ARCHITECTURE DESIGN STUDIO

A I R2 0 1 5

616221 NG WENG TENG, VENUSTUTORIAL 13 (BRAD)

Contents

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Design FuturingDesign ComputationComposition/ GenerationConclusionLearning Outcomes

Research FieldCase Study 1.0Case Study 2.0Reverse EngineeringMatrixs ExplorationPrototypesTechniqual proposalSite AnalysisDesign ConceptLearning OutcomesAlgorithmic Sketch

Rethinking the Design CriteriaSite AnalysisConcept DiagramGrasshopper DefinitionTest and AdjustmentPrototypesFinal DesignPrototypesTree ConnectionModel on SiteFabrication of Final ModelFinal ModelPlan ElevationsCollageLearning objectives and Outcome

Part A

Part B

Part C

Introduction 1

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INTRODUCTIONAbout Me & Previous Work

My name is Ng Weng Teng, Venus. born and raised in Macau, a small but beautiful

city which may not be well known by quite a number of people. I am currently studying in the University of Melbourne as an international student, majoring in Architecture and I am now in my third year. Melbourne is a dynamic and spacious city comparing to the compact and densed feature in Macau. Moreover, it widen my eye sight by moving from a small city to a big one.

I first found my interests in architecture when I was in primary. When I was small, my dad always drive me around the city during weekend. I used to observe the surrounding through the window of the car. I always got questions such as how the building is built and why it looks that way. However, I have not thought of studying in architecture at the time since I have not touched anything related to Architecture and I did not really know what Architecture is.

since I have not touched anything related to Architecture and I did not really know what Architecture is.

I have chosen to study Architecture just before the year that I have to enter the university. As I know more and more about Architecture, I found that I am being attracted to the subject. I want to work on something that I enjoy in my study, as in my career.

Due to the needs in my srudies in architecture, I have started to use some computer programmes which help me in producing and exploring the design possibilities to a large extend.

In the year 2013, I have taken my first course in parametric deisgn which is the “virtual enivronment”. The course requires us to use Rhinoceros to prodice the design via digital way. This is the first time that I have gotten in touch with 3D programming. The theme at the time was to explore the second skin development. The process of the design is to develop a digitisation of the physical model and fabricating the physical model. With the use of Rhinoceros and the panelling tools, I was able to explore different possibilities with my design. It may not be possible to produce the final outcome without the use of 3D programming.

During the fabrication process of the physical model, I have the engagement of using computer aided manufacturing (CAM) with the Fab Labs. With the use of computer, it allows me to construct a more accurate models in a faster and more convenience way way.

I am looking forward to discover more on the digital design which helps in maximising the possibilities of my design.

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Fig 1.1 Model of the second skin development Fig 1.2 Digital Modling

Fig 1.3 Movement of model Fig 1.4 joinst of component

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PART ACONCEPTUALISATION...

DESIGN FUTURING

Over the past centuries, people see architecture as an art piece. They concern on the beauty and the form of architecture. They see architecture as an individual piece of work. However, architecture is not only about building itself. It relates also to the environment and the surrounding. What is the relationship between architecture and future? What does it mean to design futuring?

Future always links to the present. Everything we do at the present is affecting the future. Present is a base for future. In the aspects of architecture, it is affecting the future to some extends. When a building is being built, it should not be consider as an individual, rather, environmental content should also be taken into the account. Since we are now using up the materials on earth faster than what can be produced, it is very important to consider on

sustainability1. Being sustainable is the way to construct the future rather than destruct the future.

Design should work with the environment harmonically. Moreover, challenging the present pushes us towards the future. In order to design with some new ideas, aside from creativity and imagination, exploration of the possibility of a design is essential.

Future design and architecture cannot be decided by anyone of us. Future contains uncertainties and possibiilities. The only way to “design the future” is to think crritically, perhaps with the use of technology to explore on the possibilities on the design, which may lead us to a new direction to approach the “tuture”.

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1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

DESIGN FUTURING

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Archigram is a avant garde architecture group from the 1960s. The most famous project of Archigram is the Plug-in City by one of the founders, Peter Cook. Plug-in City is a mega structure with massive framework. Residential units do not appear in the form of a building, but individual blocks which can be slotted.

“The Plug-in City is set up by applying a large scale network-structure, containing access ways and essential services, to any terrain. Into this network are placed units which cater for all needs. These units are planned for obsolescence. The units are served and manoeuvred by means of cranes operating from a railway at the apex of the structure. The interior contains several electronic and machine installations intended to replace present-day wprl operations.2”

Plug-in City is designed in the way where most of its elements are expendable and are designated for future replacement.The project is never built. However, the innovated ideas are greatly appreciated. It expans the future possibilities by providing inspiration and motivation for the architects to design the future. Today, debates are still being evoked on combinging technology, architecture and society, challenging the traditional way of thinking on architecture3. Though it may not be realistic, it provides a new approach to urbanism. Its conceptual contribution to the evoluation of architecture is highly significant. Nonetheless, the issue of environmental sustainability is unaddressed.

The Plug-in CityPeter Cook, Archigram, 1964

2. Cook, Peter. “5 Plug-In.” Archigram. Basel. Switzerland: Birkhauser Verlag, 1991. p,393. Merin, Gili. 2013. AD Classics: The Plug-In City / Peter Cook, Archigram. (ArchDaily) < http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram/> [Accessed 16 Mar 2015]

Fig 2 Archigram, The Plug-in City4

Fig 2.1 Archigram, The Plug-in City5

Fig 2.2 Archigram, The Plug-in City6

4. Merin, Gili. 20135. Merin, Gili. 2013 6. Merin, Gili. 2013

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The theme of Shigeru Ban’s Japan Pavilion in the Hanover Expo 2000 is ‘environment’. Therefore, the Japan Pavilion is designed with the concept of using recyclable materials as the structure of the building. He used curved tunnel paper supported by a matrix of tubes of recycled paper to form the structure and making it the technological method as low as possible. However, due the the legalization in Germany, the structural form has to be re-inforced. This results in the addition of timber structure. But this is considered as “not neccessary at all” by Shigeru ban.

Paper architecture is approved as a new structural method in Japan. The innovation in the use of materials gives inpiration to architects. More importantly, the use of recycled paper is strong, sustainable, cheap and readily available.

“This relation between creation and destruction is not a problem when a resource is renewable, but it’s a disaster when it is not.7”P4Japan Pavilion has been succeed to fulfill the idea of being sustainable. It also expands the future possibilities in the use of new materials in architecture.

Japan PavilionShigeru Ban, Germany, Hanover Expo 2000

Fig 3 Japn Pavilion8

Fig 3.1 Paper Tube Grid9

Fig 3.2 Honeycomb Board Parti-tion10

7. Fry, Tony . 2008. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 48. Worrall, Julian. 2013. Shigeru Ban: between function and beauty. (Japan Times) < http://www.archdaily.com/489222/a-selection-of-shigeru-ban-s-best-work/l> [Accessed 11 Mar 2015]9. Worrall, Julian. 2013

10. Worrall. 2013.

Fig 4 Computation And Architecture11

DESIGN COMPUTATION

Computer and technology have been taken a significant part in our daily lives. In the aspect of architecture, computation has opened up many possibilities in design, broken the barrier in designing and modelling complex typologies. It also changed the way of thinking and practice in architecture.

Digitalization has reduced many limitations in desgin, construction and fabrication. With the use of 3D programming, it is eaier and faster to produce an accurate design. Moreover, it provides ways for analysing the material performance and the structure. The Computer-Aided Manufacturing (CAM) pushes the precision and complex fabrication to a higher level12. Computation is not only tools for producing the design, but it helps in exploring different possibilities

which may be difficult or even impossible to create in the past.

Futherrmore, computer offers a new platform by creating new “space” for users and expands the communication ability. In addition, it provides more information which can be access by a larger goup of people, thus increasing the number of people to be involved in the design process13.

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11. Tylevich Katya. 2012. The Utopian Impulse: Buckminster Fuller and the Bay Area. (Domus) < http://www.domusweb.it/en/architecture/2012/05/21/the-utopian-impulse-buckminster-fuller-and-the-bay-area.html> [Accessed 18 Mar 2015]12. Oxman, Rivka and Robert Oxman, eds. 2014. Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

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

Guggenheim Museum Bilbao is a modern contemparary museum in Spain. It stands on the port area of Bilbao. The building consists of complex curves and the swirling forms that responds to the complex program and industrial urban context. The seemingly irregular curves of the exterior are designed to increase the dynamic of the building with the reaction to the light and weather condition. The building is constructed of limestone, glass and titanium. In each of the titanium, there are fixing clips which provide the corrugation to the surface, increasing the light effect to the overall compositio14.

The exterior of the building appears to be floral from above. However, it is similar to the shape of a boat from the ground. This relates to the ordinary of the site and revealing the past industrial life. Furthermore, it boosted the economy of Bilbao with its great success and was once the major income of the city. The museum becomes a signal of the city throughout the world The term “Bilbao Effect” is then used to describe the transformation of a

city caused by the construction of a signal work in architecture15.

Due to the complexity in form and the mathematics of Geggenheim Musesum, Frank Gehry decided to use a 3D design software called CATIA16. With the use of the design software, he is able to build the museum with complex curves and calculation which was not able to be constructed in the past. The 3D software and his design expanded the future possibilities in constructing more complex forms, acheived in creating great visual impact of architectural design.

Guggenheim Museum Bilbao changes the architecte’s thinking towards museums and become one of the most remarkable works of the contemparary architecture. It is listed as one of the most significatn works finished since 1980 in the 2010 World Architecture Survey17.

Geggenhiem Museum BilbaoFrank Gehry, Spain, 1997

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14. Pagnotta, Brian. 2013. AD Classics: The Guggenheim Museum Bilbao / Frank Gehry (ArchDaily) <http://www.archdaily.com/?p=422470> [Accessed 12 Mar 2015]15. Pagnotta, Brian. 2013

Fig 4 Geggenheim Museum Bilbao16

DESIGN COMPUTATION

16. FMGB Guggenheim Bilbao Museoa. 2015. The Construction. (Geggenheim Bilbao) < http://www.guggenheim-bilbao.es/en/the-building/the-construction/> [Accessed 10 Mar 2015]17. FMGB Guggenheim Bilbao Museoa. 2015. 18. FMGB Guggenheim Bilbao Museoa. 2015.

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In the design of Zaha Hadid, there is a strong conceptual awareness. Natural elements also seem to have a significant influence on her design. The basis of the Performing Arts Center is revealed with a set of typology evident in organizational systems and growth in the natural world3. There is a large concern on the landscapes and the physical contexts of the site as to work harmony with the surrounding environment. The “energy” of the building is emerged with the dynamic lines and layered structures.

“As it winds through the site, the architecture inceases in complexity, building up height and depth and achieving multiple summits in the bodies housing the performance spaces, which spring from structure like fruits on vine and face westward, towad the water19” . Obviously, there is objective in creating the volumetric transition from the cultural district to the waterfront. The facade conveys the relation ot nature with the organic form, the structure and the opening resemble the branches and leaves.

In order to work with the complexity of Zaha Hadid’s building, Zaha Hadid Arhictects used digital and 3D drawing from th early days20. This allows them to explore the possibilties of parametric design. Her work enlighten the new spatial concepts and pushes the boundaries of architecture, at the same time, challenging the tradational architectural style and the way of thinking.

Abu Dhabi Performing Arts CenterZaha Hadid, Abu Dhabi, 2007

19. Zeballos, Carlos. 2012. Zaha Hadid: Performing arts center, Abu Dhabi. (Architectural moleskine) < http://architecturalmoleskine.blogspot.com.au/2012/09/zaha-hadid-performing-arts-center-abu.html> [Accessed 11 Mar 2015]20. Zaha Hadid Architects.2007. Abu Dhabi Performing Arts Centre. (Zaha Hadid Architects) <http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/> [Accessed 11 Mar 2015]

Fig 5 Abu Dhabi Performing Arts Center3

21. Zeballos, Carlos. 2012.

Algorithm is a set of rules or method to getting the computer to understand and work out something22. The algorithm forms part of the parametric model and further used to develop the form of the design. Algorithm thinking is to know the result of the input, as to modify and predict the potential of the design.

Parametricism is a dominant and avant-garde architectural style nowadays. It was arised in the mid-1990s with the digital animation techniques23. However, it had not been fully emerged until recent years with the development of advanced parametric design systems.

Metropol Parasol is the largest wood structure on world. There is six columns or ‘trunks’ spreading across at a large scale. This is a stunning example of parametric design. With the use of digital modelling, it is possible to build the curved surface of the design. Since all the components are similar, therefore, the form can be understood by dividing it into a single component. When inputting a set of equations into the computer, it can be easily to get all the

calculations on the distance and spanning between each component. Parametric modelling reduced the efforts and building up the design in a time saving way compare to the past. It allows the builder to construct a more complex geometrical design and increase the possibilities in builidng up different forms and shapes.

Metropol ParasolJ. Mayer H. Architects, Spain, 2011

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22. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds. 1999. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 1223. Oxman, Rivka and Robert Oxman, eds. 2014.

Fig 6 Metropol Parasol24

COMPOSITION/ GENERATION

24. Hufton, Crow. 2011. Metropol Parasol. (Divisare) < http://divisare.com/projects/166459-Metropol-Parasol> [Accessed on 19 Mar 2015]

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Computation gives rise to new forms, fabrication and construction process especially with the assistance of Computer-Aided Manufacturing (CAM). Limitation towards calculations and exploration of the potential of design is no longer exist. Complex geometry and meshing are being encouraged.

The structure of the terminal is made up of 40,000 individual steel member25. The terminal is designed with the perforated cladding across the complicated geometry surface. The new technolgy makes it possible to clad the terminal with the glass panels. The technology and engineering helps in parametric generation. Computation takes an important part in rationalising the geometry and details.

In relation to computation and digital modelling, it does increase the speed and efficiency of the design process. However, computers are working on the rules we set. It is important to know how to modify the design to the final outcome.

Furthermore, computation does help in exploring the possibility to a larger extent, but at the same time, will we rely on the digital modelling slowly? Thus reducing the level of creativity in a design? This is a shortcoming which worth us to think about.

Bao’an International airport, Terminal 3Massimiliano Fukas, Shenzhen, 2012

25. Finotti, Leonardo. 2013. Fuksas: Shenzen Airport (Domus) < http://www.domusweb.it/en/architecture/2013/12/13/fuksas_shenzen_airport.html> [Accessed 19 Mar 2015]26. Finotti, Leonardo. 2013.

Fig 7 Interior of terminal 326

CONCLUSION LEARNING OUTCOMES

With the resources provided and my research, I have learnt new approach and theories in generating the design. I have understood the tranformation and the newly developed process of architectural design. This would be very useful towards my future design. Referring to my past design, I would have completely different deisgn approach if I have known this knowledge earlier. It would enlarge my ability and the potential in design.

After understanding the development and approach of digital design, it has changed my view of point towards it. Knowing that it is not just about aesthetic, but also about the expanding the limitation on problem solving. Producing new forms and structure, pushing architectural design to a higher level.

The innovative concept inspirates me a different way of design process. In response to the project that I will work on afterwards, I will use the new method to explore the potential of my design. Focus will be on analysing patterns, materials and structure as a starting point. At the same time, the use of computation will help in develop and analyse on the complexity of the design.

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Refernence:

Cook, Peter. “5 Plug-In.” Archigram. Basel. Switzerland: Birkhauser Verlag, 1991. p,39

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

Finotti, Leonardo. 2013. Fuksas: Shenzen Airport (Domus) < http://www.domusweb.it/en/architecture/2013/12/13/fuksas_shenzen_airport.html> [Accessed 19 Mar 2015]

FMGB Guggenheim Bilbao Museoa. 2015. The Construction. (Geggenheim Bilbao) < http://www.guggenheim-bilbao.es/en/the-building/the-construction/> [Accessed 10 Mar 2015]

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

Hufton, Crow. 2011. Metropol Parasol. (Divisare) < http://divisare.com/projects/166459-Metropol-Parasol> [Accessed on 19 Mar 2015]

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

Merin, Gili. 2013. AD Classics: The Plug-In City / Peter Cook, Archigram. (ArchDaily) < http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram/> [Accessed 16 Mar 2015]

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

Pagnotta, Brian. 2013. AD Classics: The Guggenheim Museum Bilbao / Frank Gehry (ArchDaily) <http://www.archdaily.com/?p=422470> [Accessed 12 Mar 2015]

Tylevich Katya. 2012. The Utopian Impulse: Buckminster Fuller and the Bay Area. (Domus) < http://www.domusweb.it/en/architecture/2012/05/21/the-utopian-impulse-buckminster-fuller-and-the-bay-area.html> [Accessed 18 Mar 2015

Worrall, Julian. 2013. Shigeru Ban: between function and beauty. (Japan Times) < http://www.archdaily.com/489222/a-selection-of-shigeru-ban-s-best-work/l> [Accessed 11 Mar 2015]

Zaha Hadid Architects.2007. Abu Dhabi Performing Arts Centre. (Zaha Hadid Architects) <http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/> [Accessed 11 Mar 2015]

Zeballos, Carlos. 2012. Zaha Hadid: Performing arts center, Abu Dhabi. (Architectural moleskine) < http://architecturalmoleskine.blogspot.com.au/2012/09/zaha-hadid-performing-arts-center-abu.html> [Accessed 11 Mar 2015]

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PART BCRITERIA DESIGN...

RESEARCH FIELD

Geometry takes an significant part in architectural design. Architectural geometry concerns on the design, analysis and manufacture processes. It strongly challenges contemporary practice, the architectural practice of the digital age. Geometry in architecture contains a few areas, such as minimal surfaces, relaxation and general form finding.

Relaxed and minimal surface structure is the commmon product of architects innovative effort in the study of structure and material to generate new forms. Minimal surface membrane can be found in natural cell or soap bubble. Minimal surface means the surface that minimized the total surface area. The theory of minimal surface can be understand by imagining two hollow rings dipped in a film of soap and then pull apart27. Result of this is the thin film of soap form between the two rings, which is called minimal surface. By increasing the complexity of the experiment, geometry can be formed. It provides the opportunity to create more with less materials being used in fabrication. Relaxation properties of materials are relevant to in producing the minimal surface and the deisgn intent. In the next part, the parametric tools used, grasshopper and kangaroo, help in testing the tension and relaxtaion of the materials. The tools help in experimenting and producing minimal surface and the general form finding of the design.

GEOMETRY

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27. Architecture Australia, 2009. Green Void. Australia: Architecture Media. pp. 25-2628. Levin, D 2010. Soap Film Frei Otto. < https://materialpraxis.wordpress.com/2010/09/30/soap-film-frei-otto/>, [Accessed 30 April]29. Levin, D 2010.

Fig 8 Soap Film test28

Fig 9 Increasing complexity of soap film test29

25. Finotti, Leonardo. 2013. Fuksas: Shenzen Airport (Domus) < http://www.domusweb.it/en/architecture/2013/12/13/fuksas_shenzen_airport.html> [Accessed 19 Mar 2015]26. Finotti, Leonardo. 2013.

Fig 10 Overview of Green Void30

In case study 1.0, Green Void by LAVA is an example of using the minimal surface theory. When it comes to fabrication, the lightweight nylon (lycra) fabric takes the advantage in creating such kind of form and the surface of green void. It allows the installation to suspend over 5-storey high void. Moreover, it is a response of sustainability31. The installation is portable and reusable, it makes an optimum use of materials. It can be removed without much impact of the heritage fabric of the building. However, the materials used in fabricating the design affects the overall performance. In this case, materials used would be able to expend and with high elasticity. Materials which are poor in expansion and low elasticity is not suitable

Case Study 1.0The green void by lava

to be used since it cannot be easily install and portage. It may also be broken since the tensile strength is low in such kind of material. Furthermore, it has the function of increase the visual interest, solve the acoustical problems, also reducing heat and glare at the same time.

Exoskeleton

Forming inital geometry

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30. Architecture Australia, 200931. Architecture Australia, 2009

1 2 3

A

B

C

D

E

ExoskeletonNo. of connection + size

4 5 6

Stretching

ExoskeletonNo. lines + anchor points

Anchor points + streching

Force acting on the surface + anchor points

Fig 11 Australian Wildlife Health Centre32

Case Study 2.0australian wildlife health centre by minifi van schaik

Brep Triangulate

Custom Mesh Setting

Mesh

Mesh

WbJoin

Springs Kangaroo Physics

Points

AxB

Slider

Slider Vec

Mesh Edges

DeMesh

Mesh Brep

1 2

3

5

6

4

“The Australian Wildlife Centre is a building quite unique in both its function and form. It is both a fully functioning veterinary facility, and a remarkable and compelling experience for Sanctuary visitors.” 33

The form of the ceiling come from the mathematical concept of “Costa surface”, a complete minimal embeddable surface of finite topology34. The central focus to the surrounding activities and exhibits is the public gallery space. The roof form is curved and designed as a solar chimney. The use of the chimney is to remove the heat inside the gallery, thus proivde ventilation. This eliminates the need of air condition.

The shape of the ceiling can be formed with the use of Kangaroo Physics. It helps to produce the relaxed and minial surface, thus the performance of the structure.

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32. Minifie van Schaik Architects, 2006. Australian Wildlife Health Centre, <http://www.mvsarchitects.com.au/doku.php?id=home:projects:australian_wildlife_centre> [Accessed 28 April, 2015]33. Minifie van Schaik Architects, 2006. 34. Stead, N. 2006. Australian Wildlife Health Centre. < http://architectureau.com/articles/australian-wildlife-health-centre/> [Accessed 29 April, 2015]

Grasshopper Definition:

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Brep Triangulate

Custom Mesh Setting

Mesh

Mesh

WbJoin

Springs Kangaroo Physics

Points

AxB

Slider

Slider Vec

Mesh Edges

DeMesh

Mesh Brep

1 2

3

5

6

4

Brep Triangulate

Custom Mesh Setting

Mesh

Mesh

WbJoin

Springs Kangaroo Physics

Points

AxB

Slider

Slider Vec

Mesh Edges

DeMesh

Mesh Brep

1 2

3

5

6

4

REVERSE ENGINEERING

1. Brep means the boundary representation. It is a method for representing shapes using the limits. This form the initial geometry of the algorithmic sketch

2. Converting the Brep into a mesh. The custom mesh setting used to control the minimum and maximum number of quads in the initial grid per face. The mesh is also triangulated. This process allow lines forming on the initial geometry which can be used to convert into springs

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Brep Triangulate

Custom Mesh Setting

Mesh

Mesh

WbJoin

Springs Kangaroo Physics

Points

AxB

Slider

Slider Vec

Mesh Edges

DeMesh

Mesh Brep

1 2

3

5

6

4

3. Getting all the mesh edges and adding tension to the surface. The tensile strength can be set with the use of rest length multiplier (AxB). The tension increases while the rest length increases, When decreasing the rest length, it hasa opposite effect.

4+5+6. Decontruct the mesh into its component parts helps in getting all the points around the mesh which can be use to set as the anchor points in the next step. The anchor points hold the geometry in place when the simulation is running. Lastly, Kangaroo Physics is used to run the simulation, testing the form and shape when the surface is relaxed.

Mesh Density Anchor Points

Geo

met

ries

Force

matrixs exploration

From case study 1.0, using the geometry and definition of green void as a base, several iterations are developed. Experiments are based on the changing the number lines as the initial geometry useing exoskeleton, anchor points, stretching, scale of rest legth, forces being added on the mesh surface.

Case Study 1.0

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From case study 2.0, iterations are produced with different initial geometries. Shapes such as cylinder, pyramid and rectangle are used in forming the initial geometries. Experiments are based on changing the mesh density, anchor points and forces being added on the mesh surface to different geometries. It is found that mesh density largely affects the curvature of the forms. As the density increases, the curve on the surface becomes more smooth. When different anchor points are set on the mesh, it changes the perforcemance and forms of the membrane. By acting forces to the mesh surface, it can test the performance of the membrane which is very useful in the design process later on.

Case Study 2.0

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PROTOTYPES

Referring to our chosen area, minimal surface, mesh relaxation and form finding are what we are concerning of. As a starting point of our prototypes, we have thought of way to accurately build the digital model. We have come up to the idea of using laser cutter to draw the grid on the perspex.In this way, we can precisely define the anchor points to ensure the accuracy of the model. Since materiality can largely affect the performance and form of the design, therefore, we have focus on doing experiment with different materials such as lycra and nylon. These materials are different in tensile strength which is an important element in form finding using Kangaroo and Springs. We have also experimented on different forms producing by using various geometries and setting different anchor points. We used metal wires as a connection between the membrane and the perspex. The wires are strong enough to hold the membrane in place and avoid them from collapse. Results from the experiments on materiality and form finding are when the tensile strength is high, it is easy to form the shape and the curves smoothly while material with low tensile stregnth performs the opposite. However, when force is added on the surface of high tensile stregnth material, the shape deforms easy too.

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Material: lycraTensile Strength: High

Material: nylonTensile Strength: Low

Material: nylonTensile Strength: Medium

Material: lycraTensile Strength: High

Referring to the brief, the design should not touch ground and water, and the maximum number of users is 10, as a result, our design will be hanging on trees or columns. Since our design concept is an area for people which can play or rest inside, the weigth of the users is one of the aspects which we should consider. Therefore, low tenile strength material will be used in our design as it is capable to bear the force being adding on the surface without much deformation.

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Vector Linework

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0 20 40 60 80m

0 20 40 60 80m

T E C H N I Q U E P R O P O S A L

SITE ANALYSIS

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The main focus of our chosen site is the water feature. The site is in abbotsford, there are mostly residensal adjacent to the site. It is approximately 3.5 km away from the CBD. There are a few restuarants at the northen part of the site, and it is very near to the Collingwood’s Children farm. There are lots of children and parents coming to the site especially during weekend.Our chosen site contains lesser trees and low density comparatively, this provides the open view to the surrounding area. Since the Collingwoord’s children farm is nearby, as a result, the visitors are mostly young people and family. This matches with our concept of providing an area for people to play and rest. We will also focus on the users of young and mid age groups.

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Our design concept is to provide an area which people can play and rest on. Referring to the bried, something that cannot touch ground and water, we have come up to an idea of placing the design on the water. with the help of two columns, it can be hang on top of the river. By rising the deisign to a higher level with the use of slope at the site, thiis provides the incredible view of the surrounding area with will not be blocked by trees. We got inspiration from String Vienna 2014. Moreover, the use of the transparent frame is used to hold the medh surface and providing anchor points. More importantly, the transporent frame allows the users to have the feeling of inside a space with is safe and avoiding them to fall into the river.At the same time, it is exposed to nature and a feeling of floating in the air.

Conceptual Achievement:In my case study 1.0 & 2.0, I have forcus on the minimal surface, mesh relaxation and form finding. We are able to produce different forms with the use of geometries, mesh, tensile strength and anchor points. We have also studied the relationship between mesh relaxation and performance of the structure, thus generating different forms.

Technical Achievement:By using the grid being drawn on the perspex, we are able to model it more accurately, However, materials are what we need to consider in forming the optimum outcome of our design.

Drawback of our design:We are confused and misunderstand a bit on the design brief that our design can not be touching ground and water. Besdies, we should further develop our design to push the limitation of outcomes to a further extend.

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LEARNING OUTCOMES

After the feedback of Part B, we should consider more on the relationship between the technique and the design potential we have experimented to our concept of the design. More explorations and research is what we need to do the next. Since we are doing as a group, As this course is based on paramatric design and computation, it helps us to create and generate different forms and techniques which is difficult to achieve without computer. It helps to push the boundaries and possibilities of the design. Besides, we should have a clear understand of the research area that we have chosen. We should be focus on the selected in order generate and have a deeper understand of the possibilities of our design. Since I am not familiar with grasshopper, the case studies help me to have a better understand of the idea and technique in my area of interest. In Part B, I have learnt the techniques of producing minimal surface, mesh relaxation and form finding. However, the outcomes does not work too well in pushing the boundaries of the algorithmic sketches. For the next part which is our final design, I continue to do more researches and try to produce some unique outcomes.

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ALGORITHMIC SKETCHES

During the process in form finding, I have tried different inital geometry and tested on their performances and curves formed when the surface is being released. In order to form smooth curves, mesh density and tensile strength are the two main elements which have to be considered. However, as I tried to form more complex geometries, there is a limit point on the mesh density and tensile strength which the mesh would fail to form any shapes.

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Refernence:

Architecture Australia, 2009. Green Void. Australia: Architecture Media. pp. 25-26

Levin, D 2010. Soap Film Frei Otto. < https://materialpraxis.wordpress.com/2010/09/30/soap-film-frei-otto/>, [Accessed 30 April]

Minifie van Schaik Architects, 2006. Australian Wildlife Health Centre, <http://www.mvsarchitects.com.au/doku.php?id=home:projects:australian_wildlife_centre> [Accessed 28 April, 2015]

Stead, N. 2006. Australian Wildlife Health Centre. < http://architectureau.com/articles/australian-wildlife-health-centre/> [Accessed 29 April, 2015]

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PART CDETAILED DESiGN...

After receiving the feedback of our initial design, we have made quite a number of changes. Firstly, our research area is based on geometry, our initial design concerned more on mesh relaxation, but after refining our ideas, we have focused more on form finding. We have visited the site for a few times, the first time we have attracted to the natural environment of the site, we have focused on the river and the scenery near the river, we have the idea of engaging our idea with the river. However, after the site visit, we found out that we have ignored quite a number of important elements on site such as the users and problems of the site. When it comes to the second visit, we observed how the users use the site and the activities aorund the site, the materials used for the building surrounded such as their consistency and how they stay in harmony with the site. We found out that the users of the stie are mainly family and young children since it is near the Collingwood Children’s Farm and the Early Learning Centre of Melbourne University.

Refining on our design project, we have chosen a different site from the origianal selection. This is because we found out the the previous site is too large that it will be difficult to build a suspended design. Therefore, instead of building it above the water, we choose to move it above the footpath. The area of the new site is approxiametly 18x14m.

Rethinking about the project, we have first defined the problem of our site. The site is mainly used by family and young childern and beside the grassland facing the river. However, there is no playing area for childern and limited seats for family. Moreover, the grassland is lack of shelter. Therefore, our design will give a solution to the problems.

In regard to the form, we have developed new idea which is totally different from the initial concept. We were restricted by the brief of the project that our initial concept was to use elastic materials and played with tension. But this limited us to further develop our design. By refreshing our mind and rethinking of the concept and materials, We have decided to play with compression rather than tension in our design. Moreover, our new design concept is to engage with the surrounding environment. The material we have chosen to use is timber. Referring to the environment and building materials on site, timber tends to provide a sense of nature, and can keep the consistency as well as stay in harmony on the site.

RE-THINKING THE DESIGN CRITERIA

Deisgn Concept

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0 20 40

m

S I T E M A P

0 20 40

m

0 20 40m

Yarra River

C3 contemporary art space

University of Melbourne early learning centre

SITE OBSERVATIONS

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0 20 40m

Restuarants

Collingwood chilidren’s farm

MAJOR ATTRACTIONS:University of Melbourne Early Learnign CentreCollingwood Children’s FarmC3 Comtemporary Art SpaceRestuarantsYarra River

FACILITIES:Walking trackCycling track

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High Density

Green Area

Trees

Residental

Community

Education

Medium Density

Low Density

Walking trail and cycle track Water feature

Green structure Populstion Density

SITE ANALYSIS

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High Density

Green Area

Trees

Residental

Community

Education

Medium Density

Low Density

High Density

Green Area

Trees

Residental

Community

Education

Medium Density

Low Density

Existing urban texture

View

Note: Our chosen site is approximately 18x14 m2.

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3D SITE MODEL

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East perspective view (Sloping towards the river

North perspective view (Sloping towards west)

View from path

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3D contemporary art spaceMelbourne university early learning centre

Restuarants

Pro

gra

mP

lac

eW

ha

t to

c

on

stru

ct

Yarra River

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Yarra River Collingwood chilidren’s farm

?

PROBLEMS AND SOLUTION

ACTIVITIES:WalkingCyclingJoggingFood and beverageFamily ActivitiesEducational farm toursArt gallery and spacenature appreciationEducation

PROBLEMS:Lack of play area for childrenLack of seatsLimited shelter over the grassland

We have analysed on the key activities on site. Our chosen is at the path in front of the C3 comtemporary art space. It sits at the area where there is a large piece of grassland facing towards the river. However, at this area, there is no seat for people to sit except sitting on the grassland. Moreover, the users of this place is mainly family and young children, but there is no playing area for the children and it has limited shelter as well. As a result, we have come up with the idea of providing a play area for children as well as sitting area for their parents, so their parents can sit, wait and watch while their children is playing. In this way, both of them can enjoy at the same time.

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Ge

om

etr

yF

orm

CONCEPT DIAGRAMSP

rog

ram

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The initial geometry is formed by three points into a triangle shape. The form is produced by two opposite forces. The design works as a shelter and play area. In addition, the sculpture like shape raises the visual effect which catch the attention of the users .

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Brep Mesh Brep

Custom MeshSetting

Min. Count

Weaverbird’s SplitTriangles Subdivision

Panel

Weaverbird’s SplitTriangles Subdivision

Weaverbird’s Mesh Edge

Springs From Line

Springs From Line

Factor

Deconstruct Mesh

Weaverbird’s Vertices Component

Unary Force

PointZ Unit

Kangaroo Physics Mesh

Timer

Boolean Toggle

Face Polylines Explode Flip Matrix Explode Tree

WindVector DisplayEnd Points

Vector 2Pt

Force Strength

Vector

Curve

Panel

Springs From LineCurveRest Length

CurveRest Length

GRASSHOPPER DEFINITON

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Brep Mesh Brep

Custom MeshSetting

Min. Count

Weaverbird’s SplitTriangles Subdivision

Panel

Weaverbird’s SplitTriangles Subdivision

Weaverbird’s Mesh Edge

Springs From Line

Springs From Line

Factor

Deconstruct Mesh

Weaverbird’s Vertices Component

Unary Force

PointZ Unit

Kangaroo Physics Mesh

Timer

Boolean Toggle

Face Polylines Explode Flip Matrix Explode Tree

WindVector DisplayEnd Points

Vector 2Pt

Force Strength

Vector

Curve

Panel

Springs From LineCurveRest Length

CurveRest Length

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TEST AND ADJUSTMENT

Wind Direction: Down

The wind force direction of the first experiment is down. However, this produces a large area of the downward curve which is not a satisfy ourcome.

The wind force direction of the third experiment is down west. The problem of the outcomes are the force tends to be stronger on one side which makes the curve leans on the longest side of the design.

U: 121W:0.03

U: 107W:0.04

U: 147W:0.04

U: 167W:0.05

Wind Direction: Down West

U: 116W:0.06

U: 93W:0.06

U: 93W:0.02

U: 99W:0.04

Wind Direction: Down East

U = Force along Z unit W = Wind force

U: 147W:0.09

U: 108W:0.06

U: 81W:0.02

U: 37W:0.04

Wind Direction: Down

The wind force direction of the first experiment is down. However, this produces a large area of the downward curve which is not a satisfy ourcome.

The shape of our design is created by two forces. One is the Z unit and the other one we used is the wind force. The two forces as well as the direction of the wind forces have to be adjusted carefully in order to balance and get a satisfy overall shape.

The wind force deirection of the second experi-ment is to the west. The shape formed is closer to what we expected. But ththe wind force tends to eliminate the donward curve and the overall shape look like to be formed by only one force.

The wind force direction of the fourth experiment is down east. It produced the most satisfy overall shape among the four experiments. By adjusting the strength of the two forces, we produced our final outcome.

The wind force direction of the third experiment is down west. The problem of the outcomes are the force tends to be stronger on one side which makes the curve leans on the longest side of the design.

Wind Direction: West

U: 93W:0.01

U: 121W:0.04

U: 121W:0.07

U: 93W:0.07

Wind Direction: Down West

Conneciton - joints

Tectonic Elements & Prototypes

Shortcoming

PROTOTYPE 1

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After our finialised our design concept, we have started to do some prototypes in testing different patterns and joints. In the first 3 prototypes, we worked on differnt patterns. Therefore, the materials we have used is cardboard. For the joints, we want to use screw, but in these prototypes, we have used pins instead of screws.

The first prototype we started with square pattern. We cut it into equal size strips and connect the strips with the pins. However, since we have added two opposite forces into our design and the form of our design also played with the compression force created by the three main trees which used to hang our design. So the material use should be able to bend to a certain extent.

The problem with this prototype is, with the square pattern, it is not very stable when we try to bend it. It deforms when force is added to it, even no force is added, it cannot keep its shape. In conclusion, this pattern does not work well in our design and it is not suitable to bear the human weight.

Initial Shape

Bending

Deformation under tension

Deformation

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PROTOTYPE 2

Conneciton - joints

Shape after bending

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The second prototype we used the same materials and connection method, but we changed the pattern into triangle. We found out that this pattern deform much less than the square pattern even under presseure as the triangular pattern restricts the rotation of the strips. It seems to be a stronger structure to bear the human weight. Moreover, the outer shape of our design is formed by the three trees in the shape of a triangle. Using triangular pattern keep the consistency of the overall design. As a result, we have chosen this pattern for our further development and our design will be formed by pure geometry of triangles.

Further extension in the fabrication method:Forming the triangular pattern uses much more strips than the square pattern to form its shape. In consequence, the connection in between needs to connect maximum 6 strips, the pin (bolt) should be long enough to hold the thickness of the overlay strips. The increased use of materials and the length of the pins (bolts) will increase the weight of the design correspondingly. This consideration should be taken into the account.

Initial Shape

Bending

Conneciton - pins

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FINAL DESIGN

Through the testing of our digital model and the prototypes, we have finialised our design. The longest side of our design is 20m long with the three corners connect to the trees, forming a suspended object over the footpath. The connections to the trees are 1m above ground, the height of the design is 2m tall, so the highest point of the surface is 3m above ground. The real material we have chosen to use for our design is timber. Due to the properties and the hardness of timber, the design is under compression in order to form the curvature of of the overall shape. Also, the material used should be able to bend to a significant extent. without buckling the timber, but at the same time, it has to be able to bear the human weight. Besides, the expected number of users at the play area, which is at the shortest side of the design, is around 4-5 young children. Only the part that is formed by the downward force is used as the play area regarding to the safety consideration.

Actual size of the design in mm

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1m

1m

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Conneciton - joints

Shortcoming

PROTOTYPE 3

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Since we have decided to use the triangular pattern after the prototype 2, so in this prototype we tested for the alternative method for the connections.

First of all, in this prototype we have cut a few of the triangular plates instead of strips in the prototype 1 and 2. For the connection between the plates, there is an underlay structure to bind the triangular plates together to a surface which is stronger. In order to form the curve of the overall design, we have used 5 triangles to form a module. But when we combine the modules together, it cannot form the curve smoothly which the sharp point at the top of every module. In conclusion, this method is not suitable for our design. Rather, we have stepped back to prototype 2 as it is the most satisfy result comparatively.

Top view of the prototype

Triangular plates and connection strips

Bottom view of the prototype

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Conneciton - bolt

The part taken for making the prototype

PROTOTYPE 4

Since our design is to be built with timber, we have tried to work on a 1:1 prototype with the use of wood. However, due to our limited equipment (electrical drill and saw), we are unable to test with the timber because of the thickness. Instead, we used 3mm plywood. We found out that the thin plywood is easy to crack, but this problem can be overcome with the use of thicker timber. Besides, thickness is a very important factor affecting the bending capacity. It cannot be too thick as it won’t be able to bend but at the same time it should be strong enough to bear the human weight. As a result, we have decided to construct with the real thickness of 20mm. For the connections, we have used bolts with the washers and the nuts.

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Materials (Plywood and bolts)

Hole for bolt

Bolts

bottom view of joint Top view of joint

Conneciton - bolt Connection of strips

Top view of prototype Bending

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TREE CONNECTION

Our design is not touching ground, it is hanging on trees. For connection to the trees, we have references to the tree houses. We have studied on how it is connected and constructed on trees. We have thought of ways to connect and keep adjusting the joints until we produced the most satisfying result. At the three corner of our design, rather than simply bolt them on trees, we expanded the corners and added extra strips as the connection. It is much stronger than our previous joints, which contains only one connection point. Since the connection points increased, they can share the loads and are less prone to breakage.

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Adjustable Joint to fit the tree trunk

20mm thick timber strip

8mm diameter,150mm long bolt with washer and nut

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M O D E L O N S I T ES C A L E 1 : 2 0 0

F A B R I C A T I O N O FF I N A L M O D E L

The final model is at a scale of 1:20. We unrolled our digital model and cut it by the use of laser cutter. The Materials we are using are the 3mm boxboard and 3mm diameter bolts with nuts. However, due to the different number of strips at different connections, the thickness of the strips at the joints vary. The bolts we are now using is 25mm in length, in order to improve the joints, We should use different length of bolts according to the tickness of strips at each joint. This is a minor insufficient of our final model. The length of the strips is referenced to the digital model and the width is 10mm with a hole of 3mm diameter for the bolts. There are 383 strips all together with 155 connection points. Besides, as the length of each strips is differnet, we have marked the number on the bottom side of the strips for fabrication.

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MODEL

F I N A L M O D E L

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P L A N

N O R T H E L E V A T I O N

E A S T E L E V A T I O N

This studio allows me to have a better understand and be familiar to parametric modelling. It pushes us to develop the skills in digital modelling. This opens up more opportunities in designing. I have learnt a totally different way of designing.

Through the design project that I have worked on this semester, I have awared of the importance of scale and the relationship with the surrounding environment. Moreover, having a clear concept before producing the design is significant. Concept and design can always improved by rethinking the design criteria. In this project, our design should not be touching the ground or water. Unlike to the previous studio that we are more free to create anything we want. The restriction in the design is likely to confine our imaginations. This is the biggest problem of our group. In order to solve this problem, I have learnt to think in different way. When thinking of a design, I should always refresh my mind and search for more inspirations through different things rather than to restrict my imaginations and creativities on a particular direction. Inspiration is everywhere.

Testing, prototype and adjustment are essential to get our design really work on site. This is another difficult task for us throughout the semester and this is also one of the shortcomings in our design process. In the design process, we have made a number of prototypes in testing its pattern, connection method and its form. We have chosen to use cardboard and pins since it is easy to work with. However, when it comes to tesing of the bending capacity and properties of the real material, Our prototype is insufficient to provide a clear result.

Furthermore, I have improved a lot in graphic presentation skill. I think this is one of the major objectives of studio “air”. It is important to express our concept and the atmosphere that we want to create. To sum up, this studio provides us the foundation in parametric modelling and fabrication, this gives us the advantage in our further studies and challenges in architectural design.

LEARNING OBJECTIVES AND OUTCOMES

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