AIRARCHITECTURAL DESIGN STUDIO SEMESTER 2 2013

UNIVERSITY OF MELBOURNE

MUQIU WANG 531459

PART BSUBMISSION

Contents

Introduction -- About Me 1

Part A : Case for Innovation Architecture as a Discourse 2 Computational Architecture 7 Parametric Modelling 12 Algorithmic Exploration 16 Conclusion 19 Learning Outcomes 20 References 21

Part B: Design Approach Design Focus Case Study 1.0--Reversed Engineering Case Study 2.0--Canton Tower Developed Design Form Design Approach--The B of Bang Prototype Site Response References

Part C

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My name is Muqiu Wang, a girl from south part of China. Now I am a third year student of the University of Melbourne, major-ing in architecture. I studied VCE in China, however, be-couse of the limited educational resources, there was no elective subjects provided to be chosen such as visua communications etc.

From the time in primary school, I showed interest in drawing and painting but did not keep it during the later school time. Besides that, I always paid a lot of attention to the buildings and interior deco-rations in daily life. But actually,

after finishing VCE exam I was still struggling which way I should choose in the future. As I was interested in art and design, parents suggested Architecture for me which leading me to a brand new world that I have never touched before.

It was the first semester I got into the university life made me realized the subject was a big challenge for me. I chose Virtual Environments which made me struggling in ideas as well as softwares during the whole se-mester. Although the result was not that satisfied, the process of making model

and dicussing with tutor or group members was still inter-esting and impressing which persuaded myself keep going on Architecture.

I have used several design soft-wares in virtual environments, studio earth and water, and also visual communications. How-ever, my experiences of using those digital resourcs were still unsatisfactory. To use 1-5 grade each software, Indesign and Photoshop is 3 but Rhino is 2 because of grasshopper. Studio Air is a great opputonity for me to get familiar with Rhino and parametric design approach.

About Me

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Part A CASE FOR INNOVATION

A. 1 ARCHITECTURE AS A DISCOURSE

“the imagery that a building generates as an extension of its own functions ot formal relationships is never as in-teresting as the ideas it can absorb from the outside. an edifice should be like an environmental sponge, soaking up the most interesting gragments of social and psycho-logical information form its context. in this way, a struc-ture can be seen a ‘filtering zone’ -- as the nucleus of an assimilative process -- which can transform the entire definition of architecutre into a new form of public art.” ---- taschen verlag,

The design approach of archi-tecture can be seen in different lenses. In common sense, I think, also even myself before touching this area, architecture is just to be regarded as a building for people to live and work. However, from architects and also artists view of architecture, it can be designed as artwork or monument, express-ing symbolism and context. From that point of view, architecture is no longer a refuge that protecting users from rain, wind or etc., but a segment of surrounding environ-ments.

The idea of architectural discouse was first introduced to me in virtu-al environments that we needed to convert the abstract natural process into the representational design

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Archigram architecture, their idea of individual living space and mov-ing city is a smart conceive dealing the problem of over-population and achieving efficient life in fast-developing society. Architecture was not isolated but also linking with social, environemntal and techinical contexts.

form. That was a strange idea for me at that time but this approach is indeed a common sense for most of architects now and can be told from their works. By comparison with acient architecture, for exam-ple, the architectural style of Classi-cism and Renaissance who tended to applied fabulous ornaments and motifs on builidngs, modern architects paid more attention on function and form as well as the harmonized relationship between building and nature.

“An architect is a drawer of dreams”, said author Grace Mcgar-vie, an architect’s dream are shapes and surfaces defining a fantastic world born from the perceptions and suggestions of the real one. Like the concept of

ARCHITEKTUR & LANDCRAFT STEFAN GIERS, SUSANNE GABRIEL

LUSATIAN LAKELAND, GERMANY

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This giant landmark on Lusatian Lakeland was created in 2010 by Architektur & Landschaft Stefan Giers, Susanne Gabriel in eastern Germany as a part of an interna-tional builidng exhibition. The whole structure was built in a tri-angular plan representing a symbol of the region where characterized by decades of coal mining. The remained deep big mining holes at this time will be saved and then supply to new uses as big lakes.

The building rises with different faces on both sides on triangu-lar floors. While opening to the landside with sculptural stairways, to the lake the landmark presents itself as a oversized stele.

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The material used for this observa-tion tower is weatherproof steel which showing the red-brown pa-tina after weathering. Even thought the environments of the lakeland will be recreated into idyllic lakes with verdant banks, the rusty sur-face of the landmark will still tell the past history to visitors.

This structure catched my eyes at the time I saw it on magazine. I think it fully digests the idea of architectural discourse that making the building itself tells people its history and design purpose.

he formation and organisation of details were constructed by the search of the greastest simplicity in continous materials.

The raw untreated surfaces bring an impression of production of structure to visitors.

Maybe some people will ques-tion the role it will play in the future beautiful rebuilt lakeland. But I think the exitence of the distinct contrast between the steel construction and lakelands will produce an amazing experience of history and nowadays.

KISHO KUROKAWA

NAGAGIN CAPSULE TOWER, JAPAN

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The Nakagin Capsule Tower was the first capsule architectural design by Kisho Kurokawa in 1972 consisting of two concrete build-ings with 11 and 13 stories high. The 140 cubes designing as the individual living space rotating in varing angles are fixed onto the two concrete core columns by high-strengh bolt.

The intention of module was in-spired by housing traveling busi-nessmen that worked in central Tokyo. It is a prototype for archi-tecture of sustainability as well as recycleability, as each module can be plugged in to the central core and replaced or exchanged by the new one if necessary.

The interior of the module is about 4*2.5 metres which only allow one person to live confortably. How-ever, the designer made the module can be manipulated enabling the capsule can be connected with oth-ers to meet family use.

The unique idea and design of capule tower is a prime example of the Metabolism architecture movement, known for it’s focus on adaptable, growing and inter-changeable building designs.

In addition, the building also conveys a idea of short lifespan of architecture which enables archi-tects keep upgrade their ideas of comtemporary architectural form.

This idea is kind of similar with the concept of Archigram that makes people live in individual space which impoving the life efficiency. The architectural discourse that they conveyed was a dynamic, sus-tainable and recycleable life of the modern society.

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A. 2 COMPUTATIONAL ARCHITECTURE

“this conceptural approach is actually a device devel-oped for each project by means of which we remain in-visible as authors,... It is a strategy that gives us the freedom to reinvent architecture with each new project rather than consolidating our style.” --- jacques herzog for pritzker prize 2000

Computational architecture, which cannot be imagined in traditional architectural history, has been ac-cepted as archictectural practices in part of the design process. If we regard the whole design process as a chemical equation, the computer would be the catalyst to speed up design documentation and presen-tation.

There is no doubt that digital programs now plays a crutial role in architectural design process. But what is the reason that people put their passions in studying soft-wares. I think after I got in touch with the CAD and Rhino, the answer is obvious -- to make the design efficiency and expressive.

In contemporary achitectural design, the digital design method is highly used to explore more and more possibilities rather than form and material but also the inte-rior experience of users. And also computation enables designers to do something beyond their imagi-nation. I think in this studio, those are the reasons for enabling us to do several experiments of Gateway project.

The most distinguished difference between digital design space and traditional paper work is digital tools can bring as many as possi-bilities and outcomes of a problem to clients in a short period. Despite of that, it is a much more expres-sive way to tell clients your idea of the whole structure. For example, CAD has become the basic design tool of architecutal requirements. Comparing with handwork, it will save much time in drawng furni-ture arrangement or circuits ap-plication. In addition, for architects themselves, the intercommunity of softwares enable them to build 3D models just on the 2D drawings as we can place the CAD files into Skechup to build up the 3D house model.

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FRANKGEHRY

GUGGENHEIM MUSEUM, SPAIN

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Guggenheim Museum is one of the world most well-known work of contemporary architectures designed by architect Frank Gehry, it was instantly hailed as a “signal moment in the architectural cul-ture”. The whole building is chang-ing people’s ideas about museums that connecting art, architecture and collecting harmoniously, repre-senting “one of those rare moments when critics, academics, and the general public were all completely united about something.”

The materials used for the museum are glasses, steel, limestone and ti-tanium which people can tell from the surface of the museum. The curve form of the exterior wall is intended to appear random

form of the museum and helped him to get the satisfied result.

As I mentioned before that Frank Gehry wanted to the random curve wall to catch the light, it was difficult for him to show the light effect using handdrawing because of the random surface. Therefore, it would be much easier to use digital tool to simulate the design effects.

Without doing the model using real materials that architects want in their designs, the results can be easily achieved in softwares to show clients or public the design approach. Rather than that, digital tools also enable designers to show their design with surrounding environments.

because the architect said “the randomness of the curves are designed to catch the light”. The atrium, which Gehry nicknamed The Flower because of its shape, serves as the organizing center of the museum.

As the museum opened to public in 1997, it was regarded as the most spectacular building of the style of Deconstructivism because of the irregular building form. The design was achieved not only by architect’s brilliant brain but also the useage of the digital software.

Computer Aided Three-dimen-sional Interactive Application (CATIA) enabled Gehry to test the possibilities of the random

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It is the situation in this pavillion that architects should calculate the exact dimension of each segment to insure each two adjacent pieces can be connect well. It can be very difficult if you draw that by hand, however, it can be controlled precisely by software. More than that, even though the geometry is arranged randomly, the 3D model will help designers to memorize it.

The segments of the structure are easily transportable and buildable just like the interlocking pieces of the puzzle. Although the space is in the chaotic array of lines, it is still apparent that there is an underly-ing order of simple proportions, a dynamic pattern that follows the concentric lines of its geometric genesis.

In this case, digitla tool also shows its efficiency and accurancy through design process. While I was doing the model of the Virtual Environments, the most important thing that we realized later was the scale of the model. And also the connection between the two small pieces should be absolutly accurate otherwise the model will not be made.

The Serpentine Gallery, locating in Kensington Gardens, Hyde Park, central London, is an art gallery which focuses on modern and contemporary art. This pavillion was finished in 2002 by Toyo Ito, recipient of the Pritzker Prize 2013, along with Cecil Balmond and Arup.

The pavillion is constructed in a complex random pattern in small scale using only glass and alumin-ium panels. The whole structure can be seen as an algorithmic cube of geometric pattern. The different scale of triangles and trapezoids are formed through the intersecting lines producing window openings.

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TOYO ITO ALONG WITH CECIL BALMOND AND ARUP

SERPENTINE GALLERY PAVILLION 2002, LONDON

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A. 3 PARAMETRIC MODELLING

“parametric systems bring fresh and needed new capabilities in adapting to context and con-tigency and exploring the possibilities inherent in an idea.”

Parametric modelling system, dif-fering from the traditional design, is kind of a geometry design that determined by the changeble given values and equation. It enables de-signers to add or even erase nodes within the design process. Based on a set of algorithmic explora-tions, parametric modelling is kind of a digital tool that allows more computational design approaches and also gets control on the design form. In a way, parametric model-ling helps architects solve the chal-lengeble computational or contex-tural problem efficienctly. Just like Burry (2011) said about this system that it provides “a significantcly deeper engagement between the computer and user by automat-ing routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time”, parametric modelling does

it in architectural aspect. Some of the buildings are so free in form, sense of culture and even sur-rounding landscape but seeking the cool appearances. It was stated in ‘Scripting Culture’ that “the architectural filed’s current use of hte parametric modelling has been superficial and skin-deep, maybe importantly so, lacking of a larger framework of referents, narra-tives, history, and forces.’ Now in modern architecture, the design, in some ways, should be related to its historical social aspects, expressing its materiality, spatial experience as well as the interconnection with the local environments.

widen the range of the posilibily of design outcomes and save the time usage for designers struggling for the complex design issues.

Parametic modelling is not just about searching the aethestic form-making, but it combines the function and appearance of the design through evaluating, modify-ing and re-analysing of the proj-ect. The parametric tool provides architects a much wider scope of design concepts and then assists them to get best outcome based on the database under evaluation and discussion.

Howeve, as parametric modelling has a short history and is a sort of new technique for architects, it sometimes used by architects who are urge to be professors in digital world but without the fully under-stand about the real meaning of

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FOSTER AND PARTNERS

NATIONAL BANK OF KUWAIT HEADQUATERS, KUWAIT

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The complex geometry was tran-lated into the grasshopper with artistic agenda but also embod-ded a will to form. The parametric modelling of this design combined the distinguished aesthistic geome-try, integral structure and building qualities togeteher.

As the parametric modelling becomes more universal nowa-days, more and more architects are trying to handle this technique. Parametric modelling, as a pow-erful digital designing tool, is to make the design more efficient and changeble. Though, the possibility of changes is limitless. However, there is also disadvantage about parametric design that it is a bit hard for sharing the paramatric model within a team because it requires everyone in the group fully understand the meaning of each parametres. It is also a prob-lem that we may face in our later gateway design works.

modelling with scripted tools enables design team to involve the refined full shape into the initial design intents. And at the same time, lots of different performance parameters would be embedded under precise consideration of the environmental, cultural, stuctural, functional and operational require-ments.

Moreover, the parametric model-ling allows designers to get full constructional description of the shading fins through inputing the data to the software. That means the parametric tools can also be used into controlling the details of the design to leave them adjustable.

Another example is the Madrid Civil Court of Justice designed by Zaha Hadid in an environmental adaptive facade that gradually changing the sunlight exposure. The metallic panels were arranged in hexagonal shapes ovelapping with each other.

The National Bank of Kuwait Headquaters, designed by architec-tural practice Foster and Parters, is still being built from the concept of Kuwait’s heritage as a nation depending on the sea and the arrival of oil. The whole tower is 300m tall with 62 levels. The form and geometry of the headquaters presents a symbol of the kuwait’s skylines as well as responses to the local climate.

The parametric modelling tool here is used to experiment the various optionos such as for the arrange-ment of steel fins, the angle of archs forming north facade and place-ment of detail joints, strenghth of the materials. As the design team Foster and Parterns intented to make the building response to the local environment, the shading fins were designed to get natural light and views by the early involve-ment of the parametric modelling approach. The parametric

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ZAHA HADID

MADRID CIVIL COURT OF JUSTICE, MADRID

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The architecture needs revolu-tion to achieve another great progress. I think now the revo-lutionary century has begun and we already foresee an optimis-tic future of the architectural environments. The digital tools is indeed challenging the tradi-tional fundamental architectural design.

Moreover, computation and parametric modelling relates the extior and interior design to-gether to give a complete expe-rience for clients. It enables the building responsing to the local environment through the spatial and visiual link. Because of this new advanced techniques, the architectural system becomes more dynamic, efficient and even intellegent. Also, it brings total brand new ideas and in-formantions to the architectural era.

The development of the com-putational technology allows architecture to be more capable in searching new ideas of the design. Digital tools such as parameric modelling enables architects getting more possible complocated geometries, more creative design approaches and also much quicker installation in fabrication and construction. The architecture has grown up from the advancement of the tecnologies, and at the same time it has been widen not only from the form-making, but the materiality and performance.

A. 5 CONCLUSION

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Gateway project.

To be a good architect should be up-to-date and catch as much as possible knowledge and lat-est technique. In this way, we can earn creativity in order to design modern structures.

symbol that representing our vision as well as shaping our liv-ing world.

Through the exploration of Part A done in previous three weeks, I gained some more under-standing about the role that computational technology plays in architecture design process. The three-dimensional model of Rhino and parametric tools such as Grasshopper changed the way what I think about the form-making and geometry. Before the studio studying, I knew little about the exploration of the spatial experience and materiality but now I will search the potential possibility in the

Before I took the course in University of Melbourne, my knowledge about architecture was superficial and shallow. What I used to think about the architecture was just physical forms and some engineering calculations. However, this con-cept totally changed just after I took the first class of Virtual En-vironments and the later studios gradually enriches my thought about the area. Architecure contains a really huge range of the knowledge including cul-ture, policy, religion, value and also the most important, envi-ronment. It is no longer just a concrete building standing just right there but it is more like a

A. 6 LEARNING OUTCOMES

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Brady Peter, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, (2013), 56 - 61.

Burry Mark. ‘Scripting Cultures: Architectural Design and Programming’, Chichester: Wiley, (2011), 8 - 71.

Daniel Bosia, ‘Long Form and Algorithm’, Architectural Design, 81, (2011), 58-65 (64-65).

David Goldblatt, ‘Lightness and Fluidity : Remarks Concerning the Aethes-tics of Elegance’, Architectural Design, 77, (2007), 10-17 (16-17).

Dusanka Popovska, ‘Integrated Computational Design : National Bank of Kuwait Headquaters’, Architectural Design, 83, (2013), 85-85

Patrik Schumacher, ‘Parametirc Patterns’, Architectural Design, 79, (2009), 28-41 (35-36).

Yoshiharu Tsukamoto, ‘Void Metabolism’, Architectural Design, 82, (2012), 88-93 (90).

Guggenheim Museum, Frank Gehry, < http://vliegtickets.klm.com/europa/spanje/vluchten-naar-bilbao.html>

Madrid Civil Court of Justice, Zaha Hadid Architects, < http://www.zaha-hadid.com/architecture/madrid-civil-courts-of-justice/>

National Bank of Kuwait Headquaters, Foster and Partners, <Madrid Civil Court of Justice, Zaha Hadid Architects, < http://www.zaha-hadid.com/archi-

A. 7 REFERENCES

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Part B DESIGN APPROACH

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respond the spiritual experience that the group of lonely people underwent in that fiction. As a result, the themes of interest of our design are: gravity and depth visual contrast and deception emotion reflection

We started exploring the meth-ods of gravity and depth to make a series of ierations in relation to system, ‘grid and lattice’. After researching several precedents, we used ‘the B of Bang’ by Heatherwick studio and Canton Tower, which we thought would be relevant and interesting to explore.

Therefore, we defined the Wyn-dham Gateway as a metaphor for reflecting the emotions of residents live there, based on the fiction ‘Blueprints for a barbed wire canoe’ written by Mel-bourne writor Wayen Macauley. The aim was to produce a sculp-ture that bring strong emotional impact as well as rational think-ings to all visitors. Moreover, it also serves as a landmark that transports feeling of people from Wyndham to inner city.

So, next what we did was to experiment the form with a design technique to achievie the concept of our design, to

After forming a group with other 2 members, we began to focus on our design methods that could use in Wyndham Gateway project. So this section is a sort of exploration, which combines the case studies that we used to support our initial concept.

As we wanted to create a de-sign that could attract people or convey somthing different to travellers, a strong back story should be chosen in order to generate an interesing brief to this project.

B. 1 DESIGN FOCUS

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But this experiment still in-spired us some idea of getting a lattice structure.

The form of the project should be interesting and expres-sive while also the structural capacity is considered as self-supporting. Therefore, we want to search the form integrity that enable the structure and concept to be a one.

As our design approach also focuses on structure, we firstly used the lunchbox plugin within grasshopper to experiment this extensive topic.

However, as a result, the lunch-box plugin is kind of limited in form making as well as the connection methods of the structure. The trusses generated by lunchbox are general which cannot satisfied us. Because the structure is an important part of our design to reflect the concept, we gave up the luchbox approach.

B. 2 CASE STUDY 1.0Reversed Engineering

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TWO-SURFACE-SPACE FRAMECreating a set of grid lines using two adjustable lofted surfaces. Changing the u and v values to examine the effect. The Lunchbox plugin makes the results achieved easily.

ONE-SURFACE-SPACE FRAMEBy the advantage of the Lunchbox, it is more flexible and adjustable to create the custom space frame grid. And also the bending of the surface is changed by the parametres of the grasshopper.

ONE-SURFACE FRAMECreating a set of grid points on the surface and applying the frame pattern onto surafce. Changing the u and v values to experiment the pattern effect. This can be easily generated by lunchbox.

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As the failure of the lunchbox exploration, we found another interesting precedent, The Canton Tower, to generate form based on para-metric approach. The tower we think is a great building that demonstrates the use of structural design combining architecture with digital te-chinique. The whole structure of tower is simple that formed by mainly three elements which are columns, rings and braces.

Then we essembled the building in Rhino using two different approaches. We made the lofted surface to be twisted in Rhino.

And then we essembled the building in Rhino using two different approaches. We made the lofted surface to be twisted in Rhino and then made the lattice systems in Grasshopper for the first one. But the size of building was restricted. For the second approach we created the surface and lattice in Grasshopper. And then to rotate the base curve to achieve the twist.

However, as these two methods are not flexible enough, we created a more complicated one with parameters that can change to generate a series of different forms.

B. 3.1CASE STUDY 2.0CANTON TOWER, GUANGZHOU,

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curve

curve

loft surface reverse

surfacegird braced

gird braced

line

line pipe

pipe

surfacepoint

iso curve divide

curve shift points

flip

pipe

pipe

rangecurve flip line pipe

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B. 3.2 DEVELOPED FORM EXPLORATION

Grasshopper expression of making strip pipes

As we developed the grasshopper expression after discussing with tutor in help session, the new expression allowed more possibilities to change the form in twisting angle, number of lines as well as divided points. Also the generated form was much more like the Canton Tower.

However, still after we created the ma-trix for different forms, the structure was limited by the shape of twisting lineswhich seemed too general (see next two pages).

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Grasshopper expression of making spiral pipes

Grasshopper expression of making spiral custom rectangular lattice

Variation 1-- 0° Variation 2-- 45°Variation in number of lines and divide points

1

2 3 5 10 2 3 5 10

3

6

9

Variation 3-- 90° Variation 3-- 180° 2 3 5 10 2 3 5 10

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B. 4DESIGN APPROACHThe B of Bang, Heatherwick Studio

As the outcomes were not satisfied enough for us to get an interesting and relevant struc-ture to our concept, we searched another precedent, The B of Bang, which was the biggest sculpture in the world done by Thomas Heatherwick Studio. This structure shows a sense of gravity, aggressive as well as extenssive.

So, to transfer the precedent to our design, we considered the ‘thorns’ of the huge sculpture to be a metaphor of inner emo-thion of people. As city nowa-days becomes more enormous and ever-expanding, there are a group of people who lives outer suburb suffering in low-quality-life. They feel inert, mute and adrift which is what we want to convey through the project. The B of Bang, Thomas Heatherwick Studio

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The life of star is just like the life of a person. So we thought about the structure to be a sphere which was symmetrical but with thorns towards center to represent emotion.

Hence, we did the grasshopper expression of The B of Bang to experiment the flexibility of structure.

While we chose Canton Tower as the precedent of the reversed engineering research as well as structural connection inspi-ration, ‘The B of Bang’ project designed by Thomas Heather-wick studio, connecting with the death process of a star, was regarded as the visual and emo-tional expressive inspiration to develop the project.

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Variation of radius of strips

Variation of number of strips

Variation of thorns of Heatherwick program

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Then to express the empty-ness of people, we booleaned the mesh sphere we created by grasshopper.

We think that the left residents are relatively separated with the out-side world just like birds in a cage. Hence the representing vectors should be limited by a half trans-parent geometry, and we choose wired sphere here, which is simple, pure, partly seeing through and powerful.

What we explored then was the sphere strcuture that combined with thorns of Heatherwick’s project. We created it in grasshop-per and then in order to transfer a sense of bird cage that seperated people with outside world, the strips inspired from case study 1.0 was applied.

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However as these people gradually huddled together within the com-munity. The reversed engineering precedent provided the method by building curves through a set of controlling points on surface which sort of a way to link each single strip on the skin of the sphere which showed the tight and complex inner relationship of those individuals.

Inspired by the process of becom-ing a neutron for a star, the self-compression of energy, we decide to make all the strips to point to the centre of the whole structure.

Hence the representing vectors should be limited by a half trans-parent geometry, and we choose wired sphere here, which is simple, pure, partly seeing through and powerful.

We believed that the left residents might experience deeply upset, helpless and even angry feeling. So to translate this into visual lan-guage, firstly, we symbolize each individual into a sharp 3D triangle segment, and array it into a strip to represent the life process of a resident. This is inspired by the Heatherwick’s work about ideas of aggressiveness.

Then we rotate the orientation of the strips to represent the emotion of the residents.

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The Connection Techinique of ‘Person’

Material and Methods to Essemble Mesh

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B. 5 PROTOTYPE

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must be happy with the environ-ment. To express that, we tried to combined plastic with MDF to transfer this contrasing emo-tion.

MDF, boxboard and clear plastic to fabricate the 3D triangle indi-ividual things. For the sphere, as we wanted it to be kind of time and emotion reflection, the ma-terial we chose was metal. We essembled the mesh by twisting iron wires together.

Though residents there will have negative feelings, some of them

After creating a mesh surface of the sphere by grasshopper, we also found the attract point to rotate the strips towards the center and then combined two structure together to generate outcome.

For the prototype making, we mainly focused on examining the effect that different material would bring to the whole design. There-fore, we chose three material which

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B. 5 SITE RESPONSE

In order to achieve that, we think site A is a better loca-tion to enable travellers from both side of freeway to see it. Moreover, because the feature of monumental of our design, site A responses the catelogue for its open and huge area. that representing our vision as well as shaping our living world.

Lastly, we considered the lo-cation of our gateway design and finally decided to put it on site A. As the gateway project we built should be attractive enough and will not bored people at the same time, we want travellers see the whole structure at the first sight, get-ting surprised when they come closer. efore I took the course

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Moreover, the last important thing is light effect. How can we experiment with the use of light of our sculpture. As there are numbers of small segments in our design, it is necessary to in-clude the light effect. This is not only just provide night visibil-ity, but more crutial is to create interesting visual effets.

extrordianry? How can we come up the concept more ambiguous? And how the existing topography of the site influences the placement of sculpture?

The preliminary prototype will need to be explored further to al-low an easier fabrication. Besides, the materiality and scales should be taken into consideration.

After the mid-semester presenta-tion to our tutors, the feedback we recieved could helped us re-evalu-ate our approach and consider the other of designing the connection between sphere and strips.

The next questions we should resolve will be: Can the surface of sphere be irregular? Is the design concept too

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Canton Tower, Information Based Architecture, <http://gztvtower.info/05d%20Skywalk.htm>.

Canton Tower, WorldlesssTech, <http://wordlesstech.com/2010/12/19/can-ton-tower-guangdong-china/>.

The B of Bang, Thomas Heatherwick Studio, < http://thedailyomnivore.net/2011/06/06/b-of-the-bang/>.

B. 6 REFERENCES