AIR

student: Yufei Du 387429Tutor: Alison & Paul

Architecture Design Stduio

CONTEXTPart 00 week one: Introductionintroduction of writer and personal project

Part 01week one: Architecture as the discourse brief history of digital architectureOrgoner ReefWaterfornt hotel

week two: In Achitectural computingComputing in architectureGeo-Matrix

week three: Parametric modellingParametricismAirspace Tokyo

Part 02week four: Cut project Learning experienceCut project 1.0Group argumentResearch examples: MOCA@LBCCC CloudCentro Box

week five: Cut project Cut project 2.0Recreated step of BKK project

week six: MatrixMatrix test with step recodingfinal outcome

week seven: ModelmakingModel making process record response to problems

Part 03

week eight: EOIEOI persentation

week night: ReviewResonse to feedbackResonse to site Info

Part 02week four: Cut project Learning experienceCut project 1.0Group argumentResearch examples: MOCA@LBCCC CloudCentro Box

week five: Cut project Cut project 2.0Recreated step of BKK project

week six: MatrixMatrix test with step recodingfinal outcome

week seven: ModelmakingModel making process record response to problems

Part 03

PART OOweek one introduction of writerr

Yufei Du International student from China

Bachelor in Environment, major in Architecture

Never heard about digital architecture, never use computer to design and even hardly use computer software, but interested in digital architecture and happy to learn digital architecture technologies.

personal project

This is my project for virtual communication in second year: a sculpture which inspired by clock, located in the park of CBD and served as a resting area. This different heights produced various shading when sun rise. Becuase this sculpture is located in the centre of park and there is almost no tall trees which could produde sun shading for visites. so i made a sculptrue which coudl provide shading for perople.At the same time, people could climb the sculpture and this made it playful.

week one architecture as discourse

PART 01

“SHORT HISTORY OF DIGITAL ARCHITECTURE”

The “first wave” of digital architecture broke in the mid nineties. 90 percent of masters projects presented at Chris Bosse’s faculty were digital. At that time, most architects used computers only as drawing tools that had no impact on the form or the construction of their building. However, the postmodern theories of Robert Venturi initiated a ‘new wave’ of digital architecture and deconstructionism made architects explore digital technologies out of sheer practical necessary.

Frank Gehry’s Fish sculpture for the Villa Olympic complex in Barcelona was a landmark in the history of digital construction technologies, and his work was achieved by CATIA, a software which used by the aeronautic industry.

OR

GO

NE R

EEF

Orgone Reef’s reflection to landscape though environmental, structural and material performances is one important feature of discourse. More specifically, Orgone Reef is an artificial reef that could support a living skin. This project is a hybrid geotextile, a new class of materials used for reinforcing landscapes and buildings. The details of this structure are designed to catch and hold the thing they contact, accumulating a thick, porous mass. The project functions with aggression, clamping and cutting into neighbor, draining and digesting the things contacted and converting this material into fertile soil. This structure would help a scarified landscape heal and grow new layer. In my point of view, this design could make full use of the land which once could not be built by traditional technologies. Besides, according to AD magazine 2010 ‘s New structuralism issue, I assume that Orgone Reef is a good example of what is called new structuralism rather than modernism.

Author: Philip BeesleyLocation: University if Manitoba, Winnipeg, Manitoba, Canada, 2006

Dubai Waterfront Hotel re-conceives the arrangement of high rising hotel and construction of a skyscraper through the understanding and reworking of structure and systems in nature. The forms of individual modules were derived from studies of insect exoskeleton and wing structure.

The multifarious ranges of “alternative” spaces which satisfy various function of hotel are transformed smoothly from complex natural ecosystem. Digital design process of Waterfront hotel could be divided into two systems: “generative” in terms of bottom-up production of space and “operative” in terms of organizational effect.

For “generative” elements, what raise my interest is this proposal is constructed from three distinct modules each associated with different program activities. Generally, it is impossible to distinguish three module types within one proposal as there is a smooth transition. In order to make all transitional states between three modules remain tectonically navigable space, a series of exploratory diagrams and MEL-scripting were used. For the “operative” parts, they refer to those which are used to steer “generative” system. A three dimensional dynamic fluid-field was created and linked to transitional states of generated modules. Personally, this study shares little similarity with modern movement. Modernism suggests a free façade with no ornamentation like the horizontal glazing in Mie’s glasshouse. To be contrast, façade of Waterfront Hotel is structural and at same time providing ornamentation for building itself. At the same time, this practice of Jerry Tate architects indicates a level of dexterity and put Tate in a small group of international practitioners.

Waterfront hotelJER

RY

TATE

AR

CH

ITEC

TS

PART O1week two in architectural computing

From my point of view, Kalay suggests that the designing process is sort of problem solving process. In “Architectures New Media”, it clearly describes the designing processes undertaken by Architects to solve problem. However, the outcome cannot be reliably predicted due to various constrains like site condition, cost, climate, internally drawn inspirations and so on. Therefore, computer had been introduced for communication reason. During problem analysis, computers are used as superb analytical engine. Basically, Computer could help represent solution graphically and numerically and communicate it to other partners or clients in the design process.

In “Architecture New Media”, Kalay indicates there are two systems for computer. One is analytical systems with enough “understanding” o f the data to be able to provide rational appraisal o f human designers’ solutions. However, this system could only mathematical problems. Another one is knowledge-based, “intelligent” design systems that can actually propose design solutions for appraisal and further development by human designers. I understand those two systems as

computerization and computational system. For most of people, computers’ role is limited in drafting and modeling systems: drawing lines and other geometrical entities that have no meaning to the computer. They just use computer as a tool for organizing information. And this is called computerization.

Over past fifty years, computational system provides more assistance to architects in design process. Computational design use computer as an actual design system to aid in both realization and creation of design ideals. Meanwhile, thousands of potential solution could be found by using computational design approach. Along the way, systems have been developed that offer design information storage and query capabilities and systems that help human designers communicate with one another.

Besides, computers could help fabricate and construct the resulting buildings. They could even help us manage the buildings once they have been constructed, much as they control the engine of a car or monitor elevators

Computing In Architecturecomputerization VS computational system

computerization and computational system. For most of people, computers’ role is limited in drafting and modeling systems: drawing lines and other geometrical entities that have no meaning to the computer. They just use computer as a tool for organizing information. And this is called computerization.

Over past fifty years, computational system provides more assistance to architects in design process. Computational design use computer as an actual design system to aid in both realization and creation of design ideals. Meanwhile, thousands of potential solution could be found by using computational design approach. Along the way, systems have been developed that offer design information storage and query capabilities and systems that help human designers communicate with one another.

Besides, computers could help fabricate and construct the resulting buildings. They could even help us manage the buildings once they have been constructed, much as they control the engine of a car or monitor elevators

Computing

computerization VS computational systemin buildings. Kalay also demonstrates that computers could provide an alternative “space” for hum an inhabitation— the so-called cyberspace— which could offer a new stage for hum an activities, from education to commerce to entertainment.

http://www.tdmsoftware.com/CAD03.jpg

The central feature of this project is the developments of a deformable structure that exhibits characteristics o f a living organism, with the potential for evolution in a manner similar to the larger cityscape.

Geno-Matrix is a genotype driven structure for skyscrapers which according to the changing spatial requirements, can produce potentially infinite scenarios. It can deform itself at the current inhabitation culture. Rather than using the conventional architectural design process to generate the form, Geno-Matrix comes from genotype, phenotype, mate crossover, morph, mutation and selection process. In the design process, genetic computing and evolution techniques have been applied with the emphasis on their potential of creating forms that are useful in the production of architectural novelty and originality.

The inspiration of Geno-Matrix’s fabrication comes from Leo blocks. Within a modular building system, large quantity of cubic units are fabricated and assembled into a lattice system. those units can be ‘pulled’, ‘pushed’ or ‘combined’ on the lattice

Geno-Matrix

The central feature of this project is the developments of a deformable structure that exhibits characteristics o f a living organism, with the potential for evolution in a manner similar to the larger cityscape.

Geno-Matrix is a genotype driven structure for skyscrapers which according to the changing spatial requirements, can produce potentially infinite scenarios. It can deform itself at the current inhabitation culture. Rather than using the conventional architectural design process to generate the form, Geno-Matrix comes from genotype, phenotype, mate crossover, morph, mutation and selection process. In the design process, genetic computing and evolution techniques have been applied with the emphasis on their potential of creating forms that are useful in the production of architectural novelty and originality.

The inspiration of Geno-Matrix’s fabrication comes from Leo blocks. Within a modular building system, large quantity of cubic units are fabricated and assembled into a lattice system. those units can be ‘pulled’, ‘pushed’ or ‘combined’ on the lattice

PART O1week three Parametric Modelling

parametricism: the next architecture style or a momental phenonmenon?

Parametric Modelling

In a recent piece for The Architects’ Journal, architect Patrick Schumacher clearly claimed that parametricism is a new style of architecture and ‘offers a credible, sustainable answer to the drawn-out crisis of modernism that resulted in 25 years of stylistic searching.’ However, Adam Nathaniel Mayer thought parametricism is just a process which based on computer modelling software. At the same time, Adam indicated that parametric technology only create new forms might seem revolutionary on the surface and parametricism is likely to quickly ‘fall out of fashion’ due to without broader social aims.

In my point of view, their different understands of parametricism is based on different recognises of ‘style’. Patrick Schumacher proclaims style is ‘virtually the only category through which architecture is observed and recognized. But Adam argued that Patrick ignores the connection between how the public versus design professionals see and evaluate architecture. Therefore, I personally think Patrick Schumacher understands parametricism from a view of architect and Adam Nathaniel Mayer cares more about the connection between public and professional architects. In another word, standing at two different started points, parametric architecture could be understand in various

ways and various understandings indicates both advantages and disadvantages of parametric architecture.

The advantages of this technique are quite obvious. One of the key features of parametric design is that it is a flexible technique. Because parametric modeling is a way of searching the right solution under a certain relationship. Under this relationship, the form could be changed to become the perfect solution to deal with several issues like sun shading and so on. In my opinion, the best architecture is the right architecture. And parametric modeling technique makes the searching process quicker and easier. It is true that using parametric modelling in architectural design could easily create some crazy, blob-like physical form of buildings. However, as mentioned in NZarchitecture blog, the physical form of building could still be traditional and using parametric modelling ensure architects to design buildings faster and more efficiently than ever before.

However, one of the biggest shortcomings of parametric architecture is how to dealing with social issues. First of all, the exponential cost of constructing demonstrates that parametric

parametricism: the next architecture style or a momental phenonmenon?

Parametric Modelling

ways and various understandings indicates both advantages and disadvantages of parametric architecture.

The advantages of this technique are quite obvious. One of the key features of parametric design is that it is a flexible technique. Because parametric modeling is a way of searching the right solution under a certain relationship. Under this relationship, the form could be changed to become the perfect solution to deal with several issues like sun shading and so on. In my opinion, the best architecture is the right architecture. And parametric modeling technique makes the searching process quicker and easier. It is true that using parametric modelling in architectural design could easily create some crazy, blob-like physical form of buildings. However, as mentioned in NZarchitecture blog, the physical form of building could still be traditional and using parametric modelling ensure architects to design buildings faster and more efficiently than ever before.

However, one of the biggest shortcomings of parametric architecture is how to dealing with social issues. First of all, the exponential cost of constructing demonstrates that parametric

architecture is hard to become prolific within the built environment. Only the wealthy developers like government or international enterprises could afford the cost. And lots of parametric designs (with unconventional forms) are confined to the realm of ‘paper architecture’. Apart from this, parametric design is usually hard to be understood by public, especially for those without any architectural background. For example, lots of parametric buildings or sculptures are designed carefully by computing sunlight, wind speed and other factors. But for most of people, the reasons for resulting in those complex forms are usually simply understood as aesthetic needs.and form infinite typological feature.

http://www.ideafixa.com/wp-content/

This project creates an exterior building skin for a multi-family dwelling unit in Tokyo. This architectural system performs with similar attributes to the demolished green strip and creates a new atmospherics space of protection. Conceived as a thin interstitial environment, the articulated densities of the porous and open-celled meshwork are layered in response to the inner working of the building’s program.

The double layer screen is derived from a compressed combination of unique pattern generated with parametric software and is constructed using a composite metal panel material used for billboard backing and infrastructural protective covering. Indeed, parametric software carefully examined the sun shading, ventilation and other factors to make this unique pattern of screen. However, residents of this unit indicated that they missed the old residence which was wrapped with a layer of dense vegetation. Furthermore, the aim of this design is trying to replace the old vegetation layer with new technology (as artificial vegetation). From this point of view, this design is not successful, to some extents. Personally, this might be one of the disadvantages of parametric design. Even though it provides better functional performance, it could not suit everyone’s need and replace something like vegetations. http://www.core.form-ula.com/wp-content/uploads/2007/11/testuser5_oct2007_01_airspace_lzaalw_

jqaw8w.jpg

AIRSPACE TOKYO

http://www.core.form-ula.com/wp-content/uploads/2007/11/testuser5_oct2007_01_airspace_lzaalw_jqaw8w.jpg

Thom Faulders + Hajime Masubuchi of Studio M

Architects:AIRSPACE TOKYO

PART O2week fourLearning experience Group research and argumentCut project 1.0

week fourLearning experience Group research and argumentCut project 1.0

So far throughout of all the lectures, tutorials and researches, I am pretty enjoying the process of learning digital architecture and parametric design. During this process, my point of view about what is digital architecture and how parametric software influences the design had changed. In the very first beginning, I thought digital architecture is all about the fancy facade, strange shape and poor organization of functional rooms. However, when I gradually learned more presents and read some articles about digital architecture, my idea changed. Personally, parametric design is more like a ‘problem-solving’ process or ‘discovering best relationships between objects’.

For example, the beautiful facade of Air shape in Tokyo seems meaningless when I first looked the picture of it. However, this facade performs with similar attributes to the demolished green strip and actually creates a new atmospherics space of protection. This suggests that this pattern has been carefully calculated: the shape and location of each hole were designed according to the sun orientation. Furthermore, the exercises of using grasshopper provided me a strong sense that parametric design process is a process of discovering relationships of objects. The input and output could be certain, how to achieve the outcome or discovering the relationship between input and output is exactly what we are looking for.

So far throughout of all the lectures, tutorials and researches, I am pretty enjoying the process of learning digital architecture and parametric design. During this process, my point of view about what is digital architecture and how parametric software influences the design had changed. In the very first beginning, I thought digital architecture is all about the fancy facade, strange shape and poor organization of functional rooms. However, when I gradually learned more presents and read some articles about digital architecture, my idea changed. Personally, parametric design is more like a ‘problem-solving’ process or ‘discovering best relationships between objects’.

For example, the beautiful facade of Air shape in Tokyo seems meaningless when I first looked the picture of it. However, this facade performs with similar attributes to the demolished green strip and actually creates a new atmospherics space of protection. This suggests that this pattern has been carefully calculated: the shape and location of each hole were designed according to the sun orientation. Furthermore, the exercises of using grasshopper provided me a strong sense that parametric design process is a process of discovering relationships of objects. The input and output could be certain, how to achieve the outcome or discovering the relationship between input and output is exactly what we are looking for.

Learning Experience of Digital/Parametric Theory

Cut Project 1.0

http://apartmentsaventura.com/wp-admin/iit-mccormick-tribune-campus-center&page=5

McCormick Tribune Campus Centre

McCormick Tribune Campus centre is a interesting building which contains various engagement with parametric patterning and ornmentation, each with different purposes and outcomes. Based on this project , i began to make something simple by using the grasshopper definition. First of all, i just change the images in grasshopper. After that, i tried to reduct this project. So i changed both of the image and the sliders. Then, i began to create something by using differnt inputs. Finally, i changed part of the definition.

Pursuing direction:

Our group is interested in Attractor Point. We decide to use multiple attractor pointsExperience the sculpture in different ways: Movement, dynamic, opportunity for illusion will be taken into account.

Argument:

‘An attractor point informed approach allows for an interactive architecture which can engage the user from multiple viewpoints, presenting opportunities for distorting the user’s perception of space and/or time. This can transform the typically mundane task of driving into a rich and memorable visual experience which reflects ideas about the context.’

ATTRACTOR POINT

ATTRACTOR POINTWhy for Wyndham city gateway project:

First of all, the location of sculpture is near the highway and this means the users (drivers) are always moving. Therefore, multiple viewpoints ensure the users have visual experience all away along the highway even though they are moving.

Secondly, controlled view point guarantee that users only see what we want them to see. Therefore, a certain view or environment for users could be provided and different visual experience could be applied.

Our group believes a successful sculpture has most to do with users. Our approach could interact with users and provide memorable visual experience for users.

http://sfdm.ca.scad.edu/faculty/mkesson/vsfx319/wip/best_winter2011/ali_jafargholi/FinalProject/Images/aoBig.jpg

General information:Invited competition proposal for the Museum of Contemporary Art at the Luther Burbank Center, Sonoma, CA

This new 7,000 sq ft museum building proposal is adjacent to a freeway and provides an opportunity for the façade to serve as visual icon for the institution. Responding to a driver’s perspective from the road, the building’s surface data of text, color, and architectural openings emerge legibly, only to fully recede from a different position.

Using redundant layer of metal tubes, the façade’s surfaces pulsate with changing visual hot spots. The tubular skin can be sculpted to create varying surface depths, and due to geometric laws of tubular stacking, it is everywhere unique. As an intelligent skin, the exposed west side of the building provides its own shade to reduce solar gain. The entire building is raised above a linear strip of glass to perfectly align site lines from

interior courtyard visitors to views of automobilesbodies beyond - the effect is of a building lightly hovering upon flows of visual movement.

Why for our project:First of all, the location of MOCA is same as our project: it is adjacent to a freeway which means it has the same user as our project: the drivers and the cars. Meanwhile it provides a visual experience by responding to driver’s perspective from the road: it requires the movement to achieve the design intent instead of viewing from one attractor point.

This project is quite interesting and successful because it allows the driver view things without turning their heads, slow down or speed up. And that is what our project looking for: We want drivers enjoy the sculpture without changing anything, without any changes maintain the safety and safety is absolutely important in a freeway.

MOCA@LBC

http://faulders-studio.com/proj_moca.html

interior courtyard visitors to views of automobilesbodies beyond - the effect is of a building lightly hovering upon flows of visual movement.

Why for our project:First of all, the location of MOCA is same as our project: it is adjacent to a freeway which means it has the same user as our project: the drivers and the cars. Meanwhile it provides a visual experience by responding to driver’s perspective from the road: it requires the movement to achieve the design intent instead of viewing from one attractor point.

This project is quite interesting and successful because it allows the driver view things without turning their heads, slow down or speed up. And that is what our project looking for: We want drivers enjoy the sculpture without changing anything, without any changes maintain the safety and safety is absolutely important in a freeway.

How we change:Learning from MOCA, our group realized the importance of using multiple viewpoints. We decided to divide our sculpture (which is shaped like a long tunnel) into 10 or even more sections, each section is controlled by different attractor point. Therefore, drivers could view sculpture without any changes.

General information:

The Casalgrande Ceramic Cloud, the first work of architecture in Italy by Kengo Kuma, the Japanese master, and a new symbolic gate of the ceramics district of Emilia Romagna, is located in the municipality of Casalgrande, in the province of Reggio Emilia. The CC Cloud transversally divides the space of a roundabout like a thin diaphragm curtain dynamically attracting the viewers’ sight. The layout plan of the work is oblong and streamlined at the ends and the central section reaches a maximum width of 1.7 metres. It is almost 12 metre tall.

Why for our project:

First of all, the CC Cloud created a new environment by simply dividing the space. This shared similarity of our project, because our group also wants to give drivers a special experience by creating a new environment along the road. Furthermore, CC Cloud is not only a monument that standing in the middle of the site, it became part of the site by using dual character. The anti-monumental approach went far enough to decide aligning the direction of the ceramic wall with the road that leads to it so as to make it almost disappear: when reaching the site, drivers will only perceive a roundabout divided by a vertical line. Therefore, it played with viewer’s sight and that is what we want to achieve in our project. Learning from CC Cloud, our group was provided a clue of how to produce visual experience.

How we change:According to this project, we decided to increase the length of our sculpture and put another layer of sculpture. Besides, we also tried to learn from the structure of CC Cloud and wondered if we can use this structure: Its 3D structure is composed of nine layers of large technical porcelain stoneware slabs – standard production items by Casalgrande Paraná – placed one onto the others and interconnected by means of thin hidden threaded bars.

CasalgrandeCeramic Cloud

Ceramic Cloud

http://www.evolo.us/architecture/casalgrande-ceramic-cloud-kengo-kuma/

General information:The Signal Box at Basel Station contains electronic apparatus to regulate the signals for trains arriving at and leaving the station. The concrete structure is wrapped with copper strips, allowing a glimpse of the equipment contained within. The copper also acts as a lightning conductor to protect the sensitive equipment from a lightning strike. The concrete core is wrapped with approximately 20 cm-wide copper strips that are twisted at certain places in order to admit daylight. The concrete box that forms the interior-exterior boundary is transformed by a cooper basket which gathers the linear structure of the rails in an envelope of continuous strips.

Why for our project:First of all, the cooper strips which shade the sun without interfering with the view of outside lead to the idea of fins which are suitable to the fast moving users to create a sense of rhythm and the time. Furthermore, it also provides the construction method

How we change:After learning this project, our group decided to use fins as the main form of our sculpture and this helps us later in our matrix processes. And we come put with some idea of how the rhythm and time could be change (shown in next page)

http://tylerapolich.files.wordpress.com/2009/08/basel-central-signal-box-skin-detail.jpg

Centro Signal BoxArchitect:Herzog and de Meuron

text refer to book: 1997-2007 :Herzog and de Meuron, P74-P75

http://www.architecture.com/Awards/RoyalGoldMedal/RoyalGoldMedal2007/CentralSignalBox.aspx

http://tylerapolich.files.wordpress.com/2009/08/basel-central-signal-box-skin-detail.jpg

PART O2week five Cut project 2.0

This experimental structure was built for an architecture exhibition that proposed to capture the experiential quality of space, as opposed to the standard practice of presenting images of building on the wall. Using an integrated parametric process, a series of operations was undertaken on the honeycomb grid of a geodesic sphere, resulting in a cube of cells converging on a single point in space. This structure was then suspended from the ceiling, allowing visitors to duck underneath and position their heads at the point of convergence. There only the edges were visible, and the piece appeared as a net. As depth dissolves, one senses that one is the centre of an enormous system Leonardo’s Vitruvius Man in a galaxy of mid-twentieth century geometry.

This precedent provides a very interesting experience which involves the users. As a sculpture or pavilion, BKK is successful in its artistic shape and for the interactive effect, BKK pavilion also achieve what it is desired. Our group want what we design could provides both sculpture and experience and has most to do with users. Therefore, BKK pavilion is a good start point.

Case Study 2:BKK Pavilion

This was the first step we took in attempting to recreate our case study. Because we hadn’t read up on the process yet and had no idea where to begin, we decided to create just one of the hexagonal cells and produced a basic understanding of BKK pavilion’s form. Also, we didn’t fully understand the ‘extrude to point’ component and overlooked it. Meanwhile, we created vectors between ht e hexagon and the attractor point. Therefore, the extrusions are overlapping.

The second stage was discovering ‘extrude to point’ component, because we thought ‘extrude to point’ is a significant step to create BKK pavilion. This attempt was aimed to recreate one of the walls of the box and repeat this for six times to make a box. We first created a wall by using a hexagon grid and extruded it towards an attractor point. However, this attempt was failed for two reasons: 1.all the cells are in same size (which BKK pavilion is not). 2. the adjoining corners/edges would stop the effect of infinite projection

step 1 step 2

The second stage was discovering ‘extrude to point’ component, because we thought ‘extrude to point’ is a significant step to create BKK pavilion. This attempt was aimed to recreate one of the walls of the box and repeat this for six times to make a box. We first created a wall by using a hexagon grid and extruded it towards an attractor point. However, this attempt was failed for two reasons: 1.all the cells are in same size (which BKK pavilion is not). 2. the adjoining corners/edges would stop the effect of infinite projection

After we knew that this project was originated from a geodesic sphere which had been extruded and trimmed to create the cube shape, we planned to follow this. However, we could not download the geodesic dome model at that time, so we decided to create one by ourselves. So the third attempt was trying to create a geodesic sphere by drawing hexagons on a sphere. But the truth was, all of us had no idea of how to create geodesic sphere.

step 3

Since our group decided download the geodesic sphere after tutorial, we started to figure out extrude and trim process. So we found a model which is similar with geodesic sphere and traced points to frame lines (because this model was composed of solid). Because this was just a test so we only created a small corner and trimmed in Rhino instead of Grasshopper.

step 4 step 5

Generally, I thought our model is successful. Basically we shared the same parametric definition with BKK pavilion and this resulted in similar shape and pattern. But there are also some differences. Our group believed the attractor point of BKK pavilion is a central attractor point and trimmed accordingly. However, after we done our model and compared it with the BKK pavilion, we realized that the real project had an attractor point off centre. Thus, our model is lacking of symmetry between the different faces.

step 5

Generally, I thought our model is successful. Basically we shared the same parametric definition with BKK pavilion and this resulted in similar shape and pattern. But there are also some differences. Our group believed the attractor point of BKK pavilion is a central attractor point and trimmed accordingly. However, after we done our model and compared it with the BKK pavilion, we realized that the real project had an attractor point off centre. Thus, our model is lacking of symmetry between the different faces.

PART O2week six Matrix

First of all, we developed a grasshopper definition (Variable fin depth with angle) which allowed fins to be created on the surface with varying depth. This depth is aimed to provide visual experience for users. Like the BKK pavilion, this definition allows our model appeared transparent (or as lines) from a certain point. However, this type of model requires user to turn 90 degrees to view it, and that is not suitable for roadside project. Secondly, we developed a grasshopper definition (fixed fin depth with attractor point) which enables the rotation of fins according to the attractor points. However it could not allow the depth of fins to change. And without changing depths, it could not match our design intent.

After those two attempts, our group found that using the first grasshopper definition and extrude the fins to an attractor point in front of the model could achieve our design intent: pattern could be seen by users while approach and appeared as line in transparency points.

After decided which grasshopper definition we should focus on, our group began to try to fully text the third definition. First of all, we reduce the density and number of fins. Because we want to each set of fins attractor to a point and repeat those fins sets to create a rhythm (this idea came from our precedents in week 5). Then we tested different patterns and angles with a flat plane base geometry. After tested different patterns, we realised the ‘horizontal triangle’ shape pattern could provide the sense of speed change (pulsing effect).

Test of theThird GrasshopperDefinition :

PART O3week seven Model making

Step 1: sketch model

Our group made two small scale sketch models by hand in the start. This try was aimed to help deciding the size of our presentation model. And we also got new ideas about detailing and materialty through this experience.

One sketch model is about 5cm height and one is about 15cm height. The 5cm height model was made by paper. By making those models, our group found paper is a very soft material and soft material is suitable for the fins, because the fins of our design are curved and need to be bended (in some extent) to provide the visual experience. And for the structural layer of sculpture, a mass and strong material is needed to support the whole structure.

What is more important is, by comparing the making process of two models, we realized the bigger the model is, the easier the fins could bend. And the better bending of fins provide a better visual effect for drivers. Therefore, the height of our model is suggested to be around 20cm.

Furthermore, we found keeping the structural layer as one whole piece is better to divide it into separated section. Because one whole piece could support the structure stronger and it is also easier to be connected to the base. So we combined all the structural layer sections into one in Rhino and drew some small gaps in structural layer to let fins fixed in.

Fabrication:

Sturctural layer sections for sketch modelsa support base is connected with each strctural layer sections

Sturctural layer sections combine to one piece small gaps are created to let fins fixed in.

Fabrication:Step 2: Material selection

After decided the size of model, we began to consider the material usage. According to our argument which attempt to transform the typically mundane task of driving into memorable visual experience, our group found a strong comparison between structural layer and fins could be interesting. And this comparison could be achieved by using different colours of material. Therefore, our group came up with two selections: first, black structural layer with white fins, second, transparent structural layer with white fins.

Furthermore, in order to meet our group argument, we thought the material which allowed the light go though could create a interesting visual experience. Therefore, Perspex and polypropylene is suggested to be one good choice.

However, after testing the material, we realised polypropylene was too stiff to bend and fixed into the gaps of structural. So we used box board instead.

Step 3: detailing

Apart from the gaps in structural layer, a base was to be made in Rhino to offer a stronger support for structure. Basically, the medium etch lines which exactly follow the structural layer and fins were created in the base. Therefore, the structural layer and fins could suck into the base or fixed into base better. Gaps were also created in fins and that made it possible for fins fixed into structural layer without any glue.

Step 3: detailing

Apart from the gaps in structural layer, a base was to be made in Rhino to offer a stronger support for structure. Basically, the medium etch lines which exactly follow the structural layer and fins were created in the base. Therefore, the structural layer and fins could suck into the base or fixed into base better. Gaps were also created in fins and that made it possible for fins fixed into structural layer without any glue. http://purpleopurple.

com/inventions-and-inventors/perspex.html

comparsion of colors small gaps on fins

PART O3Mid semester Break

PART O3week eightEOI presentation copy

PART O3Mid semester Break

Futher Development

Response to Feedback

Our problem:1. We didn’t push the definition far enough. To be honest, our definituion is basically followed the one Alison posted on our group wiki and just changed small part of it. personally, this may be one of our biggest problems.

2. We ’ve either got a good technique or a good design idea but not both. I think our group design intent is very clear and our technique is interesting. However, both of them are not good enough. Just as Stanislav mentioned in the tutorial, our design is quite straightforward, but it may lose attraction for users because the experience produced by sculpture is the same as they went through free way. Obviously, the more complex the design is , the more complex the grasshopper (or the technique) should be.

How we improve:

First of all, I think the matrix is what we should work on. We could text more matrix by change part of the ‘stater definition’ (which we used for our design). Last time we tested various images, slider numbers and inputs (different curve shapes), and this time we could keep all the elements as the same but change part of the grasshopper definition. Through this experience, we may create something

interesting and that could provide ideas of how the design could be changed.

Secondly, we could involved more aspects in our design. So far, our group only focus on the Attractor point. However, after learning from other groups, I think we can take more things into account. For example, our argument is aim to preset opportunities for distorting the user’s perceptions of space and/or time. Therefore, kinetic, responsive or Bio-mimicry could be the interesting aspect to work on.

Third, we can also improve the attraction of our sculpture through constructions. For example, we could make the fins moveable and response to the sun shading or something else. Our precedent, the Centro signal box is a good example how the fins response to sunlight. We can learn from the construction method of that and develop our own connection joints.

The last thing we need to push further is the rhythm thing our group came up with. We had several ideas of how the rhythm could be achieved and we also thought about the effect it will offer. However, it is not deep enough. We should test each of the purpose in Rhino

Response to Feedback

interesting and that could provide ideas of how the design could be changed.

Secondly, we could involved more aspects in our design. So far, our group only focus on the Attractor point. However, after learning from other groups, I think we can take more things into account. For example, our argument is aim to preset opportunities for distorting the user’s perceptions of space and/or time. Therefore, kinetic, responsive or Bio-mimicry could be the interesting aspect to work on.

Third, we can also improve the attraction of our sculpture through constructions. For example, we could make the fins moveable and response to the sun shading or something else. Our precedent, the Centro signal box is a good example how the fins response to sunlight. We can learn from the construction method of that and develop our own connection joints.

The last thing we need to push further is the rhythm thing our group came up with. We had several ideas of how the rhythm could be achieved and we also thought about the effect it will offer. However, it is not deep enough. We should test each of the purpose in Rhino

and figure out what the effects will look like.interesting and that could provide ideas of how the design could be changed. the grasshopper (or the technique) should be.

Response to Site InfoFuther DevelopmentSite observation and consideration of project”1. There are 3 sites. Each site is isolated by different roads. This raises the difficulty in sit chose and the size of our sculpture. Because our design is like a half-tunnel along the road, it could only work in one direction and only for one road. Where should we put the sculpture and how to make it work for all the drivers (from different roads) is what we need to think about.

Response:I think we could change the shape of our design. For example, we could change the half-tunnel into a whole tunnel. Meanwhile, we make it in a really large scale, which could cover all three sites. However, it is difficult to satisfy the structural work and this needs further

research of precedents and development of grasshopper definition to make it possible.

Site observation and consideration of project” 2. There is electricity pit around the site and site is pretty dark in the night. Electricity pits means it is possible for us to develop the technique which may use electricity. Furthermore, our sculpture could not be observed during night time and that could be kind of waste.

Response: the existing electricity pit makes the idea of moveable fins (mentioned in pervious page) which runs by electricity possible. Also, we could put lights and so on into our design (if needed). Furthermore, our sculpture could use materials which reflect car lights to deal with the invisible problem in night time. For