part c journal reduced size

ARCHITECTURE DESIGN STDUDIO AIR

YANG KAIQI770026

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INTRODUCTION

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INTRODUCTION My name is Yang Kaiqi. I was born in China and moved to Singapore during high school. One month ago, I set my first step in Australia and so far I have been enjoying the multi-cultural environment in Melbourne and exploring the sur-rounding cityscape, which is quite different from China and Singapore. Also, it is refreshing to get back to school again since I took a gap year back home before I came to Melbourne. I spent the whole year on things I love but hardly have time for during school, such as painting, Chinese cal-ligraphy, yoga, learning French and an extensive number of family trips around my home country.

My choice of architecture was actually very ran-dom. Before I moved to Singapore, I had always thought I would be in pure science since I was a student of science in China. However, when I was making a decision on which course to apply, I suddenly thought of getting into a course that combines both art and science since I have al-ways had a love for painting and reading. There-fore, after talking with the teachers in the open house, architecture became my first choice in the application. I can still remember some of my friends envy so much for my admission into the course because design courses in Singapore seldom take in international students. Hence, I have always regarded this as my good fortune that should not be easily wasted.

The first time I really found architecture and con-struction meaningful was during my volunteer work in a small village near Siem Reap, Cam-bodia. The locals were in such an impoverished and underprivileged situation that they did not even have enough money to build a fence for the primary school, so the cows from nearby farms always rushed into the school, which was dan-gerous for the students. That was the moment when I realized architecture is not only about aesthetic attractiveness, it should provide a bet-ter living condition for people, especially the un-derprivileged .

Therefore, I am more interested in how architec-ture enhances people’s life quality and I hope to continue my studies and career based on this lit-tle thought of my own.

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CONTENT

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CONTENTA1 DESIGN FUTURING 6 - 9

A2 COMPUTATIONAL DESIGN 10 - 15

A3 GENERATIVE DESIGN 16 - 21

A4 SUMMARY 22 - 23

A5 LEARNING OUTCOME 24 - 25

Al Bahr Tower

London City Hall

ICD/ITKE Research Pavilion

Shellstar Pavilion

No Shelter TowerSubdivision Column

A6 APPENDIX 26 - 39

REFERENCE 40 - 41

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A1 DESIGN FUTURINGAl Bahr Towers

By Aedas

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This project is to provide a contemporary and environ-mentally-relevant solution for the commercial twin tow-ers in Abu Dhabi, which have been experiencing a dras-tic sub-tropical climate with extreme heat in summer.

The greatest challenge was actually to design a façade that responds to the dynamic movement of the sun with-out totally blocking the views and the natural sunlight. Therefore, the architect drew inspiration from the tradi-tional Islamic building façade screen and came up with this computer-controlled 3D triangular screen that mir-rors the sun path. The north of the building that hardly re-ceives any direct sunlight has been left unshaded while the other parts have been installed with the screen to re-duce the solar gain. Before the installation, the sunlight could heat up the window to 90 degrees , resulting in a tremendous heat gain and demands for air conditioning.

Now, with the computer-controlled screen, both the undesired heat gain and the glare are considerably reduced, with sufficient provision of diffused day-lighting. Consequentially, the energy consumption within the twin towers have been lowered by 50%, making the building more sustainable and energy-effective.

Such a solution is of paramount significance to de-sign futuring, which helps to retard the defuturing consumption of non-renewable resources. It shows how technology can be integrated into the design to achieve the desirable environmentally-friendly out-come without sacrificing the aesthetic value.

Also, it is time to contemplate over the practice of passive design. Sometimes, whatever building that is installed with sustainable features such as solar panels can be called a sustainable design. Howev-er, one should take a closer look at the actual net energy consumption for such design features. In this case, solar panels are not practical because frequent maintenance will be required due to the dust and dirt. The energy consumed due to mainte-nance might well exceed the energy gain from solar panels. Thus, passive design features such as the screen have been the best choice.

Lastly, it provides us with a new insight into the tra-ditional typologies, which can be integrated into the contemporary design with their time-tested values and cultural relevance.

Fig 1: The screens are closed to shield the sunshine Fig 2: The screens are opened to recieve diffused daylignting

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Fig 1: Spherical form orientated to north to recieve mini-mum sun light

Fig 2: The cladding build up is directly responding to the amount of sunlight

Fig 3: Natural ventilation to offices at building parameters

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This project explores and demonstrates a sustainable design solution which aims to minimize the pollution. The unusual form of the building emerged out of design principles of minimizing the surface area exposed to di-rect sunlight, providing self shading and being orientated towards north to minimize solar intake. The form actu-ally results in 25% less surface area than a cube of the same volume, greatly reducing the heat gain and heat loss. Also, unlike the conventional office buildings, the city hall is naturally ventilated due to the operated vents at the building perimeter. Together with the photovolta-ic power supply and the ground water cooling system, these design strategies have helped London City Hall to reduce energy consumption by 75% compared to a typi-cal office building in London.

This is a good example of how the design responds to the environment and takes advantages of technol-

ogies to minimize the environmental impacts, which features design futuring. For instance, the technol-ogy of ground water cooling system allows cold wa-ter to be brought up to chill the office spaces and used for flushing the toilets afterwards. This method has considerably reduced the electricity usage and maximized the use of recycled grey water, thus re-ducing the demands for energy and water resource. Similar strategies can be very important in the future since humans are exploiting the available resourc-es. There can be a turning point for our species to face the drastically uneven distribution of energy and resources, which calls for sustainable design strategies to ease the problem. It will be highly help-ful if buildings can be designed to depend mostly on reusable energy and emit no pollution.

London City HallBy Foster & Partners

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A2 COMPUTATIONAL DESIGNICD/ITKE Research Pavilion 2014-2015

By ICD & ITKE

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The design of the pavilion is based on the study of bio-logical process of reinforcement fiber construction. A study of how the water spider reinforces the inflatable air bubble from within, with a hierarchical fiber setup, was made and simulated in the computer. The data col-lected enabled the computer to generate the optimized shell geometry and fiber bundle locations, with compu-tations for fabrication restraints and tectonic simulation being simultaneously included. The data generated was transferred to an industrial robot afterwards, which was placed in a ETFE membrane envelope supported by air pressure. The robotic path was proposed and im-proved by a digital agent whose behavior was based on a range of design parameters including the structural adaptability and material-efficiency. Consequentially, by selectively being applied with carbon fiber based on the structural requirement , the initially inflatable membrane gradually developed into a self-supported structure that covers 40m² with a weight of 6.5kg/ m².

In this example, computation was integrated into the design process from the very beginning, with its advantages being extensively taken through the whole design process until the final outcome. For in-stance, a manual calculation for optimized fiber bun-dle locations and hierarchical fiber framework would have been extremely time-consuming, if achievable at all. However, with the computational design, such non-solvable problems become manageable within a relatively short timeframe.

Moreover, it enables architects to explore the pos-sibility of unconventional materials, which throws a new light upon possible construction methods to ease the assembly processes. Therefore, such a design approach is very significant because it provides possibilities of less time-consuming con-struction with less demands for manpower, reduc-ing the initial capital investment in actual practices. It also significantly shortens the study, simulation, design and construction period, with the optimiza-tion of structural performance, material-efficiency and costs, which is of paramount importance in the current architecture industry.

Fig 1: Water spider reinforcing the air bubble from within Fig 2: Inflated Membrane

Fig 3: Digitally reinforce membrane from within Fig 4: Stable composite shell

Fig 5: Analysis of the shell

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Shellstar Pavilion, HKShellstar Pavilion, HK

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Fig 1: Hanging mesh simulation Fig 2: Optimise planarity of cells Fig 3: Structural analysis of bending moment

Fig 4: Structural analysis of direction Fig 5: Structural analysis of in-plane stress Fig 6: Populate cells with openings

Fig 7: Unfold cells Fig 8: Cell orientation Fig 9: Organise assembly logics

Fig 10: Locate anchor point Fig 11: Attach pre-fabricated panels Fig 12: Add edge reinforcement

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Fig 3: Structural analysis of bending moment

Fig 6: Populate cells with openings

Fig 9: Organise assembly logics

Fig 12: Add edge reinforcement

The pavilion was designed to be a temporary structure for an architecture and art festival in Hong Kong. The form was generated by a digital form-finding process based on the Hanging Chain model developed by An-tonio Gaudi. It enables the architects to determine the optimal form of structures bearing loads completely in compression, especially those with vaults. During the computational design process, mass was applied to the mesh nodes and the mesh edges were converted into a spring. Computer softwares were utilized to simulate physical interactions until the system came to a state of equilibrium. Therefore, the form self-developed into a catenary-like thrust surface, minimizing the structural demands.

Also, the Python script was used to minimize the num-ber of seams when the cells were folded. This eased the process of cutting from flat sheet materials as well as the fabrication process. Following the elimination of seams, a structural simulation was conducted in computer to analyze the critical areas of stress and the initial geom-etry was changed to test for the best possible structural performance. After the simulation process, cells were unfolded flat and automatically labeled for easier fab-rication process, which afterwards were organised into groups of prefabricated panels and assembled off-site.

In this example, the computation was integrated into the design process to help the designers find the optimal solution for existing problems, which real-ized the aim of maximizing the spatial performance while minimizing the structural demands and diffi-culty. Also, because of the use of computer, the sim-ulation and iteration process was greatly simplified and the design can be easily assessed and modified based on performance, leading to a faster agenda of design and fabrication. Moreover, the elimination of seams greatly eased the assembly process, making the pavilion buildable. This can be very significant, especially for temporary structures that require fast and efficient assembly. The off-site assembly also shortens the whole period and minimises the impact on the surroundings, which will enhance the con-struction process for practices of larger scales. It also reduces the demands for skilled workers since the assembly process is already simplified in com-puters, which might relieve the surging demands for proficient workers in the architecture industry.

Fig 13: Spatial & light quality of the outcome

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A3 GENERATIVE DESIGNNo Shadow Tower

By NBBJ

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In response to London’s increasing shadowed areas due to the growing number of high-rise buildings, NBBJ has proposed a concept of no shadow towers generated by computer algorithm. The algorithm scripts were de-signed based on the principle that light should be dis-tributed to different areas at different times of the day by the reflection from building façades and the light pattern movement should respond to the shadow movement of the other tower. As such, the form of the towers are ac-tually generated by computers based on the exploration for the best possible reflection angle to reduce shadow. Therefore, the form of the towers is strictly following the desirable function instead of simply being aesthetically attractive. Also, according to the Design Director, Chris-tian Coop, such a concept can be universally adaptable and the shadow reduction throughout the year can also be modified.

Despite being a concept, it is a good example of generative design because the form has been com-pletely generated by the computer algorithm and the design intent is tightly interlaced with the compu-tational technique. This approach allows designers to simulate and analyse complex situations with ef-ficiency and accuracy. Also, the use of algorithm will break up a sophisticated problem into logical chains

of rules and scripts, making problems manageable for designers in a limited timeframe. Apart from these, generative design allows more adaptability of the concepts. In the traditional way of design, it is difficult to make a single design concept accus-tomed to different situations due to the change of contexts. However, with computational generation, the concept can be much more adaptable by modify-ing the algorithm scripts and the form of the building will be regenerated in accordance with the change of scripts.

Fig 1: Simulation of reflection response, which generates the building form

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Subdivision ColumnsBy Michael Hansmeyer

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Fig 1: Process of evolvement

Fig 2: Horizontal section

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Fig 1: Process of evolvement

Fig 2: Horizontal section

The subdivision columns can be an explorative example of generative de-sign. Exquisitely complex as they are, the columns are actually the produc-tion of a simple subdivision process. At the very beginning of the process, an abstracted doric column was taken as the input form, carrying with it the data, inclusive of the proportions of different elements. Afterwards, with-out human manipulation, the columns went on evolving based on the input data.

In such a design approach, what the designer designs is actually the pro-cess rather than the outcome. The outcome is a slef-generated form based on the input. Also, the data-based nature of generative design inevitably leads to a group of sophis-ticated outcomes, which is easily achievable by changing the data.

Despite the extremely laborious laser-cutting and fabrication pro-cess due to the limited capacity of 3D printers, this is a meaningful exploration in the use of generative design. It demonstrates the poten-tial and possibility for designers to explore various complicated forms with relatively simple processes, which will substantially shorten the form-finding process, accelerating the whole the project agenda in projects of larger scales. Moreover, generative design might make the mass production of houses possi-ble without sacrificing the builidng response to the different contexts. With the manipulable scripts, the basic design data can be stored and the the final outcome will evolve due to the corresponding input. Thus, the generative design can be greatly useful in the future industry.

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A4 SUMMARY

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It is promising and inevitable that computational design will be the new design method that best suits the overall context of 21st century.

With the avant-garde technologies, computer softwares are able to help people solve sophisticated problems with efficiency. The problems that will require an exten-sive timeframe for manual calculation and manipulation will be fractured into a logical series of rules and steps, thus becoming manageable for human brains. This will reduce the duration for design, simulation, fabrication and construction processes to a considerable extent, which is of paramount importance in the capital-based industry where shorter duration means a curtail in in-vestment and thus more profit. Also, with the advent of robotic construction, it is promising that the excessive demands for skilled workers might be reduced in the fu-ture, helping the industry out of its predicament of the lacking manpower.

Furthermore, the computation softwares allow a more accurate and simplified performance-based design. With the data collected from the context and the scripts for desirable response to the context, the developed softwares can easily simulate the actual performance in the virtual world for feedback and improvement. It sig-nificantly shortens the simulation and analysis process, freeing designers from the eternity of tests and trials, es-pecially for extremely complicated issues, be them en-vironmental or structural. Compared to the conventional free form design, such an approach will generate a more precise response to the requirements and contexts be-cause all the design processes are integrated and the listed issues are not mutually exclusive due to the ca-pacity of computer softwares.

Moreover, the computational design will give a pre-cise response to design futuring. Currently, humans are facing a considerable number of drastic environmental problems, aside with the gradual exploitation of non-re-newable resources. Therefore, the very crucial part of future development lies in the innovation in terms of sus-tainability, exploration of renewable energy and substitu-tion of limited material resources. With the conventional

design methods, it can be very laborious, if possible, to explore and simulate the intricate yet efficient organic structures and materials, limiting the realm of architec-ture to the artificially designed norms. Nevertheless, with the aid of computational design, the extremely effective organic structures can be explored, leading to innova-tions in choice of materials, construction methods and structures.

Therefore, with the conspicuous potential benefits, computational design is bound to be the trend of the 21st century due to the overall context, be it environmental, industrial or capital-based.

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A5 LEARNING OUTCOME

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During the design studio air, I have been systematically introduced to the world of computational design for the first time.

In the past, when I first heard of computational de-sign, I found the idea ridiculous. Based on the linguis-tic meaning, I thought it means that one just has to set all the parameters in computer softwares and wait for the self-generated outcome. I found it unacceptable because I felt that with such a movement, a designer’s place is taken by the artificially developed computer soft-wares, making the whole development sound very ab-surd if all human creativity is to be substituted with calcu-lations, computers and robots. However, after the three weeks’ study about computational design, I have learnt that computational design is not to substitute designers with computers. However, the role of the designer might take a shift from the conventional one. In computational design, one has to fully understand the situation, know-ing exactly what the problems are and what should be done to solve the corresponding problems. The param-eters set in the input will directly affect the quality of the outcome. Hence, the designer is more like a coordinator who will have to give all the accurate instructions, name-ly the scripts. However, compared to the conventional design approach, where a designer is in full control of the outcome, the coordinator of the computational de-sign hardly have any control over the final product be-cause the product is completely generated by computer, though based on the input scripts.

Also, computational design differs from the popular con-cept of computerization. In computerization, the design is still controlled by the designer, who designs with free forms and uses computer softwares to ease the drawing and presentation processes. Nevertheless, in compu-tational design, the use of computer softwares are in-tegrated into the design process from the initial design stage, which will help to analyze, simulate, fabricate and even construct. With computational design approach, all design processes are combined and the solutions for various problems are not mutually exclusive anymore. Additionally, since the form is completely generated based on the performance, the form follows function norm sounds very convincing now.

When maneuvering with Grasshopper, I found out that logic is more important than remembering all the scripts. It will be more effective if I try to understand the under-lying logic of the scripts, especially geometrically and mathematically, it will be much faster for me to get fa-miliar with the various scripts. Also, I have found that Rhino and Grasshopper are really useful softwares that ease the modeling process of sophisticated or extreme-ly irregular designs. Compared with Revit, AutoCad and Sketchup, Rhino and Grasshopper actually extend the realm of design possibilities because the form of the design is not limited anymore, which encourages more innovation and creativity.

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A6 APPENDIX

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REFERENCE

IMAGEShttps://www.google.com.au/search?q=computational+design&espv=2&biw=1745&bi-h=835&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjp54-zocnLAhWEJJQKHS90C1IQ_

AUIBigB#imgrc=gukFukGwoitlyM%3A

http://www.mas.caad.arch.ethz.ch/blog/category/computational-design/

http://www.e-architect.co.uk/dubai/al-bahar-towers-abu-dhabi

http://www.fosterandpartners.com/projects/city-hall/

http://icd.uni-stuttgart.de/?p=12965

http://matsysdesign.com/2013/02/27/shellstar-pavilion/

http://www.gizmag.com/the-no-shadow-tower-nbbj/36555/

http://www.michael-hansmeyer.com/projects/columns_info.html?screen-Size=1&color=0#undefined

https://www.youtube.com/watch?v=yTVqg6RnnpA

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A1Al Bahr Tower:https://www.youtube.com/watch?v=BSEVoFi9MpQhttp://www.worldweatheronline.com/abu-dhabi-weather-averages/abu-dhabi/ae.aspxhttp://www.e-architect.co.uk/dubai/al-bahar-towers-abu-dhabi

London City Hall:https://www.london.gov.uk/about-us/our-building-and-squares/about-our-buildinghttp://www.fosterandpartners.com/projects/city-hall/

A2ICD/ITKE Research Pavilion 2014-2015:http://icd.uni-stuttgart.de/?p=12965

Shellstar Pavilion:http://dataphys.org/list/gaudis-hanging-chain-models/http://designexplorer.net/newscreens/cadenarytool/KilianACADIA.pdfhttp://matsysdesign.com/2013/02/27/shellstar-pavilion/

A3NBBJ No Shadow Tower:http://www.gizmag.com/the-no-shadow-tower-nbbj/36555/https://vimeo.com/121813688

Subdivision Column:http://www.michael-hansmeyer.com/projects/columns_info.html?screen-Size=1&color=0#undefinedhttps://www.youtube.com/watch?v=yTVqg6RnnpA

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PART B - CRITERIR DESIGN

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Geometry and architecture have always been profoundly interconnected with each other since the first triangular hut was built by our human an-cestors thousands of years ago. All the existing buildings would not have been erected without the basic knowledge of geometry. In this era, with the aid of avant-garde technologies, geometric design approach has been a dominant branch of the newly developed parametric design. The realm of geometric approach is actually very broad and the boundary is very ambiguous. It is basically about defining shapes and finding forms using geometric tools, which will be involved in almost all design processes. Therefore, it is usu-ally associated with other design approaches such as performance-based design. Moreover, due to the use of geometric functions, which defines the outcome in an accurate mathe-matical method, the whole design process can be

very dynamic, compared to the rather static pro-cess of the conventional designs. The input data can be constantly varied due to the change of material properties, structural requirements and site conditions, with various optimized outcomes generated to meet all the design considerations concurrently. Furthermore, due to the nature of mathematics and computation, such a design methodology is endowed with precision without depleting the limited capacity of human brains. In geometric design, the realm of tangible problems has been pushed beyond its limit, being solved in the vir-tual world defined by mathematics and accu-rately translated into physical structures in the real world afterwards, which has helped to solve highly sophisticated problems and created geo-metrically intricate forms.

B1 RESEARCH FIELD

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B2 CASE STUDY 1 - GREEN VOID

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Inexplicable at the first sight, the green void is actually designed based on the soap bubble model explored by Frei Otto in 1972, which leads to the theory of minimal surface afterwards. Therefore, the form of the Green Void is not obtained through human manipulation, but generated by computer programs based on site condi-tions, simulation of naturally evolving systems and mini-mal surface areas. As a result, the form ensures that it is the optimized alternative that suits the existing context and minimizes the material usage.

Additionally, the project is to explore the possibility of using minimal materials to create a maximized space. Hence, instead of ubiquitous structural materials such as steel and aluminum, the overall structure was fabri-cated with lycra, attached to aluminum profiles and sus-pended by stainless steel cables. Consequentially, this structure has successfully circumscribed a total volume of 3000 m³ with an optimized weight of only 40kg.

The design of Green Void demonstrates how ge-ometry-based ideology is entwined with the per-formance-based approach. In order to fulfill the purpose of maximizing the enveloped space with minimum materials, the most effective connection points were identified and programmed as an input data, which was substituted into the formula of mini-mal surface area afterwards. This design process is indeed based on the performance of structure and material. However, without the help of geometric cal-culation, such an accurate outcome would not have been achieved. Therefore, the geometric approach is a mathematical means that bridges the gap between the desirable outcome and the available data, which is fundamental in majority of design processes.

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Also, in this case, in spite of the minimum physi-cal impact on the existing historical heritage due to the use of light-weight lycra and assembly method-ology, the installation does create a striking sense of modernity and illusion, which differentiates it from the original structures and intrigues visitors. Hence, with a great number of less privileged his-torical sites in the predicament of being gradually obliterated from people’s memory, similar installa-tions might be feasible for these sites by varying the input data, bringing about minimal physical impacts but unprecedented attentions from the public. This might be an architectural method for these historical sites to generate incomes and attracts more atten-tion, in order to obtain better maintenance.

Additionally, with the help of geometric methods, the outcome is extremely precise with an optimized material performance due to gravity, tension and growth. This has ensured that the desired form,

which is based on the purpose of minimizing surface area in this case, is interspersed with the material performance, without possible fallacies in the actual assembly stage. This has resulted in a simplified as-sembly and disassembly process within a shorter timeframe, without the traditional effect-testing pro-cess. This feature advocates the virtue of temporary structures and inevitably leads to a curtail in terms of manpower and investment. In a larger scale, such features will render a proposed project a more prof-itable one with less initial investment, while going inline with the principles of design futuring as well.

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SPECIES 1

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SPECIES 251

SPECIES 3

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SPECIES 453

RESULT ANALYSIS - SELECTION CRITERIR

This iteration is inspired by the cancer cells that proliferate spontaneously, which, in the realm of architecture, can be done through the replication of modular structures. In this case, what is interesting is the repetitiousness of the solid and the void, with the solid part surrounding the void to create a sense of partial enclosure. Also, the tensile structure is anchored by the assigned anchor points, which can be achieved by using fabric and cables in the actual practice.This can be applied as a temporary structure for spatial arrangement of outdoor events, with a flexible span of area as well as fast and simple assembly.

This upper part of this iteration is designed to be extending outwards to form a shelter, while being supported by the column-like structure below. Also, the frame structure was created out of the original surface to in-tegrate the structure into the form. This iteration can be applied as a support structure for vines and ivies, while providing shelter for the surrounding area, enhancing the interaction between people and nature.

Iteration 1

Iteration 3

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This iteration shows how a rigid structure can be drastically trans-formed when being converted to a relaxed structure. The result re-minds me of the naturally grown cancer cells, whose antennas help to maximize its absorption of biochemical information. Similar forms can be applied to the pol-lution capture devices in water, with the area of contact with water maximized to capture the pollut-ants more effectively.

This iteration is derived from the third iteration, with the upper roof-like structure extended to the ground to have the space enclosed. The overall structure is self-supported due to the form derived from Kangaroo analysis, with the triangular structure added in to create visual transparency and more interesting shadow patterns. This can be applied as a structural frame of various project scales, such as shopping malls, pavilions and green-houses for plants.

Iteration 4

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Iteration 2B3 CASE STUDY 2 - BIOSPHERE

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Biosphere is Buckminster Fuller’s most notorious mas-terpiece amongst his numerous experiments of geode-sic domes, which was designed as the United States Pavilion for the 1967 World Exhibition.

It was designed based on Fuller’s ambition of doing more with less, making use of the geometry of a geo-desic dome, which is a sphere-like structure with a net-work of triangular supports that roughly form the sur-face. Such a structure is able to achieve the maximized enclosure of space with the minimal surface area, with the triangular members equally contribute to the inte-gral structural load. As a result, the Biosphere boasts a diameter of 76 meters and a height of 62 meters, eas-ily accommodating a seven-storey exhibition building, which was unparalleled at the time.

Also, despite being complicated in terms of appear-ance, the lattice structure is created from the simple replication of triangular structural modules, constituting three-inch steel tubes that have been thinned towards the top in order to optimize the load distribution through-out the overall structure.

In spite of not being computational due to the limit of technology at the time, this design can be per-ceived as a forerunner of today’s geometry-based design, which is a crucial branch of computational ideology. The use of geometry has aided Fuller to achieve his ambition of sustainable design to a con-siderable extent. With the minimized surface area, there would have been a more efficient use of ma-terials at the time, thus becoming more economical in terms of project costs and extracted resources. Apart from this, the minimized surface area means less exposure to coldness and heat, leading to a more controllable interior temperature without fur-ther installations, which can be significant even in today’s context. While being obsessed with the new

sustainable devices, most of which are additional installations independent from the integral architec-tural design, designers might have a look at the pas-sive design methodology, which can be an integral part of the overall design.

Moreover, the design is the realization of Fuller’s rationale of modularity, which is still significant to the geometric approach nowadays. Appearing so-phisticated as it does, the assembly process would not have been complicated. The sheer repetitious-ness of triangular modules would have led to a shorter construction duration and less manpower, compared to the traditional typologies. In today’s context, modularity means more well-organized production and construction, contributing to a more standardized industrial environment, which, in turn, would benefit the construction process.

Furthermore, the use of geometry has unintention-ally resulted in a type of aesthetic value that suits the current context. In this case, considerations for different design aspects are not segregated, with structural requirements, material performance, spa-tial quality and functionality integrated into the geo-metric design approach. Therefore, the aesthetic value produced is no longer the sheer ornamenta-tion at the building surfaces, but an indispensable part of the building. In this case, ornamentation is not a crime that leads to extra costs and craftsman-ship, but an inseparable part that contributes to the overall integrity of the building.

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REVERSE ENGINEERING

1. Create an icosahedron using Weaverbird 2. Subdivide the triangular surfaces

6. Obtain mesh from vertices and split mesh with plane5. Obtain mesh edges

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6. Obtain mesh from vertices and split mesh with plane 7. Vary the level of subdivision

3. Connect the the center of the icosahedron with the vertices obtained from deconstructing mesh

4. Draw a sphere around the center of icosahedron and extend the lines to project subdivision onto the sphere to obtain vertices

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8. Pipe

B4 TECHNICAL DEVELOPMENT

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What is interesting about the Biosphere is the dominant visual trans-parency and the use of repetition of modules. Therefore, the iteration starts with substitution of different patterns and modular structures us-ing paneling tools in order to achieve different façade patterns, which allows a certain degree of porosity while creating various shadow pat-terns.

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However, such façade patterns can be too straightforward to be last-ingly interesting. Therefore, extrusion tool was used to achieve a dou-ble layer of surfaces, creating a sense of visual depth. Also, when ap-plied to buildings in real practice, such facades will diffuse the direct sunlight, thus controlling the interior light quality.

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When the geometry shifts away from the initial Biosphere, the surface structure produced from sectioning the extrusions will always visually direct one’s view towards the center of the overall form, while the level of visual transparency varies in accordance with the density and depth of surface structures. Also, the shadow patterns produced will be more dynamic due to the change of density.

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More organic forms were tested, with variation in density and depth, which largely affects the level of poros-ity and the level of complexity of surface structures. However, due to the initial regular extrusion from the icosahedron, the variation in visual solidity and transparency is limited.

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Control of the Density of Extrusion

Adjustment

Visual Transparency VS Visual Density

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B5 PROTOTYPE

Prototype 1 explores how the form consisting of irregular triangular components can be achieved.

The selected area of structure is fragmented to its constituent triangles, and unrolled in Rhino, resulting in vari-ous strips that can be folded to obtain the desired triangular form.

The obtained components are assembled by overlapping their common sides afterwards.

Though the form has been achieved, there will be a considerable amount of common sides among the triangu-lar constituents, leading to an inefficient use of materials, considering the actual scale of the design.

Fig 1: Selection of test area

Fig 2: Unroll in Rhino Fig 3: Assembly of the components

Prototype 1

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Fig 3: Assembly of the components

Prototype 2 explores how to effectively reduce the potential waste of materials. Instead of breaking down the structure to triangular components, the structure is broken down to its constituent stripes, which are connected at the edges. This has eliminated the unnecessary common sides of the triangular components, resulting in a more efficient use of materials.

Also, due to less number of components, the assembly process for prototype 2 is much faster than prototype 1. In the actual practice, this will speed up the overall assembly pace, thus shortening the timeframe and reducing the manpower required.

After calculation, prototype 2 has saved up to 36.84% of materials, compared to prototype 1, which will be a substantial amount in the actual practice.

Fig 4: Unroll in Rhino Fig 5: Unroll in Rhino

Prototype 2

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MATERIALITY & JOINT RESEARCH - ONEASSEMBLY PAVILION

The Oneassembly Pavilion by Yale Graduate School of Architecture is a very suitable precedent for me to learn from, with the similar purpose of achieving a sense of dynamism through visual transparency and solidity.

The pavilion was fragmented into 23 units using digital tools, with the information extracted and sent for plasma cutter. Each units constitutes aluminum sheets that are connected by rivets and tabs. These units were as-sembled on site, using the same method.

Fig 1: Oneassembly Pavilion

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It is reasonable for me to use aluminum sheets because they are thin and opaque, which goes in line with the design intent. Also, due to the material’s low density, ductility and malleability, aluminum sheets are more manageable and less subjective to compression, compared to steel or plywood.

Moreover, it is practical to use rivets and tabs as the joints between aluminum sheets, because such an assembly does not require proficient skills and extensive trainings, if compared to methods such as welding. Additionally, the embodied energy of this method will be considerably lower than that of weld-ing, advocating CERES’s value of sustainability.

Fig 3: Aluminum Sheets From Plasma CutterFig 2: Units To Be Assembled On Site

Fig 4: Assembly Through Rivets & Tabs

Proposed Materiality - Aluminum SheetsProposed Connection Type- Rivet & Tab

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B6 DESIGN PROPOSAL

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SITE OF INTEREST -CERES COMMUNITY ENVIRONMENT

PARK

Site MapScale: 1:5000

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Site MapScale: 1:1000

CERES – Center for Education and Research in Environment Strategies, is a non-profit center located in East Brunswick, within proximity to Merry Creek. It is a community business based on the value of sustainability and self-providence. It provides opportunities of education, recreation and social enterprises, while building a sense

of community and enhancing people’s quality of life through extensive number of activities and programs.

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SITE OF INTEREST -CHILDREN’S PLAYSPACE

The play space is a recreational space designed for pre-school children, with the aim to enhance interaction with natural elements such as plants, water, weather and lifecycles. It also aims to create multi-purpose spaces with various spatial qualities to facilitate creative interpretation and imaginative play.

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SITE OBSERVATIONS

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Activities Observed:

• Run• Climb• Jump• Crawl• Peek from the holes• Hide & Seek

Qualities of existing structure:

• Soild with fenetrations• Partially enclosed• Embedded with a different light quality from the exterior• Visual interaction with the exterior • Size suitable for children only• Visually attractive for children due to the bright colour and organic form

Deficiencies of existing structure:

• Monotonous spatial quality• Monotonous light quality• Limited space provided• Limited interaction with natural elements

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PROPOSAL - HIDE & SEEK PAVILION

The dominant activity observed on site is the game of Hide & Seek, which seems to be of particular prefer-ence of both children and parents. However, the existing structure is not effective enough to accommodate such an activity. Therefore, the proposal is to design a Hide & Seek Pavilion, which allows children to ex-plore different spatial and light qualities, based on the shifting visual transparency and solidity.

Also, because of the variation in terms of visual porosity and density, the game will become more dynamic and interesting.

Lastly, the qualities of the exisitng strucuture should be maintained, such as the organic form and bright colour that attract childen.

Fig 1: High Visual Transparency

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Fig 3: Medium Visual Transparency

Fig 2: Low Visual Transparency

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PROPOSAL - HIDE & SEEK PAVILION

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B7 LEARNING OBJECTIVES & OUTCOME

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In part B, we have been exposed to part of the para-metric design world, which has greatly transformed the traditional way of design. One of the greatest virtue of it is that it has speeded up the design process to a considerable degree. For example, through case study 1, I have been exposed to the use of kangaroo plug-in, which helps with the form finding and optimization process based on physical analysis. Similar processes have actually been tested and utilized since last centu-ry, by architects such as Frei Otto and Gaudi. However, accurate as it is, such a manual form-finding process can be very tedious and time-consuming. With the help of Grasshopper and Kangaroo plug-in, the design ideas can be quickly visualized and the actual performance can be simulated without any material costs. Also, for beginners like me, it is quite interesting to see how a rigid form can be transformed to a relaxed one and how the initial input geometry can be drastically changed due to the variation in data such as anchor points, stiffness and rest length. Moreover, the form-finding techniques give us more freedom to explore how the two dimen-sional input will affect the tree dimensional outcome, making the process more effective. However, to achieve benefits above, a certain degree of proficiency with the plug-in is required, which is the main challenge for case study 1. Sometimes, it can be very hard to achieve the desirable outcome without the effective scripts, because the whole process will be slowed down by the inefficient use of the plug-in.

For case study 2, the reverse engineering was not as difficult as expected. However, it was really time-con-suming to generate the iterations. At first, I did not recog-nize it as an exploration of certain design techniques and expressions, therefore it was difficult to produce relevant iterations. When I reevaluated the qualities of Biosphere that I have been interested in, I identified porosity and modular repetition as the key inspirations. Hence, I start-ed to use tools such as paneling, lunchbox and weaver-bird to generate different surface patterns, with porosity and modularity remaining throughout the process. At a certain point, I started to extrude the surface patterns to produce a depth in the surface, which is more visually interesting. When the original geometry shifts away from the dome and becomes more irregular, the resulting sur-

face patterns become more dynamic, with variations in terms of visual transparency and density, adding more qualities to the original idea of porosity.

That was the moment I was inspired by my observations of children playing hide and seek at children’s playspace in CERES. With a changing pattern of visual porosity and solidity, children’s experience of playing will be en-hanced, leading to a better cognition of spatial and light qualities.

Therefore, the geometric tools eventually become a me-dia of design. In the current stage, my level of proficien-cy is insufficient to allow me to design with grasshopper with ease, but the seemingly restricted scripts do pro-vide chances of designing things that shift away from the norm of regular forms and details, easing the exploration process and providing more possibilities.

Also, for me, learning parametric design tools are al-most like learning mathematics. It is almost impossible to remember all the scripts, similar to the fact that one can hardly ever remember all the mathematic formulae forever. However, there is always an underlying logic that can be embedded in the memory to help one de-duct the scripts, similar to the experience of deducting formulae in a mathematic examination.

Lastly, I think it would have been easier if I have mas-tered Rhino before starting part B, because I found out that a good many commands in grasshopper are quite similar to those in Rhino. Moreover, it is more convenient to generate the input geometry in Rhino before refer-encing it to Grasshopper. However, compared to Rhi-no, Grasshopper gives more flexibility in form-explora-tion since the data and scripts can be easily changed. Whereas in Rhino, the outcome is static without much tolerance for variation.

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B8 REFERENCEIMAGES

https://www.google.com.au/search?q=computational+design&espv=2&biw=1745&bih=835&-source=lnms&tbm=isch&sa=X&ved=0ahUKEwjp54-zocnLAhWEJJQKHS90C1IQ_AUIBig-B#imgrc=gukFukGwoitlyM%3A

http://www.e-architect.co.uk/sydney/green-void-customs-house

https://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=0a-hUKEwjuwqTFv7HMAhXJKpQKHZfgCrcQjBwIBA&url=http%3A%2F%2Ftheredlist.com%2Fmedia%2Fdatabase%2Farchitecture%2Fsculpture1%2Frichard-buckmin-ster-fuller%2F023-richard-buckminster-fuller-theredlist.jpg&psig=AFQjCNHFuKFOtNIL2FGx-ei9i1QstU5kvxQ&ust=1461938516630011

https://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=0ahUKEw-j6gKHdv7HMAhUHNJQKHdvBAyUQjBwIBA&url=http%3A%2F%2Fassets.atlasobscura.com%2Fmedia%2FW1siZiIsInVwbG9hZHMvcGxhY2VfaW1hZ2VzL2JmYjk4OGRkY2E4Yjh-kNjU0MV9lMDAwOTk2NjQwLmpwZyJdLFsicCIsInRodW1iIiwieDM5MFx1MDAzZSJdLFsicCI-sImNvbnZlcnQiLCItcXVhbGl0eSA5MSAtYXV0by1vcmllbnQiXV0%2Fimage.jpg&psig=AFQjC-NHFuKFOtNIL2FGxei9i1QstU5kvxQ&ust=1461938516630011

http://i0.wp.com/archeyes.com/wp-content/uploads/2016/04/montreal-biosphere-Buckmin-ster-Fuller-archeyes-4.jpg

https://www.google.com.au/maps/place/CERES+Community+Environment+Park/@-37.765689,144.980656,17z/data=!3m1!4b1!4m2!3m1!1s0x6ad6435e295bb43f:0x41761fff9e6748c2

https://www.google.com.au/search?q=one+assembly+pavilion+by+yale&espv=2&bi-w=1523&bih=745&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjRpLb2v7LMAhXjtqYKHTB-lA6IQ_AUIBigB#imgrc=uyPEZp1ZlTF2LM%3A

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Case Study 1

http://cw.routledge.com/textbooks/9780415779876/geometry.asphttp://smartgeometry.org/index.php?option=com_content&view=article&id=232&Itemid=151http://www.l-a-v-a.net/projects/green-void/http://www.sydneycustomshouse.com.au/news/documents/GreenVoidArchitectureAustral-iap25-MayJun09.pdfhttp://www.docbrown.info/page03/sms04.htmhttp://architectureau.com/articles/exhibition-14/http://www.indesignlive.com/articles/projects/into-the-green-voidhttp://www.e-architect.co.uk/sydney/green-void-customs-househttps://www.youtube.com/watch?v=P1JC-D1qvFY&ebc=ANyPxKpdQpuwWlTDohMAIAu7n-GA0tTtSOfWb4E87-E4Eh2AORioBJQR9p04Rtm2Arq9bXwjSBUbPprAUWJWNjcDsG4GAI-YRlgQhttp://smartgeometry.org/index.php?option=com_content&view=article&id=134:gridshell-dig-ital-tectonics&catid=44http://www.l-a-v-a.net/projects/green-void/

Case Study 2

http://www.cjfearnley.com/fuller-faq-4.htmlhttps://bfi.org/about-fuller/big-ideas/geodesic-domeshttp://science.howstuffworks.com/engineering/structural/geodesic-dome.htmhttp://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller

Proposed Site

http://ceres.org.au/contact-us/playspace/http://ceres.org.au/about/

Prototype

file:///C:/Users/Administrator/Downloads/ryan_kim_hunt_summary%20(1).pdffile:///C:/Users/Administrator/Downloads/ACSA.AM.102.60.pdf

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B9 APPENDIX

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PART C - DETAILED DESIGN

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SITE CONTEXTThe site is located next to the Collingwood Children’s Farm, which is only 4 km from Mel-bourne’s CBD area, with the convenience of access by public transport, car parking service and cycling trials. This has made the area populated during daytime, making the site suitable for our project, which aims to attract people for new experience.

102

SITE CONTEXT

103

CONVERGENCE

104

From Residential Area Nearby

From Car Park

From Track

From Children’s Farm

The site is located at the intersection point of Collingwood Children’s Farm and the Merri Creek cycling trial, view-ing different flows of people passing by every day. However, it has been quite neglected despite the various views it has to offer and its potential of being a meeting spot. It is very much a pity because the grand tree and the rocks must have been there for hun-dreds of years, creating the essence of the place, yet have been ignored by people who are enjoying the benefits of the place.

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VIEWS

Villa nearby

Children’s Farm106

Cycling Trial

Merri Creek

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DESIGN IDEA - DECONSTRUCTING THE VIEW

Through our visits to the site, we found out that we have been so used to the natural scenery around that we are almost immune to it. Hence, through the design, we aim to make people view the seemingly prevalent scenery in different perspectives by fragmenting the views and reassembling them through the use of mirrors, which is similar to the strategy used in a kalei-doscope.

108

DESIGN IDEA - DECONSTRUCTING THE VIEW

109

PRECEDENTS

Designed through triangular ge-ometries

The base panels are further subdi-vided into finer triangular panels

Reflects people walking through

Zips as the connection - Simple - Allows the change of the angle of triangular panels

Human Scale KaleidoscopeBy Masakazu Shirae& Saya Miyazaki

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PRECEDENTSLight OrigamiBy Masakazu

Domed structure

Illuminated by a constantly shifting spectrum of light

Use of reflected Perspex material

Mimics kaleidoscope in the interior

Monolithic and simple for the ex-terior

Contrast between the interior and the exterior

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EXPERIMENTS OF FORMS

The form is too large in scale for actual assembly

Requires for more materi-als and time

May not be able to be self-supported since the form is not found through physical analysis

112


Can be hung from the tree branch

Still too big in scale

Even the exterior looks overwelming due to the subdivision of triangles

Looks alien to the sur-roundings

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In order to keep the exterior ex-pression in control, we started with simple platonic shapes, which only consists of 8 base surfaces for further subdivision. Through the process, we found out that there can be much to explore even though the initial form looks very basic, which is rather unexpected. Also, due to the simplicity of the base form, the exterior expression of the outcome looks far more in control than the previous forms, which is in line with our idea of creating a contrast between the interior complex of craziness and the sheer exterior skin.

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115

PROPOSED FORM

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PROPOSED FORM

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SURFACE REFLECTION

Interior

118

SURFACE REFLECTION

The emulation of the interior effect is exactly what we have anticipated, with the over-whelming fragmentation and reflection of views. However, the exterior effect is not as satisfying because it has lost the sense of contrast we want.

Exterior

119

PROTOTYPE 1Inspired by the precedent study, we made of zips as the connection between triangu-lar panels. This method gives the opportu-nity to vary the angles of triangular panels because of the flexibility of the zip mate-rial. Also, we found out the we do not have to worry too much about how to assemble to obtain the correct form, because when we assembled the panels shaped accord-ing to the data extracted from the Grass-hopper scripts, they will spontaneously come to the desired form, as far as we make sure that we are putting the correct pieces together.

The deficiency of this connection method is the compromise of visual pleasure. Though we embrace the addition of new elements to the design, the zips do not appear visually satisfying. Also, due to the limit of choice of colors available for zips, it is not likely that we can make the zip visually integrated with the overall reflec-tiveness and shininess of the triangular panels, especially at the corner where different panels and zips meet each other. In fact, the exposure of zips at the back of panels is quite annoying, requiring anoth-er layer of skin to cover it up. Also, due to property of the materials, the zip can only be glued to the surface of the panel, mak-ing the structure vulnerable.

As for the panels, reflective acrylic has been used. The reflective effect is quite decent and almost as good as mirrors. However, when we sent it for laser cut, we found out that it cannot be laser cut because of the reflectiveness and the potential poisonous emission in high temperature. Therefore, we have to recon-sider the material to be used, which was unexpected.

120

PROTOTYPE 1

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PROTOTYPE 2

For this prototype, we want to test out whether metallic paper can be suitable for the de-sign. The level of reflectiveness is acceptable as shown in the photo, with blurred figures and colors reflected.

Also, we would like to test out whether there are other options for the exterior skin, so we made use of the colored metallic paper. The effect is very eye-catching, especially when under sunlight.

122

PROTOTYPE 2

123

However, the metallic paper also has its limitedness. It seems that the reflectiveness is very much based on the level of lighting received by the surface and the coming angle of the light source. When the level of light-ing is reduced or the angle of light source is changed, the panels gradu-ally look darker and darker. This will impede its use during nighttime, when we intend to have the installa-tion illuminated in order to encourage interaction with the space.

Also, due to the physical property of paper, it is very vulnerable to rainwa-ter, which is unavoidable since the installation is not sheltered.

Red

uctio

n of

sun

light

124

What is interesting about this photo is that the unintentional gaps between the panels allow sunlight to come through, enriching the original design. This indicates the potential to create gaps between panels to bring in a certain degree of the outside views and light, making the interior and exterior views blended with each other and further strengthening the idea of viewing the surroundings in a different perspective.

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TESTMENTS OF MATERIALS

Reflective Acrylic: Decent reflectivenessHard to be hand cut

Non-bendableNeeds to be ordered from

Queensland if laser cut, thus ex-pensive and time-consuming

Metallic Paper: Good reflectivenessEasy to be hand cut

BendableProne to waterEasy to corrode

Colored Metallic Paper: Fair reflectiveness

Easy to be hand cutBendable

Prone to waterEasy to corrode

Colored Acrylic: Good reflectivenessHard to be hand cut

Non-bendableExpensive

Opaque Mirroring Film : Fair reflectiveness

Easy to be hand cutReflectiveness non-related to back-

support panels

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TESTMENTS OF MATERIALS

Colored Metallic Paper: Fair reflectiveness

Easy to be hand cutBendable

Prone to waterEasy to corrode

Metal Sheet: Poor reflectivenessHard to be hand cut

Non-BendableExpensive and time-consuming if

laser-cut

Metal Plate: Good reflectivenessHard to be hand cut

Non-BendableExpensive and time-consuming if

laser-cut

Translucent Mirroring Film : Fair reflectiveness on white panels

Good reflectiveness on black panelsEasy to be hand cut

Translucent on its ownWater-resistant

Relatively cheap

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FURTHER EXPLORATION OF FORMS

Unlike the manipulation of base forms, the subdivision of triangles are controlled by grasshopper input data. By varying the input number, both the number of subdivided triangles and the level of extrusion of spikes can be easily varied to obtain the desired outcome.

128

FURTHER EXPLORATION OF FORMS

129

FINAL FORM

130

FINAL FORM

131

The form has been reduced in size to make the fabrication pos-sible in terms of cost and time-frame. Also, in order to achieve the contrast between the interior and the exterior, we decided to leave the exterior skin black, so that it blends into the surround-ing rocks due to the color tone. However, because part of the interior is exposed due to the base form, a sharp contrast can be seen from certain perspec-tives, intriguing passers-by to come closer and experience. The outcome is also informed by the choice of materials, with translucent mirroring film pasted on black polypropylene, leaving the exterior monolithic while the interior being overwhelming.

135

Front VIew

Side VIew

FINAL FORM

The form is very irregulated, thus appearing to be different when perceived form different per-spectives, attracting people to come closer.

136

Bottom VIew

Front VIew

FINAL FORM

137

PROPOSED FABRICATION METHOD

Instead of adding in extra elements for connection joints, we decided to embed the joints within the panels by tabs, creating the chance of using rivets for connection, which will be easy and fast. Also, because of the malle-ability of polypropylene, the tabs can be easily folded to meet the desired form.

138

PROPOSED FABRICATION METHOD

Instead of adding in extra elements for connection joints, we decided to embed the joints within the panels by tabs, creating the chance of using rivets for connection, which will be easy and fast. Also, because of the malle-ability of polypropylene, the tabs can be easily folded to meet the desired form.

139

INTERIOR REFLECTIVE EFFECT

140

INTERIOR REFLECTIVE EFFECT

141

Because of the assembly method, there will be gaps between the panels, allowing exterior views and light to come in, making the interior reflections blended with the surroundings and thus enriching the experience. More-over, because of the contrast between gaps and panels, the reflective panels are further emphasized to create a more accentuated sense of fragmentation. This shows how the assembly methods can aid the aesthetic expres-sion in architecture.

142

Because of the assembly method, there will be gaps between the panels, allowing exterior views and light to come in, making the interior reflections blended with the surroundings and thus enriching the experience. More-over, because of the contrast between gaps and panels, the reflective panels are further emphasized to create a more accentuated sense of fragmentation. This shows how the assembly methods can aid the aesthetic expres-sion in architecture.

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ILLUMINATION EFFECT DURING NIGHTAlso, the gaps provide potential to have the installation illuminated from the interior during night, creating dynamic shadow patterns. This creates the opportunity to vitalize the site during night and attract passers-by.

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ILLUMINATION EFFECT DURING NIGHT

145

ASSEMBLY PROCESS

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ASSEMBLY PROCESS

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ASSEMBLY PROCESS

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ASSEMBLY PROCESS

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ASSEMBLY PROCESS

The final outcome is shifting away from the expected result due to a mistake in Grasshopper scripts. The offset in scale has changed the original length of the sides, resulting a slight dif-ference in the positions of tabs and holes. Therefore, the tabs cannot accurately fit into each other, resulting in a must to deflect the panels in order to connect them. However, after testing out on one of the big panels, we found out that the effect is more eye-catching than the linear form in renderings. Also, it looks more organic and thus suits the sur-roundings better. Therefore, we decided to continue with it, despite the shift in form. The only pity is that the mirroring film is not as reflective as the actual mirror, thus the reflec-tion is quite blurred, shifting away from our expectation based computer renderings. However, it does have its unique quality of emphasizing more one the exterior views, forcing people to view the exterior with a new light, while the effect produced in computer, which simulates the effect of mirrors, is emphasizing the interior awesomeness.

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ASSEMBLY PROCESS

151

The effect of the rivet connection is more beautiful than expectation. From the exterior, the sil-very rivets give a sharp contrast with the black skin, especially under sunlight. It looks beauti-ful, like stars sparkling in the night sky.

Actually we have encountered a lot of problems during the process. Firstly, the mirroring acrylic, which has proved to have the most decent reflective effect, is far beyond our budget. Therefore, we need to find a substitute. It is from the substitution of mirroring film on black polypropylene that we achieved the contrast between the interior and the exterior. Also, it is because of the use of polypropylene that we have been able to deflect the panels to meet the locations of tabs and holes, leading to a wavy effect on the surface, which converts what we thought to be fatal mistake to a poetic expression of forms.

From this, we have realized that the actual assembly process frequently has more unexpect-ed problems than the computational process, mostly due to material properties, budget, time-frame, connection methods available, etc. However, these problems should not completely impede the design, if not in the best condition, facilitate the design. While we gradually solve these problems, the design actually evolves to be better developed, with the connection joints and materials all contribute to the final outcome.

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part c journal reduced size

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