zhang wan 581921 finaljournal

studioa i r

2014, semster 2

w a nzhang

4 CONCEPTUALISATION

CONCEPTUALISATION 5

Table of ContentsPart A. Conceptualisation

Cover 1

TITLE PAGE 3

Introduction 8

A.1. Design Futuring 12

A.2. Design Computation 16

A.3. Composition/Generation 19

A.4. Conclusion 21

A.5. Learning outcomes 22

A.6. Algorithmic Sketches 23

Part B Criteria Design

B.1. Research field 28

B.2. Case study 1.0 30

B.3. Case study 2.0 35

B.4. Technique development 40

B.5. Technique:proposal 47

Part C Detailed design

C.1. Design concept 52

C.2. Tectonic elements & prototypes 62

C.3. Final detail model 68

C.4. Learning objectives & outcomes 94

6 CONCEPTUALISATION

Introduction.Wan Zhang

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Introduction.Wan Zhang

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Degree: Bachelor of Environment Major: Architecture

Few years ago, I watched an advertisement of MIT Architecture which presenting the programme they are running in university. I fascinated about how they play geometry, process and material, by analysing and learning the material from nanoscale to largescale, design methods and technology to create model which would possibly applied to any other works. Design involving the energy resource which can be hit, shaking, electronics, etc. This is my first impression about the digital design that is to involve any energy resource in design process. I pursue that I would also do this kind of study in university life or in future career.

Those who are major in architecture or other design relative courses are using digital design as an efficient communication tool for them to represent their works. Most are using software programs like Adobe Photoshop, Adobe Dreamweaver, Adobe Illustrator and Adobe InDesign to create pixel-based images. Auto CAD, Sketchup and Rhino are also used to create images as well, and also can create model which could help others to clearly visualize designers’ works.I started to use software rhino in virtual environment, built the model in computer then develop it by using plug-in tools (panelling tool) which could apply geometry pattern on surface of the model. After finish the three-dimensional model, breakdown it into planer surfaces in order to do cutting. After this I understand that it not only use computer as a tool to develop design but also use it in fabrication.

Introduction

Degree: Bachelor of Environment Major: Architecture

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Above Fig.1 model of virtual environment

Bottom Fig.2 ligting effect of the model on the wall

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Part A.Conceptualisation

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Part A.Conceptualisation


A.1. Design Futuring

NANJING ZENDAI HIMALAYAS CENTER by mad architect

Ma Yansong of Chinese studio MAD presents a masterplan for Nanjing, China, where buildings are designed to look like mountains and public spaces overlap with the natural landscape, as part of the Shenzhen and Hong Kong Bi-city Biennale of Urbanism\Architecture.

MAD is implementing its shan-shui city concept across a number of projects in China, including the Nanjing Zendai Himalayas Center development, due to be completed in 2017, which the practice is presenting at this year’s Venice Architecture Biennale.

“A shan-shui city is a modern city, a high density urban situation, but we pay more attention to the environment,” Yansong says. “We bring waterfalls, we bring in a lot of trees and gardens. We treat architecture as a landscape.” The concept is based on a traditional style of Chinese painting, which depicts natural scenery such as mountains, rivers and waterfalls and sometimes it involves temples as well. rethinking of architecture as landscape, which is a sustainable way to change the existing isolated form of building and environment, but also could promote then social environment Where social life, the spontaneous encounter and neighbor interaction and climatic chaos which decrease the temperature and increase humidity. The concept of bringing nature and architecture together isn’t a new one but attempts to do so at such high density and such a large scale are unprecedented. And there is a new challenge that “how to invent a new typology for high density cities. The shan-shui city idea is trying to bring traditional values and ways of living to modern high-rise architecture.”

Above Fig.3 model of NanJing ZenDai Himalayas center

Bottom Fig.4 shan-shui chinese oil painting Left Fig.5 Visualisation of mad’s NanJing ZenDai Himalayas center

A.1. Design Futuring



Taichung metropolitan opera house by toyo ito & Associates

Toyo ito and his team asked to build a new theatre, and they think that the meaning of the new theatre is equal to enquiring the essence of performing arts, which is actually to rethink the nature of the architectural design since the performing arts are inseparable with the architectural spaces.

Their strategy us to use the sound cave as a spatial concept which acts as spatial integration of all the things that involved in. therefore, the developed a system called Emerging grid, “which is a non-linear geometrical system, creating an organic and complex space through simple and flexible rules. The 3d continuous curved surface is formed by manipulating the multi-layered 2d grids.” By manipulating the emerging grid, they successfully integrate the functions into their concept-sound cave.

“now ‘advanced’ technology is enabling the appropriation of knowledge embedded in contemporary design skills” and the application of computer digital technology allows the nonlinear system to become reality.

Above Fig.6 structure model

Bottom Fig.7 structure model

Left Fig.8 Taichung Metropolitan Opera House


project SOHO Hailun Plaza by UNStudio The facade design of the tower consists of 33 floor plates of equal perimeter length and same surface area. The design makes use of a unified component system throughout all floors. The units are composed with integrated shading and opaque panelling, forming a unified pattern over the facade. This materialisation and its geometry allows for flexible and differing performance according to the positioning of the units within the perimeter of the tower. The units also provide relief and a diagonal orientation that emphasises the slightly curved volume of the tower.

Fig.11 SOHO Hailun Plaza / UNStudio


Fig.11 SOHO Hailun Plaza / UNStudio

A.2. Design Computation

The facade system for the pavilion is based on the use of a semi-unified system with pre-fabricated elements. As the pavilion proportions, scale and vertical section are different from the tower facade, this system aims to reduce the height of the facade components. Computation can control the relationship of parts and whole then effects the performance of building both interior and exterior.

Fig.13 Lobby wall model (interior)


“a digital continuum from design to production, from form generation to fabrication design.”By creating a system with algorithm and scripting as the mediator to control the design and influence form generation and performance of the design, even help to develop the relationship and to find the balance between building and its surroundings.

A team of graduate students recently created a temporary installation on the Kent State University, Kent campus in Ohio. The project grew out of an internal challenge in the matR design competition. The students created the initial form in Rhinoceros with a couple Grasshopper definitions as a waffle structure of 26 vertical ribs and 24 horizontal struts and finally created tunnel-like structure called “The Passage”. Computation provides opportunity to create structures which are not able to be done by pen and even could apart the model into pieces which helps to do the fabrication.Computation accelerates the development of architecture which helps design process, fabrication even construction to be efficient.

Above Fig.9 2011 matR Project: “The Passage”

Bottom Fig.10 2011 matR Project: “The Passage”

A.2. Design Computation


since architects have power and availability of computer to apply these scripting languages, and now also Robert McNeel & Associates’ Grasshopper® visual programming language increased usage of computation in praxis. Algorithmic thinking means taking on an interpretive role to understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials. We are moving from an era where architects use software to one where they create software.1by using computer to generate and explore architectural spaces and concepts through the writing and modifying of algorithms that relate to element placement, element configuration, and the relationships between elements. Computer use shift from capture the complexity of how to build a project, to the multitude of parameters that are instrumental in a building’s formation.

Skidmore, Owings & Merrill (SOM) built this tower in Dubai, The lateral stepping of the perimeter columns for the Infinity Tower became a driver of the building’s exterior architectural expression, and were designed in a close collaboration between the SOM architects and structural engineers. The use of finite element (FE) algorithms was critical to the success of the collaboration, providing analysis and visualisation of the structural forces for the various structural design options that were considered for the building’s twisting form.

Generative design enables the architecture become smarter and flexible of itself and the surrounding environment, which is more responsive to the environment and embedded the sustainable concept I throughout design process. Architecture is far more responsive now, it not only controls the appearance form but also in determines material and construction.

Fig.14 infinity tower

A.3. Composition Generation


it started to plan rather than construction. it could do proplem analysis which genereate the possible solution to fit requirement.the arragement of multi-displianry knowledges helps to evluate potential improvement of the design, this kind of communication enables design access to all the different factors.

And there are problems revealed, is that all the buildings or projects are similar in appearance form, as designer are all using same programmes and tools, and it is inevitable to apply the same tool in their design. The highly reliance on the computer constraint designers own creativity, designers start to pursuing complex form withou meaningful concept and ideas.

for example, there are two projects from zaha hadid- 2020 Olympic Stadium and Superyacht for Blohm+Voss, and from the visualization that it is difficult to figure out the difference between building and yacht. we now see less diversity in design field.

Above Fig.15 2020 Olympic Stadium Botoom Fig.16 Superyacht

A.3. Composition Generation


Part A - Conclusioncomputation as design future (as it seems to cover all elements in design)digital in architecture not only help un precisely represent design works but also as a continuous tool can be used throughout design process. it’s about manipulate system in our design or design in system. Learning from nature principle then mimic those organic process to generate form(generative). parametric design based on a logic of associated and depending relationships between objects and their parts-whole relationships. Algorithmic procedures make rules for design and those parameters can update automatically. Also the performance of the building can be analysed by software, which use parameters produce digital morphologic state then integrated with tectonic innovation (digital materiality) to analysis the performance. Better developed and supported by digital system, the better final produced.For the project, the design can be more interactive with users and environments. As this project is to envision public art that generatesutility-scale clean energy for the City of Copenhagen, therefore I will largely focus on energy resource and integrated it with design. how’s solar, wind, water, air and people performed and how do those factor effects from generation or performance of the design. from day to night the position of the sun is different thus each part of structure can be different or act flexible from parts to whole. the velocity, direction and altitude of wind can effect the tectonic creativity of the design. mimic organic process and performance in order to create the design more green and responsive to environment which helps the design to be more sustainable

A.4. Conclusion


learning about the theory and practice of architectural computing broaden my scope of architectural design. computer is not only about adjusting but also creating, use digital programme to create complex by inputting parameters and use algorithmic procedures to control and modulate differentiations.

Improvement on past projectThere’s a more sophisticated way to mimic nature is to manipulate their organic pattern and performance rather than derive ideas from its form.Learning of the growth pattern of feather then apply it with parameters into algorithmic procedures, then the outcomes could be far more complex and sophisticated.Make each panel more related to others, this could be achieved by setting rules for the formation of those apertures, such as the radius of one aperture cannot bigger than other adjacent apertures, if do then divide itself into smaller apertures.

A.5. Learning Outcomes

A.6A.3. Composition Generation


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

Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10

Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28

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

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

Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62

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

Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 71 link

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

“TAICHUNG METROPOLOTAN OPERA HOUSE”, ARCHI CREATION, N0.176 JANUARY 2014, PP.85-90.

“SOHO HAILUN PLAZA”,ARCHI CREATION,NO.168-169 MAY AND JUNE 2013, PP.268-275.

Reference

http://www.dezeen.com/2013/12/10/mad-nanjing-masterplan-ma-yansong-mountains/ accessed by 19/08/2014

http://www.dezeen.com/2014/08/06/movie-interview-ma-yansong-mad-shan-shui-city-invent-new-typology-high-rise-architecture/ accessed by 19/08/2014

http://www.arcspace.com/features/toyo-ito--associates/taichung-metropolitan-opera-house/ accessed by 19/08/2014

http://www.archello.com/en/project/taichung-metropolitan-opera-house-0 accessed by 19/08/2014

http://www.archdaily.com/161894/2011-matr-project-the-passage/ accessed by 21/08/2014

http://www.archdaily.com/414501/soho-hailun-plaza-unstudio/ accessed by 21/08/2014

http://www.archdaily.com/331128/in-progress-infinity-tower-som/ accessed by 21/08/2014

http://www.archdaily.com/436900/japanese-architects-protest-zaha-hadid-s-2020-olympic-stadium/ accessed by 21/08/2014

http://www.archdaily.com/444766/zaha-hadid-designs-superyacht-for-blohm-voss/ accessed by 21/08/2014

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Part B.Criteria Design

Part B.Criteria Design

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Fig.0 Image: Paul Prudence28 CRITERIA DESIGN

Fig.0 Image: Paul Prudence

Fig.1. SHoP Architect Dunescape

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-no longer a necessarily 2-d drawing exercise (representational and used in projection)-a process of taking cuts through a formed 3-d object-architects increasingly design with complex geometry-use sectioning as a method of taking numerous cross sections through a form (effective and compelling technique)-rather than construct the surface itself, sectioning uses a series profiles, edges follow lines of surface geometry-it can instantaneously cut parallel sections through objects at designated intervals (streamlines the process of making serialized, parallel sections(set interval or parameters to cut series parallel sections)-sectional assemblies as a way to produce both surface and structure -computerized tools are not only used for model making but also used in actual construction, such as laser cutters, CNC routers, water-jet and plasma cutters, all work from the same polylines to cut two-dimensional materials. Architects have comprehensively adapted to the utilisation of computerized tool, as those tools have facilitated the conceptual and practical move from making models to executing full-scale construction. Accompany with this development of digital modelling, designers are able to envision sectioning as a representational method, to become a building technique.

-in case of sectioning, the constructional techniques that have emerged include sectional ribbing,lamination or parallel stacking, and waffle-grid construction.[1]-in the case of parallel stacking, the frequency of the sections required to approximate the increasingly varied surface geometries increases, sometimes resulting in a visual intensification of material. By using edge profiles to describe surface through implied visual continuities, architects have taken advantage of sectioning –both to merge and to perceptually elevate the relationship of form with material tectonic.[2]- a good example of this merging and perceptual elevation is Dunescape (which won MoMA/P.S.I’s Young Architects Program. – a series of parallel, staked dimensional lumber. While manual labor was required to cut, assemble, and fasten the pieces in the actual construction. The digital model was sectioned at intervals that were established by the given material thickness. The resulting section drawings were then plotted as full scale and used as templates on which to lay out and position each wood piece[3]

B.1. Reaserch Field

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B.2. Case study 1.0

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For the case study 1, I choose Office BanQ Restaurant as my base definition. I tried to do with AA Driftwood, unfortunately, the outcomes came out not that good, might because of my poor understanding of grasshopper. After a few explorations of grasshopper definitions, I started to understand the correlation between each nodes and then start to manipulate of Office BanQ Restaurant’s definition. There’s two different definitions, for the first one is about 7 steps at all, I managed to figure out more variation from this definition but the results are all kind of similar thus I shifted to the second one which is more complex than the last one. Through change the number of origin points and number of parallel surfaces, change start point and

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Requirements of the brief:1. Envision public art that generates utility-scale clean energy for the City of Copenhagen.2. A site-specific public artwork which could harness energy cleanly from nature and convert into electricity for the utility grid of the City of Copenhagen.3. Consist of a three dimensional sculpture form that has the ability to stimulate and challenge the mind of visitors to the site.4. Consideration of the history, geography, details of the design site, and the broader context of Refshaleoen, Copenhagen and Denmark.5. Be design specifically to the constraints of the design site at Refshaleoen.

the most successful outcomes as shown above, for these models that they could be used in different parts in design.1. Implement models as interior the models could position in different ways, is position the model upwards, is could perform as ground and column, if position it downwards then it becomes ceiling and column, if stand it vertically or horizontally then it becomes wall or partitions. As in the brief it says that the project should consist of a three dimensional sculpture form that has the ability to stimulate and challenge the mind of visitors to the site, the model can stand alone as a pavilion if position it downwards, the unusual form may attract visitors come to the site. Or for the materiality, it could be responsive to the surrounding environment, for instance, the surface moves when people get closer to it.2. Implement models as landscapeChange the flat landscape into undulating ground surface, to create a simulated natural environment at site. People love nature which could inspire them and give them peace in urban environment, thus visitors could walk through this ‘landscape’ to place themselves in wild nature, temporarily forget they are actually in the chaotic urban area.

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B.3. Case Study 2.0

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Fig.2. One Main Street interior

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An investment group interested in clean energy and green buildings wanted an interior design that would demonstrate radically alternative ways of building. The entire interior including walls, floors, ceilings, furniture, even door handles, was then milled by computer aided manufacture from sustainably forested plywood. This logic displaced all the usual components of late-industrial manufacture, as well as all the typical trades needed to build a builing, but at the same time offered formal liberation in the attainment of non-standard curvature.[4]

this project essentially comprises two planes – the floor and ceiling. Both are articulated as continuous surface inflected by function. All visible elements of the design, except the glass, have been fabricated as stacked sectional element cut from flat plywood sheets.[5]

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For the similarity of these two project is that ceiling and column as continuous surface, use sectioning not only as a design tool but also as construction method. For the difference of this two projects is that, control extrusion of the model in different methods. The de Banq Restaurant is use input image to control the extrusion, but for the reverse-engineering, I set several control points accompanying with graph to control then extrusion of model.

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B.4. Technique Development

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to use the model as landscape, to create an articulated environmental with mountain and water. And locate structures at different scales at different height to create an environment which is composed of urban construction and nature environment.

Fig.3. ‘shan-shiu city’ by MAD architects, guiyang, china CRITERIA DESIGN 47

B.4. Technique Proposal

The building is designed by the Chinese based firm, MAD architects, The ‘Shan-Shui City’ concept dates back to ancient times of the mountain-water worship, of locating cities by observing the earth and examining the water, and the emperors’ locating cities on the strategic place of the surrounding natural environment for defense. The city is one of the unique spatial planning concepts in the Chinees history, with implications on urban sustainability. Shan-Shui City combines the urban construction and the natural environment which is mainly composed of the mountains (Shan) and the water (Shui).[7]

for my project is create a space for solitude, rather than gatherpeople together, build several seprate spaces which are settled in articulated nature environment wirh mountain and water. and the open space could provide for those who want to communicate and interact with other people, a comfort spaces which surrounded by nature.

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Reference

Iwamoto, Lisa. Digital Fabrications : Architectural and Material Techniques.: Princeton Architectural Press pp17-33.

http://www.decoi-architects.org/2011/10/onemain/ accessed by 2014.09.19

http://tomorrowawards.com/showcase/555/one-main-street-interior accessed by 2014.09.20

http://www.designboom.com/architecture/mad-architects-shan-shui-city-guiyang-china/ accessed by 2014.0920

http://arch2o.com/shan-shui-city-mad-architects/ accessed by 2014.09.21

http://uemfab.blog.com/2012/02/27/module-1-layering-topographies/ accessed 2014.10.01

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Part C.Detailed Design

Part C.Detailed Design

In part b, I source the idea from ‘Shan-Shui City’ by Ma YanSong. It’s a spatial planning concept with implication on sustainability which is really suit for City of Copenhagen, which integrates urban construction and natural environment together.

For my project – ‘’Universal capsule – a place for solitude’’, by implementing this integration of urban construction and natural environment in order to provoke emotional serenity of those who will encounter this project. There’s no specific special relationship between construction and environment, construcction is part of the environment, environment is part of construction. Rather than replaced mountain by installations, to construct installations which are harmonious with the environment.

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C.1. Design Concept

For this project, a question that has to be considered is that what kind of thing that people want to get from nature. When I went to Dandenong during this semester break, I was lying on grass while directly watching the sky, and surrounded by those tall trees. I became so calm and quiet, directly face what surpass me. This kind of confrontation between us ourselves and the universe sky provides a strong emotional serenity and peace.

Universal capsule – a place for solitude is trying to convey a concept that we human as part of the universal environment that we live, be friendly to the environment which surrounds you is bringing ourselves happiness and serenity. Happiness and serenity heal everything.

The technique that I want to use is Metaball - the metaball command generates a 2d curve. as input it needs a center point, a section plane and the threshold value -which could create dome-type structure which is harmonious with the natural environment that I want to implement.

From the nature, we can see that lots of things have similar geometry with dome-shaped structure, such as: mountain, cave, trees, etc. By using this technique to build installations that is either open and closed to the surrounded environment, which could provide a second nature system for the people who will encounter the project.

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Related to the broder context

The project should be more related to its surroundings. From the map, we can see that all blocks are oriented towards the shore and some of big geometry spread in north direction which is the direction of water goes down to the ocean. For the develop of the technique – the whole construction should direct towards west which is where shore lies, and the main structure should go north which is going along with the water.

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C.1. Design Concept Site analysis

Related to the suburbBuildings within Rafeshaleon area are all

have ridged rectangle-shaped structure and oriented in either west or north direction.

Thus for the project should respect this, cannot interrupt the

geometry of city and suburb.

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C.1. Design Concept

Improvement of technique

Location of the centre pointPreviously, I didn’t think about specific location for each point thus I set points randomly. So I source idea from traditional Chinese garden and try to simulate its organization. From master plan, we can see that all buildings or temples are surrounded by water, trees even artificial mountain. And they are connected by bridges and roads. Buildings and temples located one opposite the other, which provide a specific view to people. Entrance is not blocked by any building or tree, all buildings are settled along the edge/boundary.

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For my project1.setting points along the site boundary and one opposite the other 2.adjust points to make it located along north and west direction3.use water and trees to separate public zone and private zone4.view from entrance cannot be blocked, visitors still can enjoy the scene at the other side5.moving from one to another means passing from an open and public space to a more private space, and the size of installations is becoming smaller as well

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C.1. Design Concept The workflow of definitionn

1. Original site boundry 2. Self selected site boundry

5. Change the position of points 6. Change the position of points

9. Move point upwards 9. Move point downwards

3. Set center point of each curve

7. Change the range of points length list and move up points

10. Change location of points

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2. Self selected site boundry

6. Change the position of points

9. Move point downwards

3. Set center point of each curve 4. Charge points and metaball section plane

7. Change the range of points length list and move up points 8. Change the range of points length list and move up points

10. Change location of points 11. Scale down and up

Solar pond- Salt-Gradient PondsWhen an open body of water absorbs solar energy, convection currents are created. As the sunrays that pass through the surface layer are absorbed in lower layers, this water is heated and rises to the surface, where heat is transferred away by convection to ambient air. Once the water cools, the density increases and the surface water moves downward. This movement of water equalizes the temperature throughout the body of water.[1]A salt-gradient solar pond employs a salt concentration gradient to suppress natural convection. Heated water holds more dissolved salt than does cooler water. The salty, heated water is also heavier and thus remains at the bottom of the solar pond. Sunlight penetrating through the top layers of the pond is absorbed at the bottom and trapped by the non-convecting gradient layer, which acts as an effective thermal insulator against convection.[1]For utilization of the heat stored at the bottom of the pond, hot brine is drawn from the storage zone (bottom layer) of the pond and pumped through a heat exchanger and back to the bottom of the storage zone. For power production applications where a Rankine cycle is used, condenser cooling water is drawn off the top of the pond and passed through the condenser and back to the surface, where it cools.[1]Construction of economical solar ponds requires the availability of inexpensive, flat land; accessibility to water; and an inexpensive source of salt or brine. A typical arrangement for this process is shown in Figure 1.

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C.1. Design Concept Solar pond

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Figure 1. Electrical power production concept using

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C.2. Tectonic elements& Prototypes

Prototype 1 - a.structural member with a slot at top and holes b.top plate used to stable the whole structure c.wire go through hole (as envelope)

Prototype 2 - a.structural member with slots and structural plates b.plates slot in structural member

Prototype 2 - structure can stand itself

Prototype 3 - faileda. material thickness is not enoughb. scale is too smallc. material is too light, even lighter than screw

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Prototype 2 - structure can stand itself

Prototype 1 advantages - a.material used is strong enough to support the struture itself b. slot-in system is stablefailures - a. number of wire is not enough

Prototype 2 failure - quite loose (can decrease the width of slots)

Prototype 3 - faileda. material thickness is not enoughb. scale is too smallc. material is too light, even lighter than screw

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C.2. Tectonic elements& Prototypes Model parts 1:500

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C.2. Tectonic elements& Prototypes

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C.3. Final detailed model

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C.3. Final detailed model

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C.3. Final detailed model Axonometric - structural joint

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Plan view

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Perspective

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Perspective-view from south

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Perspective-view from southeast

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Perspective-view from east

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Perspective-view from north

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Perspective-view from west

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C.4. Learning objectives and Outcomes

With using Rhino and Grasshopper, it becomes evident that design parametrically could help us design in a more efficient way, also it enables us to generate and create more complex,sophisticated and rationalized geometry. From many cases in lecture, they are all source ideas from nature. By analysing and simulating natural phenomenon to obtain a model. With those parameterized values from the model, we could generate numerous possibilities or iterations, in order to get the ideal solution which relevant to brief or project. And this takes less time than general method.

When I was doing part b –case study 1.0 and 2.0, I can obtain more than 50 iterations within a few hours. But the problem lies behind this is that is those iterations useful? We always can’t find an apparent correlation between brief and iterations. It’s difficult to get useful solutions or iterations, without considering the connection and relationship between technique and project or brief.

Through fabrication stage, I gain a better understanding of materiality and fabrication process. For example, for primary structural member that it’s better to use hard and heavy material. For those brittle materials, we’d better not use it in a large scale or for a really tall model.

Zhuo Zheng Yuan plans Liu Dunzheng, 1979, Chinese Classical Gardens of Suzhou, trans Chen Lixia, ed Joseph C Wang, McGraw-Hill, New York, 1993, 328. [the East section] UniM Archit f 712.60951136 LIULiu Tun-Tseng [Dunzhen], 1979, Soochow Classical Gardens, Department of Architecture, Nanjing Institute of Technology, Nanjing & China Building Industry Press, Beijing. [the two western sections commonly published as the plan]. [Chinese text, with English supplement by Chuin Tung]. UniM Baill EA f 6586 L704Further edited by Greg Missingham

Solar pond http://www.powerfromthesun.net/Book/chapter06/chapter06.html accessed by 25/10/2014

https://blog16zu9.wordpress.com/category/projekte/metaball-projekte/ accessed by 01/10/2014

http://www.dezeen.com/2014/08/06/movie-interview-ma-yansong-mad-shan-shui-city-invent-new-typology-high-rise-architecture/ accessed by 19/08/2014

CONCEPTUALISATION 9595 DETAILED DESIGN

Reference

zhang wan 581921 finaljournal

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