the changing the rules and then merge different rules together in order to create a whole range of conceivable and achievable geometries which can never been reached by human only.

Also, the computational design can model the design object without building the physical model, which gives designers chance to pre-view the design in order to check the design performance. It gives a huge advantage which saves a lot of time and materials. It can fastens the design process, which is important for responding to the need of fast paced life style.

Molteni Arc TableJethro HanFoster + Partners

Fig. 19 Initial Cross-SectionImage source:pp 32(tr&br), 33(l) © Foster + Partners; pp 32(bl), 33(l) © Molteni

Fig.18 Initial Input FormImage source:pp 32(tr&br), 33(l) © Foster + Partners; pp 32(bl), 33(l) © Molteni

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SMG explored computational design processes for the Arc Table through sketching custom software to test ideas. The software created was engineered to form find towards an equilibrium state within a tensile structure given a set of forces and constraints acting on the input geometry. 1

The Arc Table design emerged through a deliberate intervention into how geometry behaves during simulation. The geometry was controlled through adding, subtracting and manipulating forces to influence the simulation, rather than through direct manipulation. Design intent and material logic were embedded in the digital model through the definition of mathematical rules. The computation of forces and digital management of material dimensions have therefore meant the designers can instead concentrate on experimenting and manipulating form. 4

4 MatheMatical Ensemble Molteni Arc Table, Architecture Design, http://onlinelibrary.wiley.com/journal/10.1002/%28ISSN%291554-2769/

issues

Fig. 20 Sectional Rapid Prototype ModelImage source:pp 32(tr&br), 33(l) © Foster + Partners; pp 32(bl), 33(l) © Molteni

Fig. 21 Close-up of the Final modelImage source:pp 32(tr&br), 33(l) © Foster + Partners; pp 32(bl), 33(l) © Molteni 18

Fig. 22-27 Different Views of the PavilionPhotos © courtesy of ICD/ITKE Stuttgart

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MoltICD/ITKE Research PavilionInst. for Computational DesignInst. of Building Structures & Structural DesignUniversity of Stuttgart

The project explores the architectural transfer of biological principles of the sea urchin’s plate skeleton morphology by means of novel computer-based design and simulation methods, along with computer-controlled manufacturing methods for its building implementation.

As a requirement for the design, an optimized data exchange scheme is created in order to make repeat reading the complex geometry into a finite element program to analyze and modify the critical points of the model possible.

“Employing custom programmed routines the computational model provided the basis for the automatic generation of the machine code for the control of an industrial seven-axis robot. This enabled the economical production of more than 850 geometrically different components, as well as more than 100,000 finger joints freely arranged in space. Following the robotic production, the plywood panels were joined together to form the cells. The assembly of the prefabricated modules was carried out at the city campus of the University of Stuttgart.”51

This pavilion research provides an opportunity to investigate methods of computational design by using the freeform surfaces which representing different geometric characteristics while developing two distinct spatial entities: one large interiorspace with a permeable inner layer and a big opening, facing the public square between the University’s buildings, and a smaller interstitial space enveloped between the two layers that exhibitsthe constructive idea of the double layer shell.

5 MoltICD/ITKE Research Pavilion, University of Stuttgar, <http://icd.uni-stuttgart.de/?p=6553> 20

A3. Parametric Modelling

Parametric Modeling has been given not only one, but multiple definitions. Personally, my understanding of parametric

modeling is the design needs to be based on sets of rules or parameters or even equations if comes down to computational design. Curtain demands must be made in order to incorporate into the design in either functions or performance or the design

forms.

Parametric has also come to reprsent a specific architecture style, in one of Patrik Schumacher’s articles. A style that offers a credible, sustainableanswer to the crisis of modernism that resulted in 25 years of stylistic searching.

Parametric modeling is a whole new revolution’s product, a design tool that allows more computational approach affect on the design form and performance. It bases on sets of rules and parameters that assist generate forms and test performance, which achieved in both the beauty of architecture and its functionality.

Because the ability to solve complex computational efficiently, parametric modeling open the new possibility of design solutions.

White NoiseTemporary Art Pavilion

soma ArchiectureSalzburg, Austria

2010

Fig.28 Exterior View of White NoiseImages Source: © F. Hafele

Fig. 29 Digital modelingPhotos © soma Arthiecture

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The parametric modeling has been adopt-ed in the design process of the White Noise Temporary Art Pavilion designed by soma Architecture in Salzburg, Austria.

Because of the unique shape, material and the engineering requirement, which the aluminum rods lay on a seemly random positions, the geometry parameterization was constructed in Grasshopper, that created multiple solutions that include the consideration of the aesthetics, structural integrity and performance quality.The main innovation of the project was the create a surface from an aggregation of rapid elements with unique joints. This was facilitated by the use of parametric design software and would have been impossible otherwise.

Fig. 30 Load holding modelingPhotos © soma Arthiecture

Fig. 31 Space using diagramPhotos © soma Arthiecture

Fig. 32 RenderingPhotos © soma Arthiecture23

ContemPLAY PavilionMcGill School of Architecture

The pavilion is meant as a multi-generational artifact that gathers the ideas of contemplation and playing in a single clear gesture.

The gesture itself is a three dimensional Mobius strip supported by a triangular truss. The truss is a combination of plywood and steel members. The cladding is a visual pattern generated to create a simultaneous Moiré and parallax effect.

The Moiré pattern and an optimized space frame are generated via customized digital parametric modeling which in order to resolve all these design criteria.

Fig. 33 RenderingImages Source: © eVolo.com

Fig. 32 RenderingPhotos © soma Arthiecture

Fig. 33 RenderingImages Source: © eVolo.com

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such as the creation of two surfaces which activated the Moiré but required strong yet minimal structural solution.

The project enhances the potential for utilizing latest developments in digital design and manufacturing, exposing advanced construction techniques, digital processes and theoretical approaches to architecture in the public realm, which allowed for the efficient management of material and optimized structural and formal solutions. Using grasshopper, Rhino and SolidWorks, the team managed to maximize the use of materials while simultaneously producing a distinct project. The manufacturing included CNC cutting for the plywood and CNC laser cutting for the steel details.

Fig. 33 1:1 ModelingImages Source: © eVolo.com

Fig. 33 RenderingImages Source: © eVolo.com

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Fig. 33 Street ViewImages Source: © eVolo.com

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A4. Algorithmic ExplorationsAlgorithmic scripts give the ability to review the previous ideas and explorations, and it produces the models efficiently. It also able to store a large amount of input data for the information exchange between the user and program, and always available for further evaluate and reconfigure the designs. Algorithmic script also shows an easy way to share the design between the users.

However, it also require a clear design direction which in order to create the algorithms. And it may create difficulty for the one who do not know the program well.

Exploration 1: Vase

Exploration 2AExploration 2A

Exploration 2B Exploration 2B27

Exploration 3: Patterning

Exploration 3: PatterningExploration 3: Gridshell

Exploration 3: Gridshell

Exploration 2A

Exploration 2B28

A5. Conclusion

Digital design tool is created for aiming to reach new potentials and create more capable design in architecture industry. The new design tools such as parametric modeling gives more choice to the designer for making more creative geometrics shapes, and further their understanding in both of the design performance and aesthetics. It also maximum the design innovation by merge a large amount of different discipline into the design prcesses, such as the fabrication, material and design performance.

As the future of architecture design, it makes an exciting change in the industry, it creates the new way of thinking, and push the innovations to the next level. The new approach of the design is creating a building space and system that response to the environments and its users, we may call this sustainable and it will cost less energy, every single building will be unique because different buildings will be responded to different site surrounding and different need of users.

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A6. Learning Outcome

During the exploring of architectural computing, it opened my mind of the architecture concept. It is no longer just about the traditional way of architecture design process or the concept of only material, form and load transferring is the only part of architecture. Architecture should contain the idea of different culture, different values and different history background that will put together to create a huge impact on the nature and society.

Like a chain, what we construct is affect from how we view the world around us and how we are shaped by the society, and what we construct will shape the others’ way to see the world. People, society and nature are keeping reshapes each other, and people are constantly reevaluating our surroundings, so am I, and after the study, I found I have new way of thinking and view my surrounding.

After the explorations of part A, I have more understanding of the role of how computation tools are such an important role of modern day design process. The 3D modeling such as Rhino and Grasshoppers has defiantly widened my mind of creating different forms and spaces by following the parametric rules and how different design approach can be used in our next design task-Wyndham Gateway Project.

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Part B. EOI II: Design Approach

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Regerences:Image source: ©http://designito.wordpress.com/2013/04/04/architectural-dis-course-digital-computation-and-parametricism/

Architectural Design, Bridging a Culture The Design of Museo Soumaya.

Architectural Design, Symmetry as Geometry Kuwait International Airport

Foster + Partners, < http://www.fosterandpartners.com/ >

Architectural Design, Mathematical Ensemble Molteni Arc Table.

University of Stuttgar, <http://icd.uni-stuttgart.de/?p=6553>

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

Architectural Design, Linking Structure and Parametric Geometry.

Image source: eVolo.com, <http://www.evolo.us/architecture/contemplay-pa-vilion-mcgill-school-of-architecture/>

soma Arthiecture, <http://www.soma-architecture.com/index.php?page=vague_formation&parent=2#>

Part B. EOI II: Design Approach

B1. Design Focus

Carpenter Centre Puppet TheatreThe Carpenter Centre Puppet Theatre constructed in the Harvard Centre for Visual arts is a demonstration of tessellation in parametric design. This project incorporates five hundred unique panels assembed using a system of bolts. The white panels form not only the complex geometric pattern of the project, but the structure also.

The integration of aesthetic and function is an element that we would like to explore in the Gateway Design Project. The Puppet Centre can be assembled and dissembled relatively easily due to its construction method. This allows a flexible design approach and ease of maintenance and increased longevity. The use of undulating patterns and rhythms is also made possible through tessellation.

The theatre is made possible through the distribution and transfer of loads across the surface of the structure; this allows large spans and complex geometries as well voids and lighting integration. Despite the Puppet Centre's 3-inch panelling, it is able to span an impressive 15 feet in the central void. This translates into a lightweight structure, efficient and malleable, and a method of construction ideal for a project like the Gateway Design.

The Gateway Design project will require sections of the instalment to span distances with no support structure. The tessellation method will allow for an intricate and involved geometry as well as the structural integrity required for a functional and efficient project.

Fig. 2 Exterior of puppet theatre

Fig. 3 View from interior to exteriorFig. 1 View of panel structure and geometry34

‘Voussoir Cloud’IwamotoScott

Fig. 4 Interior View --showing illumination and structure

Fig. 5 Bird’s Eye View of Structure

Fig. 6 Lightweight wooden panels repeated detail

The project “Voussoir CLoud” by architectural firm IwamotoScoot is an idea a tesselated surface with many unique panels installed over a larger room. The installation explored the structural properties of lightweight materials and how the needed strength can be achieved by the repeating elements, which all vary slightly and have their own character, can work together as one homogenous unit.

Getting inspiration from architects such as Gaudi’s Hanging Chain model, IwamotoScott construct each vault as a Dalauney tesselation, which utilised the structural quality of dense and small patterning at the column base while using more porosity in the roof areas and larger panels where less structural qualities are needed. This shows the benefits and robustness of the wooden panels and how the repeating tesselations can achieve a smooth but stable form, which can also illuminated by sunlight and space for lighting in the panels.

The Gateway Design Project will need to use the strength of columns to support any roof structure along the site, which still uses panelling that is incorporated into the whole design. The importance of lighting is seen in the brief, needing effective lighting manipulation in both sunlight and during nighttime, as the road is commonly used in all 24 hours of the day.

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Fig. 6 Lightweight wooden panels repeated detail

VoltaDom by Skylar Tibbits for MIT’s 150th Anniversary Celebration and FAST Arts Festival is an installation, which contains the idea of a tessellated surface of geometric vaults with reminiscent of the great vaulted ceilings of historic cathedrals.

In this project, the key elements we would like to explore in the Gateway Design Project is integration of aesthetic and structure. The combination of parametric rules and cathedral vaults innovate the idea of transforming the traditional language of architecture into the simple geometric shapes and computational design. The vaults also provide a spectrum of oculi that penetrate the hallway under the project and the surrounding area with views and light.

With the expansion of architectural surface panel by intensifying the depth of doubly curved vaulted surfaces, it managed to create a self-support structure which no need any additional support poles in the middle of this large scale project. This can help us to understand how to create an open space under the Gateway Design project in a long distance without support structure by transfer the load to the side of our design.

The vaults design also allow the structure turn to any direction flexibly, which is needed in our project to connect the three separate sites together by only one structure with series of turning point.

VoltaDom

Fig. 7 Interior View

Fig. 8 Exterior View

Fig. 9 Exterior View36

HyposurfaceHyposurface by dECOi architects is one precedent that uses ‘Tessalation’ to create an interesting and innovative installation. Constructed in the Birmingham Hippodrome Theatre, the Hyposurface wall moves via computer controlled pistons which react to the movement of sound in the theatre.

It works in a similar way to the Cirriform Responsive Facade in Seattle, Washington by Future Cities Lab. This facade reacts to the closeness of and the movement of people both inside and outside the building. It was created using Firefly; a plug-in for Grasshopper, so therefore is relevant to this studio.

These precedents could be useful for our Gateway Project as we could encorporate the use of a fluid, tessalated surface that moves in conjunction with cars and the speed they are travelling.

Fig. 10 Close up View

Fig. 11 Exterior View

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B2. Case Study 1

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We chose to use Tessellation as our main focus point for the following weeks by using penalization, repetitive elements defining the whole and breaking up of complex surfaces by repeating elements. The four sequences of highlighted geometric outcomes of the parameter rules pressed the complicate the simple surface into a repeated object and breakdown each area to smaller units and connect them in different ways.

The manipulation process in case study 1 included 4 different experiment.

We simply looked at the different effect can be made by just changing the height of the two related the edges of the version cloud model. (see row 1.)

After that, in row 2, without changing the height, we were changing the base of the model by changing the parameter tools, this will relate to the stability of the design in later design process.

In row 3, we changed both the height and the area of the base to experience the overall impression of the verssior cloud under the different conditions.

As we finished the test general experiment, we changed the Delaunay Mesh and Smooth Mesh parameters to see how the object without the smooth surface or if we give the object cuts.

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B3. Case Study 2

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In Case Study 2, we are more focused on create a whole new algorithm in Grasshopper without using the parameter tools that been provided in Case Study 1.

Series of different basic shapes has been made for testing the if the same technology can be applied on different surfaces under different conditions.

In row 2 we tried to recreate the structure by following the way how the road turned, and originally we were expecting to get some curve objects, but because the parameter can not apply on curves, so the grasshopper forced to change the curves into multiple straight lines join together in different angles.

As one of our focuses is on the stability of the object on the Princes Freeway in Wyndham. In row 3, we tried to use the double surface on the ground and different ratio of the top opening and bottom open, it ended up with some really good forms. when the 2 openings facing the same direction by repeating the same definition twice.

In row 4 and 5, we remove the original idea of the verssior cloud, and re-applied the opposite rules into it, these two experiments aim to create contrast from the flat landscape.

And in the last outcome from the row 5, we completelyclosed the opening on top, which it forms a really sharp form to meet our objective for row 4 and 5.

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B4. Technique Development

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Hugh Ferris Renderings

After the exploration of both case studies, we built a clear idea of what our project going to be next. We decided to create a illusion of the city from the plane landscape of the site.

By do so, we decide to use Hugh Ferris’s rendering as our precedent for our objective. Wyndham starts of dense suburbia. It leaves behind the vast countryside and farmland instead of the dense households and average population. Therefor we are going to bring the urban illusion to the side by create a “ghost town“ out of the contrast between light and shadow.

This creation will also became a land mark/sign for the people who drives to Melbourne that the CBD is not far away from where the gate way lo-cates.

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UK Pavilion Shanghai Exhibition 2010

In order to create the contrast of the light and shadow, we were look for solutions from the UK Pavilion. The special lighting effect had been created by using the Optic Fiber poles can easily create the different density of the lighting in the Gate Way project. Which by control the lighting density of the light, we can make the Hugh Ferris’ rendering in reality.

By using the illumination effect in our definition, we can combine the small units together to get a larger scale effect. Also the form create from the similar tools can make the object really memorable for the drivers in both day and night.

The parameter tools that I focused on include Image Sampling, Vector Diagram Loft around curve and Oct Tree.

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B5. Technique Prototypes

To fabricate our prototype we thought it would be best if we used the three initial curves to make a wireframe structure that could stand by itself.

To cover up the structure for the lights both in the prototype and for the proposed final design as it creates a much cleaner and sleeker monument.

Fibre optic lights to create the tes- sellated light pattern that we modelled using Grasshopper. The same could be used for the final structure in the Gateway Design Project.

Finished Prototype

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B6. Technique Proposal

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B7. ALGORITHMIC SKETCHES

Image Sampling

Loft around curves 52

B8. Learning Objectives & Outcomes

Through the exploration of the way to create by using parametric tools, I found there are so many different methods that we can use to full fill our objectives in the design stage, with the knowledge and ability get developed through the course, I found there are more things i would like to know now in order create the perfect form in my mind.

The ability to incorporate the initial ideas that we had found in the Expression of Interest section was going really well, but there are areas that we still need to be concerned for our gateway project, by continuing to improve our abilities of using computational and parametric design tools and try to find new ways to combine with the methods of parametric modeling we already know.

Architecture as discourse is one of the main topic that we need to focus on, so we need to keep searching the story behind the design to refine how our design can be the discourse.

After the Mid-semester presentation, I release that we still need to build the connections between each of our design objects, at the moment they looks more like different individual and hardly can be considered as a whole.

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Regerences:AD Magazine, Vol 83, Issue 2, ‘Computation Works: The Building of Algorithmic Thought,’ Wiley and Sons Ltd.

http://www.mediaruimte.be/digital_territories/projects/cybernetic/Aegis-Hypo-surface_deCOi.html

http://media-cache-is0.pinimg.com/192x/3 9/2e/90/392e90e21f7eeb.jpg

http://newsfeed.kosmograd.com/images/ferriss_292.jpg

http://4.bp.blogspot.com?UK-Pavilion-at-Shanghai-EXPO-2010-by-Thomas-Heatherwick-1.jpg

http://ad009cdnb.archdaily.net/wp-content/ uploads/2010/05-ukpavil-ionsh0068-528x351.jpg

http://upload.wikimedia.org/wikipedia/commons/c/c2/UK_Pavilion_of_Expo_2010_2.jpg

Part C. Project Proposal

C1. Gateway Project: Design Concept

After the mid-semester presentation, we got multiple crit jury that we need to consider into our design concept. In

relationship with the site, we recieved the suggestions of elevating our design to create verticality, creating added

interest into Wyndham and focus more on tessellation to present the lights.

In order to represent one of the key elements -- Verticality, we elevated the forms by adding a structure pole to each of the form we had created.

Then, adding more tessellated dots on the surface on certain surface to form different lighting effect for the people looking from different angles, the froms of the design had been changed from curve to flat serfaces since we found flat surfaces are more effective and easier when it comes to controll the tessellation in a certain area.

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Maya tessellation to generate basic grid

Select 8 shapes as the basic shape to extrude froms

Paint certain surfaces

Add divition and trangulate to create points

Grasshopper: Image sampling to create points

Grasshopper: tessellate circles

Technique Flow Diagram

Construction Flow DiagramMaya Form Creation

Grasshopper Tessellation

Rhnioceros Form unfold

Laser cut on plywood

Put cut out panels together, model making

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Grasshopper: tessellate circles C2. Gateway Project: Tectonic Elements

PrototypesThe prototypes has been shown below are aiming to test the forms, material and both in day and night conditions.

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Tessellated gridThis grid was generated in Maya, and it was tessellated for the forms choosing which in order to create the objects.

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Victor Diagrams

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C3. Gateway Project: Final Model

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C4. Algorithmic Sketches

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C5. Learning Objectives and Outcomes

This subject has been quite a different experience to other design studios that I have done. Although the design tools that we needed to use to respond was very foreign. After the whole semester, now I can say that this subject has improved my digital technical skills and knowledge for the parametric design.

Since computation and parametric design has endless possibilities, I feel that the teams were really getting pushed to find the direction for the way that concept would be rationalise complex and alien designs techniques.

I do feel that my team has been quite limited by our skill level, but I do think that we had pushed ourself to the high standard and we still got benefitted from this different style of studio.

Overall, I think that our proposal design has become the best proposal that we could have put together. We realized that our weaknesses and have really tried hard in other aspects of the project.

In the end, thank you.

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