Yi lu (spring) part a&b 616749

2015, SEMESTER 1, PHILLIP BELESKYYI LU (SPRING) 616749

A I RAcumen Insight Reflection

S T U D I O

“This is more than a jounal.”

----Spring Lu

CONCEPTUALISATION 2

3

Table of Contents

4 Introduction

5 My personal projects

6 Part A Conceptualization

7 A.1. Design Futuring

12 A.2. Design Computation

18 A.3. Generation

24 A.4. Conclusion

25 A.5. Learning Outcome

26 A.6. Apendix-Algorithmic Sketches

28 References

CONCEPTUALISATION 4

y name is Yi Lu, people call me Spring here. I like my English name, for it means beauty,

vitality and hope. Those three words can conclude my life experiences for the past 21 years.

I was born in an artist family, relatives on my mom’s side are all doing fine-art-related job. I was rasied up in the cradle of paintings, hand-crafts, cartons, and etc. Colors, patterns and texture became part of childhood memory. For me, before I ever got any idea of what is aesthetics, those wired things were so beautiful and amazing that I couldn’t help myself to look, touch and feel.

I started to have special interest with architecture since I entered university in China. During this year of study, I used up my free time to visit all the unique

building in Beijing. Due to its rapid development, Beijing is full of some world-class architects’ works. From the unity of Galaxy Soho by Zaha Hadid, to the conflict of CCTV tower by Rem Koolhaas; from the stillness of Bamboo House by Kengo Kuma, to the chaos of San Litun Village also by Kengo Kuma, with my visit to each surprise, I got chances to look into their “wrappings“, to their essential charms. Later on, I realized that to dig out some kind of beauty it requires thinking.

After one-year architecture study in China, I decided to transfer to University of Melbourne, in order to carry on my explorarion of architecture at a different place, on a different level, and with new experiences. Although it has been three years already, I am not hurry to make an conclusion of my changing understanding of architecture. I am hoping to find out more in my study of Air Studio, and I am sure I will find them, because with hope, my heart can go anywhere.

M

Yi Lu (Spring)

5Past works of Spring Lu 5

MY PERSONAL PROJECT

FIG.3 Lamp Shade design for Construction Environment

FIG.2 Frame and Infill design for Earth Studio

FIG.1 Point Line Plane design for Earth Studio

Part A CONCEPTUALISATION

Part B CRITERIA DESIGN

Part C DETAILED DESIGN

CONCEPTUALISATION 7

“Now, a younger generation doesn’t dream,

it hopes; it hopes that we wil survive, that there

will be water for all, that we wll be able to feed

everyone, that we will not destroy ourselves.”

----Anthony Dunne & Fiona Raby

A.1. DESIGN FUTURING

Bernard Tschumi: Parc de la Villette, 1983-1985, Paris

CONCEPTUALISATION 8

Parc de la Villette is a park in Paris, designed by Bernard Tschumi. The most iconic elements of the park are the red enameled steel folies (Fig.1). Those thirty-five follies are displayed evenly across this vast open space (Fig.2).

For most of the people, the first impression of this park has nothing related with sustainability. However, instead of projecting sustainable environment, Tschumi emphased the sustainability of social interaction. As a result, he designed this park to provide endless possibility with open space and abstract frames---those follies.

Each folly comes in different shape, while they are all composed by points, lines and planes (Fig.3). By using those basic elements, Tschumi expressed his spatial concept for “the age of information“ and “post-industrial society“.1

He tired to break people’s old idea about a park---relaxing, green and natural, so he made the park into a spacious maze, with hints leading visitors to a certain place. Vistors will be continuously challenged with implications lurk in those follies.

1 William J.R.Curitis, Modern Architecure Since 1900, 1982, p.666

All the follies are not designed to be functional. It challenges the conventional idea of function, form and scale. Without any history precedents, this park design is revolutionary in 1980s. It is also acknowledged as a masterpiece in the area of deconstructivism. Tschumi’s main idea is to create relationship between architectural design with people’s ability to recognize and interact.2This idea inspires a young generation of deconstructivists.

Anyway, it is interesting to find out nowadays some of the follies have been reconstructed to be functional unit, for example snack bar, coffee and etc.

Although the park do not keep its anti-tourism feature as Tschumi originally expected, it maintains its dynamism of interaction. Or we can say that it breaks the peace of a park into pieces of dynamism and unlimited potiential for future development.

2 Jacques Derrida Limited Inc, Northwestern University Press, 2000, p.21-22

FIG 1. Follies as main landscape in Parc de la Villette FIG 2. Arial view of Parc de la Villette


CONCEPTUALISATION 9

FIG 3. Selected follies’ plan

Chiasmus Partners: The Red Diamond, 2008-2009, Beijng

CONCEPTUALISATION 10

Rapid construction of the 20th century brings us convenience, but now in 21st century we are facing the problem of how to deal with old buildings. They had once been the glory of human-beings, now it seems they are just a pile of trash. Given this fact, what can architects do?

The Red Diamond (Fig.5) is a good example of transformation of abandoned industrial building (Fig.4). By consolidating its structural elements, by adding a red mesh envelope, and by re-planning the function zones, it brings in new dynamism to the surrounding community of the old factory site.

Located in Beijing, it follows the planning principle of courtyard. However in order to break the privacy of a courtyard, Chiasmus manipulated transparency and opacity (Fig.6). Consequently, the closeness of the courtyard is neutralized by the use of glass.

Nowadays, the Red Diamond is not only used as a theatre, but also a place of entertainment. This successfull transformation excavated both the existing value of interior space, and the new value of the open space that a courtyard created. It becomes a place for anyone and for a variety of activities.

As the development of construction industry goes on, both the land resource and the material resource will be challenged. As a saying goes “whoever started the trouble should end it“, the unsustainable state of ‘Building Boom’ can be alleviated with proper reuse of old buildings. After all, demolishment is not the only solution for realizing new creation.

FIG.6 Contrast between opacity and transparency

FIG.5 The Red Diamond after Re-construction

FIG.4 Previous factory building



“To be human is to

refuse to accept the given as given.”

----Anthony Dunne & Fiona Raby


A.2. DESIGN COMPUTATION

“When, architects have a sufficient

understanding of algorithmic concept, when

we no longer need to discuss the digital as

something different, then computation can become

a true method of design for architecture.”

----Brady Peters


The 21st century witness big switch in the area of design technique. A brand new way of design is carried out, changing the conventional thought of design from sketching, site analysis and construction to algorithm, visualizing and digital fabrication. What used to be time-consuming and too complex to simulate with physical model is no longer considered as nonsense. Now that kind of design is known as parametric design, and it leads a new form of design logic1.

According to the Kalay, “architectural design is an activity that deals, in equal measures, with externally imposed constraints (e.g., site conditions, climate, functionality, cost, building codes, and so forth) and internally drawn inspirations”2. Computing will benefit both side---the analytical and the creative.

First of all, this kind of data based mathematic algorithm can allow human beings’ limited intelligence to visualize unlimited amount of design outcomes with the assist of intelligent computer programs. Second, not only does computer has the ability of generating aesthetically attractive façade and structure, it can also simulate the surrounding environment, thus figuring out the best solutions for the general comfort of future users.

The following precedents are going to focus on those two benefits design computation has brought to us.

1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architec-

ture (London; New York: Routledge), pp. 1–10

2 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 2



Designed by a famous American Architecture studio---SOM, Mumbai Airport has the distinctive characteristic of parametric design. The structural and architectural components of this airport are blended perfectly with each other. The most notable example is the curvaceous concrete cell of the building. This canopy is supported by 30 tapered columns that are punctured with similar recesses, creating a decorative pattern of openings1.

Parametric design enabled SOM to model the structure and tested out its structural feasibility before the airport was ever built. Without the assist of computation, it would have taken much longer time to finish this design.

Also it is easier to modify the outcome of the design with software. For a dynamic-shaped design like this airport, thousands of data will be needed to guarantee an accurate position for each component. After all, the calculation speed of the computer is much faster and more accurate than human beings.

Consequently, computing provides more freedom for creativity. It frees designers from complex calculation, repeative modeling process, and it allows human beings’ limited intelligence to visualize unlimited amount of design outcomes with the assist of intelligent computer programs.

1. Dezeen Magazine, “SOM completed Mumbai Airport terminal with coffered canopy”, 2014 < http://www.dezeen.com/2014/02/20/chhatrapati-shivaji-airport-terminal-mum-bai-som/>[acessed 20 March, 2015].

SOM: Mumbai Airport Terminal, 2014, Mumbai

FIG.7 Concrete cell pattern generated by grasshopper

FIG.8 Interior View of the Airport


FIG.9 Exterior extention of the canopy

FIG.10 Contrete cell is designed for both aesthetical and structural purpose

Cloud 9: The Media-ICT Office Building, 2011, Barcelona



Media-ICT won the World Building of the Year 2011 at the World Architecture Festival in Barcelona. By simulating site and local weather condition (sun, wind, temperature, etc.) with computer, Cloud 9 was able to find out the best solution for the shape of the façade. Maxmium natural sunlight can be penetrated in to the building, and glazing is avoided as well. ETFE cushions are used to screen the sun cover the southern facade of the

Media-ICT office building. Those cushions contain Nitrogen, which will increase their opacity when heated by sunlight1. All the analytical design process was taken over by computer program, so the design went on smoothly.

Again, computers relieve the burden

1 Detailed Daily, “World Building of 2011: Media-ICT by Cloud 9”, 2011 < http://www.detail-online.com/daily/world-building-of-2011-media-ict-by-cloud-9-769/>[acessed 20 March, 2015].

of designers, and they ensure the accuracy of site analysis, they enable design testing. As a result, the cheerful outcome is a building not only comfortable for users, but also environmental friendly. In a word, it gets most out of the natural environment, while taking least from the non-renewable resource.

FIG.11 Structural detail of the building & the ETFE cushion FIG.12 ETFE Cushion filled with Nitrogen


FIG.13 Southern Facade pattern generated by computer simulation


A.3. GENERATION

“Design, accordingly, is a purposeful activity,

aimed at achieving some well-defined goals.”

----Yehuda Kalay


This week’s reading and lecture are focused mainly on algorithmic thinking. Before starting to critique design generative approaches, I would like to state my understanding of the inter-relationship among algorithmic thinking, parametric modeling and scripting. Algorithmic thinking is the ability to understand, explore and speculate code-based design potentials1. Scripting is the medium designers used to describe their algorithmic thinking. And the overall process is considered as parametric modeling.

Design composition via computing does not mean excellence in every aspect. It is also a two-sided approach.

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

Zaha Hadid: The Galaxy SOHO, 2011-2012, Beijng


A.3. GENERATION

Located at the capital city of Beijing, the inspirational idea of Galaxy SOHO comes from terrace; it imitates both the shape and the spatial fluidity of terrace. Parametric modeling technique realized the unusual shape. Its curvaceous appearance makes this building stands out in the middle of the ancient grid city, breaking the tension of rigidity and creating abrupt new rhythm to the surrounding context.

On one hand, it is good that parametric design enables the 360-degree spatial

fluency1, and it becomes a unique landmark of the city. On the other hand, it is important to notice that not much consideration about the surrounding context has been taken when generating this design. The Galaxy SOHO has its strong characteristic of its designer---Zaha Hadid, however it is quite an international architecture that can be fit anywhere in the world. In short, a huge part of contextualization content is

1 Dezeen Magazine, “Galaxy Soho by Zaha Hadid Architects”, 2012 < http://www.dezeen.com/2012/10/29/galaxy-soho-by-zaha-hadid-architects/>[acessed 20 March, 2015].

FIG.14 Lack of contextualization

FIG.15 360 degree spatial fluency

FIG.16 Panorama view of the Galaxy SOHO


FIG.17 Central open space and the space connection between each building.


A.3. GENERATION

The Absolute Tower is designed by MAD. The initial concept of the tower is to build up a organic skyscraper. The founder of MAD stated that we already have listless boxy building in the urban context, what we need to create now is things that are soft, natural and organic. The Absolute Towers inherits the twisting fluidity and natural lines found in life1.

MAD illustrated that they treats architecture as landscape, instead of a product or an artificial volume. The landscape they are aiming to create is not a simple piece of green, but an environment fostering great literature, poem and music, or simply life and philosophy2.

Parametric design is useful for visualizing the organic shape of the Absolute Tower. And its specific way to integrate natural curve with social space provides a possible solution for the conflict of limited land resource and unlimited urban development .

Anyway, if we are seeking pure form of nature in the Absolute Tower, we will end up with nothing. The whole skyscraper is computerized. Though the shapes are organic, but still not naturally rich. Oxman stated that natural design is not simply imitating the appearance of the organic, but response to the real environmental context3. 1 Dezeen Magazine, “Absolute Tower by MAD”, 2012 < http://www.dezeen.com/2012/12/12/absolute-towers-by-mad/>[acessed 20 March, 2015]. 2 Dezeen Magazine, “Absolute Tower by MAD”, 2012 < http://www.dezeen.com/2012/12/12/absolute-towers-by-mad/>[acessed 20 March, 2015]. 3 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

MAD: Absolute Tower, 2012, Mississauga

FIG.18 Waterfull in the middle of the “Shan Shui City“

FIG.20 Low-rise courtyard is surrounded by high-rise buildings, creating the effect of human dwellings in mountain range.


MAD: Absolute Tower, 2012, Mississauga

FIG.21 Abusolute Tower


A.4. CONCLUSION

From the exploration of design futuring to design computation and finally to design generation, during the overall process I am have an general idea of what human and nature need; what computation can provide us; as well as how design generate.

With the inspiration of precedents in Part A, I found out sometime parametric design could be really abrupt to its surrounding context, for example the Galaxy SOHO by Zaha Hadid. So I want to challenge myself with designing parametric model

that has close relationship with its surrounding context. Also it should be able to change the life of the surrounding community in a positive way, just like what Tschumi and Chiasmus have achieved with the power of their design work.


A.4. LEARNING OUTCOME

Before I started the subject, my previous designs were all carried out by computerization. I generated my conceptual shape in my mind or on sketches and then I used computer to model them. By learning the theory in Part A, I realized the power of algorithmic

thinking. This method will make up for the insufficient of human intellect and imagination.

For my previous designs, I think their form need to be explained in a more logical way, they are not effective enough in problem solving as I

expected to, because their form were generated causally.

In the ongoing process of learning and designing, I hope I will get more knowledge to realize my intended design approach.


A.5. ALGORITHMIC SKETCHES

1

3

5

4

2

1. Square columns generated by using divide surface, divide surface, vector and extrude surface.

2. X and Y value of the square base scaled larger, and the extrusion vector changes according to no.1 outcome.

3. The munipulation of Populated 3D points and Voronoi 3D are used on top of the above square columns script.

4. Deconstructing mesh into vertices, and then circle are generated with each vertice as its centre. Followed with extrusion, the radius and the length of the extrusion are all related with the height of the vertice.

5. Similar script are applied with different mesh brep.

SCRIPT DESCRIPTION


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For palying with grasshopper is facinating! Math calculation and data based information form, they just indicate indefinate possibility. Things that will be so hard to create by hand, things that are so organic in their shape, the world of grasshopper is amazing. Those sketches I selected for Part A are the ones that I found most interesting. They are not defined by their shape, so they got the potential of carrying any function.

After my first attempt of parametric design, I realized that creativity is not totally random, they can be really logic, and proper logic brings more chance for a creative pattern.

6. On top of the square column script, populated geometry and octree are applied in this script. As a result, it generates random boxes along those columns.


REFERENCES

1. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

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

3. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-

Aided Design (Cambridge, MA: MIT Press), pp. 5-25

4. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design,

83, 2, pp. 08-15

5. Curitis, William J.R.. (1982). Modern Architecure Since 1900, pp.666

6. Derrida, Jacques. (2000). Limited Inc (Northwestern University Press), pp.21-22

7.Dezeen Magazine, “SOM completed Mumbai Airport terminal with coffered canopy”, 2014 < http://www.

dezeen.com/2014/02/20/chhatrapati-shivaji-airport-terminal-mumbai-som/>[acessed 20 March, 2015].

8.Dezeen Magazine, “Galaxy Soho by Zaha Hadid Architects”, 2012 < http://www.dezeen.com/2012/10/29/

galaxy-soho-by-zaha-hadid-architects/>[acessed 20 March, 2015].

9.Dezeen Magazine, “Absolute Tower by MAD”, 2012 < http://www.dezeen.com/2012/12/12/absolute-towers-

by-mad/>[acessed 20 March, 2015].

10.Detailed Daily, “World Building of 2011: Media-ICT by Cloud 9”, 2011 < http://www.detail-online.com/daily/

world-building-of-2011-media-ict-by-cloud-9-769/>[acessed 20 March, 2015].


IMAGES REFERENCES

1. Bernard Tschumi Architects, “Parc de la Villette”, 1983 http://www.tschumi.com/projects/3/

2. Dezeen Magazine, “The Red Diamond by Chiasmus Partners”, 2009 < http://www.dezeen.com/2009/10/26/

red-diamond-by-chiasmus-partners/>[acessed 20 March, 2015].

3. Dezeen Magazine, “SOM completed Mumbai Airport terminal with coffered canopy”, 2014 < http://www.

dezeen.com/2014/02/20/chhatrapati-shivaji-airport-terminal-mumbai-som/>[acessed 20 March, 2015].

4. Dezeen Magazine, “Galaxy Soho by Zaha Hadid Architects”, 2012 < http://www.dezeen.com/2012/10/29/

galaxy-soho-by-zaha-hadid-architects/>[acessed 20 March, 2015].

5.Dezeen Magazine, “Absolute Tower by MAD”, 2012 < http://www.dezeen.com/2012/12/12/absolute-towers-

by-mad/>[acessed 20 March, 2015].

6. Detailed Daily, “World Building of 2011: Media-ICT by Cloud 9”, 2011 < http://www.detail-online.com/daily/

world-building-of-2011-media-ict-by-cloud-9-769/>[acessed 20 March, 2015].

1.Suckerpunchdaily,”Bridge”<http://www.suckerpunchdaily.com/2011/01/05/non-linear-architecture_

parametrics-workshop/>[acessed 18 March, 2015]

2. Paramaterial, “Black and White Pattern“<http://paramaterial.net/category/grasshopper/>[acessed 17

March, 2015]

3. Pintrest, “Parametric Pattern“ < https://www.pinterest.com/pin/404127766537139789/ > [acessed 16

March, 2015]


March, 2015]


March, 2015]

Precedents Images

Background Images

Part B CRITERIA DESIGN

Part C DETAILED DESIGN

Part A CONCEPTUALIZATION


B.1. RESEARCH FIELD


“Biomimicry is the examination of nature,

its models, systems, and processes for

the purpose of gaining inspiration in order

to solve man-made problems.”


B.1. RESEARCH FIELD

We as human beings are talented in terms of creation, and the best source of inspiration is from the nature. From simply imitating forms of nature as ornamentation, to really understand the fundamental principles of a creature, our exploration of biomimicry keeps expanding. Instead of imitation, biomimicry is considered as learning from the wisdom of nature, thus applying it to contemporary development. A good biomimicry design should not only looks natural, but also implies the function of nature. All in all, “biomimicry is the examination of nature, its models, systems, and processes for the purpose of gaining inspiration in order to solve man-made problems.”1

1. Archidaily, “Architectural Innovation Inspired by Nature”, 2011 < http://

www.archdaily.com/tag/biomimicry/>[acessed 12 April, 2015].

B.2. CASE STUDY ONE

“Learn from the greats.”

---Kevin Chamberlin



B.2. CASE STUDY ONE

Change of the dividing point on each base curve.

Change of the central circle radius

SEROUSSI PAVILION


ORIGINAL SPECIES

Change of the field strengthChange of the hair volume on each cell

Change of the central circle radius


FLOWERY SPECIES


The outcome of this species are comparatively 2-Dimentional. Consequently,

it shows more characteristics of surface rather than space. In this specie, the form

is composed of radiant cell units and radiant base patterns, thus this species

shows great unity.



LOTUS LEAVES SPECIES

This species is named after lotus leaves due to their

iconic shapes. The form of the outcome twists suddenly

after changing base curves into 3-Dimentional. For spiral

generation of this species, snail (a plug-in) is used. It

can help to generate quick and smooth spirals as well as

fibonacci curves. The space and surface of this species are

all interesting. Under each bowl shape leaves, a individual

space is defined. Also, all the individual leave components

are connected smoothly with the tendancy of the spiral.


VORTEX SPECIES

Vortex species is generated by populated 2-dimentional points and field. The interesting part of this

species is the spin force. With the change of the spin force, the vortex pattern changes distinctly. These

patterns have the character of fludity, which remind us of the diagram of a water drainage.


VORTEX SPECIES

SELECTION CRITIRIA

“Survival of the fittest.”

--- Charles Darwin


With clear separatrix of field line

generated by each point, this vortex is more

developable than all the other vortexs.

As shown in the right renders, it can

be developed into pavilion and other

interesting shapes by using graph mapper

for its movement in Z-axis.

As can be seen in the right yellow

diagram, the surface of this defination is

very organic. Leaves are comparatively

simple in shape, and spaces are created

inside the bottom shells and the upper

bowels.


Fibonacci spiral lotus leave is chosen

for its underlying mathematical rhythm and

logic. It has the mathematical aethetics and

the sequence of beauty.

Double-side extending spiral generates

double-side extending space, which means

spaces are extending to both up direction

and down direction. What’s more those

spaces are parallel to each other.

B.3. CASE STUDY TWO

“Learn from the greats.”

---Kevin Chamberlin



B.3. CASE STUDY TWO

1. Make the profile by

contour and offset contours

2. Test out the outcome by put the existing defination onto a rhino loft surface

3. Realize the loft surface

in Grasshopper

4. Find the contour of the

loft surface

5. Offset the contours and

plananr surface them

6. Extrude each contour

surface into the final shape

FLUX: Architecture in a Parametric Landscape by MATSYS

Architect: CCA Architecture/MEDIAlabLocation: San Francisco, United StatesDate: 2008 – 2009


B.4. TECHNIQUE DEVELOPMENT

Change contour density Change section distance


Change loft curve shape Change sweep rail shape Give sweep rail Z

direction movement


Circle as sweep rail

Flower pattern as sweep rail

loop as sweep rail

Manipulate the twist loft surface


During the generation of those iterations, my idea about the conceptual

proposal changes dramatically. I felt my mind was continuously challenged

with the new unexpected shapes. Parametric design enables us to break the

limitation of conventional design method---copy, cut and paste, and it leads us

into further exploration of the true logic underlying the design1.

1 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170


SELECTION CRITIRIA

“Form must have a content, and that

content must be linked with nature.”

--- Alvar Aalto


Defined by expression commond for the distance between each

section, this iteration creates gradual change of space defination. Space is

defined by walls, so with the increasing of the distance between sections,

the sense of space will decrease. Also fitting into the natural environment,

this permeable sections is able to influence people’s view travel, which

can be very interesting.

The flexible 3D curve shape is enabled by sinwaves in both X and Z

direction. Different match of sinwaves will generate very different shapes.

However this one is considered the most meaningful, for it creates two

gate-like arcs. As a result, in this definition, spaces are both inside

the structure and under the structure. What’s more the surface of this

structure is permeable, so penetration of light through this structure will

cast variable shadows on the ground.

Fence structure is what this iteration reminds me of. Again, permeable

surface allows view penetration. Colors of the flowers and grass in the

fence will be changed visually, for it scatters the color of the fence.

Manipulate the color of fence in accord with the color of plants inside will

be interesting for this iteration. It can be used as new structure for the

existing farm.


B.5. TECHNIQUE: PROTOTYPES

“The true method of knowledge is experiment.”

---William Blake



PROTOTYPE MAKING, TESTING AND MATERIALISATION

1 3

64

23D printing the model in Fablab Print file was seperated to ensure better printing result

Seperate pieces of model were polished using sand paper

Use super glue and plastic rod to fix model pieces together

Final effect

Materialisation: Use mesh as reinforcement structure and coconut fiber (better permeability for plants’ growth and degradable) as surface material.

Performance test: Test again lateral force (wind load)Performance result: Stable

The steel reinforcemnt carry the lateral force in this structure as well as link the whole system together

Structure joints consideration:

5 Components fixing diagram


B.6. TECHNIQUE: PROPOSAL

“I don’t divide archietcture, landscape and gardening; to me they are one .”

---Luis Barrragan

Performance test: Test again lateral force (wind load)Performance result: Stable


Whole Site Plan


SITE SELECTION & ANALYSIS

Selected Site Plan

Topography height analyisis Topography steepness analysisi

I chose the precinct of CERES Environmental park as my site.

Instead of demolishing the existing farm, I want to blend the existing

farm with the new system just like one of my part A precedents---

the Red Diamond did to its original site.

Also, bring positive influence to the neighborhood is my other

aim. In order to do this, the follies structure and farm plantation

area will be planned on both side of the creek. Consequently, the

design can vitalize the precinct and improve the water quality in

this area.



RENDER


RENDER

System function analysis


ECOLOGICAL SYSTEM ANALYSIS

SCALE CHOICE

Large scale---as a pavilion & huge water filter Small scale---as a bench structure & small water filter

Those follies serve not only as part of the natural landscape, but also a rain water

filter unit. During wet season, excessive rain water will be purified and be applied to

nourish the farm around it, and alternatively the water goes back to the river. During

dry season, the follies will pump river water to nourish the farm instead.

Folly function diagram


SEASONAL CULL PATTERN


Plants will be arranged in different voronio grids, in order to

achieve the same effect of cull pattern with the season change. The

above are voronio patterns I generated with different cull value.


B.7. LEARNING OUTCOME

While doing part B, I fell in love with grasshopper. Generating the matrix is the most exciting work I have ever done this semester. Though it took a while for the computer to calculate the definition results and to visualize it, most of the time the outcome is fascinating, It is wellworth of the time, sitting in front of the

computer and waiting for the outcome to show.

However, dillemma always occurs for rich amount of interesting outcome will need to be selected.

Consequently, it is really important to set a selection

critiria, as what we were asked to do in B2 and B4.

Part B helps me to understand how to use parametric tools to expand idea generation.


Also, during part B, I managed to work with 3D printer for the first time in my life. It took 2 hours to set down the file into printable format, 4 hours to wait in queue, and other 8 hours of exciting printing times. I have to admit 3D

printing is much more time consuming then I have ever expected. It is always considered as omnipotent and fast, however from my own experience, it is not that superior.

During the feedback

session, I got a lot of useful feedback from tutors, pointing that the work and model I made should be focus more on digital fabrication, instead of composition. I am ready for Part C, and hunger for more knowledge and experience.


B.8. APPENDIX-ALGORITHMIC SKETCHES

1

3

5

4

2

1. Sphere lamp shade is made by popGeo, jitter, explode tree, rotation axis and display commond in Grasshopper.

2. The seaweeds are defined by image simpler, cull pattern, larger than and pipe variable.

3. This vortex voronio pattern is generated with point charge, field , spin force, cull pattern and voronio.

4. This regular shape seaweed is defined by image sampler and pipe.

5. With different parameters and radii value for the pipe variable, the tip of the pipe will be pointed.

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Those sketches I selected for Part B are the ones that I found most interesting. They are not defined by their shape, so they got the potential of carrying any function.

Creativity is not totally random, they can be really logic, and proper logic brings more chance for a creative pattern.

With thw improvement of grasshopper skill, now I am able to make change of the definition in the way I want for most of the time.

And I start to explore unfamiliar definitions and try to use them for further development.

6. The topography height change diagram relates the gradient component with the Z direction height change.


REFERENCES

1. Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170

2. Brainy Quotes, 2015 < http://www.brainyquote.com/>[acessed 25 April, 2015].

3. Archidaily, “Architectural Innovation Inspired by Nature”, 2011 < http://www.archdaily.com/tag/

biomimicry/>[acessed 12 April, 2015].

IMAGES REFERENCES

1. Architect: CCA Architecture/MEDIAlab, “FLUX: Architecture in a Parametric Landscape by MATSYS”, 2009 http://

matsysdesign.com/tag/collaboration/

2. LG CNS, “Biomimicry for Disasters and Energy Crisis”, 2014 < http://www.lgcnsblog.com/it-trend/biomimicry-for-

disasters-and-energy-crisis/>[acessed 20 April, 2015].

3. Daily Tonic, “seroussi pavilion”, 2009 < http://www.dailytonic.com/biothing-a-transdisciplinary-lobratory-

founded-by-alisa-andrasek/>[acessed 20 April, 2015].

4. Paramaterial, “Black and White Pattern“<http://paramaterial.net/category/grasshopper/>[acessed 17 April, 2015]

1. Pintrest, “Parametric Pattern“ < https://www.pinterest.com/pin/404127766537139784/ > [acessed 16 April, 2015]

Precedents Images

Background Images


Documents

Yi lu (spring) part a&b 616749