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STUDIOA R

WU KING YING, KIRA606658

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My name is Kira. I am a third year Environ-ment Student major in Architecture. Actu-ally this is my first year in Melbourne Uni as I am a transfer student from City University of Hong Kong. It is exciting to do explorations in a different environment. In Hong Kong, I have touched SketchUp, 3Ds Max and Revit such digital tools that help in design process. The education in HK is relatively practical and technical. So, I am interested to do more re-search on architectural theory in MelbUni.

Architectue as DiscourseComputational DesignParametric Modelling

Algorithmic ExplorationsConclusion

Learning Outcomes

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Yona Friedman, Olafur Eliasson, SANAA

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IGN

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OVA

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I have studied some architectural theo-ries such as Modernism, Postmodernism, Metabolism, Neoclassicism, Functionalism, Deconstructism, High-tech. Also, archi-tectural history from Romanesque archi-tecture to Contemporary architecture. I do think history is very important as it acts as a base for development and we never can ignore it. In the future, certainly I want to be an architect, however, what I really dream about is to take part in architectural his-tory research, and have a chance to work in UNESCO, participate in preservation of the past as well as design for future society.

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Development of PerceptionDesign Focus

Case Study 1.0Case Study 2.0

Technique: DevelopmentTechnique: Prototypes

Technique ProposalAlgorithmic Sketches

Learning Objectives + Outcomes

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Design ConceptTectonic Elements

Final ModelAlgorithmic Sketches

Learning Objectives + Outcomes

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A great architect is not made by way of a brain nearly so much as he is made by way of a cultivated, enriched heart.”

- Frank Llyod Wright

“

INNOVATION

AThe Wyndham Gateway Project acts as a new identifier for the city. Therefore, the concept of what is architecture should no longer be consid-ered as purely solid and iconic object. It should have more connections to human’s emotions and perceptions. Architecture should sharp human’s behavior and experience as well as their concept about the boundary between reality and virtuality. The skin of architecture should not be overem-phasized and ignore the detailed plan of evoking human’s perception and participation. Nothing is ever built to last forever, only memory and experi-ence could exist time to time.

In the Wyndham Gateway Project, my approach is to set up a new discourse in architecture, instead of an traditional iconic and attractive skin object, I would like to make an ‘alive’ architecture, an emotional architecture that evoke traveler’s per-ceptions and experience when they pass through the gateway, which acts as a new identifier of Wyndham city - an alive and emotional city. The gateway becomes the spirit of the city.

DISCOURSE1EXPLORATION

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Architecture is not only visually sensitive but also functional and perceptional.

Architecture is no longer a space for shelter but a space for spirits and emotions. The most important thing of architecture is to provide an experience that evokes inhabit-ant’s perceptual investigations. The Weather Project is the best example to demonstrate architecture as an experience, not an object1.

Olafur Eliasson did a series of installations which treat the inhabitants as both subject and object of the environment. The Weather Project was installed in Tate Museum in 2003; he made use of monochromic yellow lamps and mist machines1, created a sunrise or sunset-like environment. There is no out-side or inside, what is the difference between the place outside and inside the museum?

The Wyndham Gateway should also act as a subjective psychophysical experience and a imagistic exchange. The travelers become part of the project, they have a responsibil-ity to understand that they are part what they are evaluating. The gateway become a perceptual interaction between the traverl-ers, project itself and the city. When they pass through the gateway and an emotion, an experience is being evoked, they start evaluating it, participating in it, constructing an interaction and discourse between city and travelers. Therefore, the gateway should be focus more on perceptual and emtional experience which act as an new identifier fo Wyndham city - an alive city.

Eliasson’s earlier project such as Room for one color (1997)1. According to Eliasson1, yel-low is easier to be processed so inhabitants will have a sense that they see more and be more conscious of other inhabitants, or say, inhabitants are a part of project, they evalu-ate each other’s as well as themselves. It is a very subjective perception and a kind of imagistic conservation.

PERCEPTION

Room for one color (1997)

Beauty (1993)

Beauty (1993), the name “Beauty” is very perceptual and individual, de-pends on the viewers’s location, as different locations will have different angle of view to the rainbow effect produced by refraction of water droplets waterfall2, a matter of rela-tionship between viewer’s location, moisture and angle of light source.

The Weather Project (2003)

Gateway is a kind of an experi-ence to evoke people’s perception and evaluation by interpretation consciousness and phenomenon in different angles. It is seeing oneself seeing, a subjective and objective exchange.

Olafur Eliasson

ARCHITECTURE =

1 Kaneko Gemma 2010, “An Argument Against Timelessness”, [Online], no. Mercer Street, pp. 3 April 2013. Available from: http://www.nyu.edu/cas/ewp/kanekoar gument11.pdf.2 Tiffany Rafael 2008, “Seeing Oneself Seeing “The Weather Project”: Notes on Olafur Eliass on’s Institutionalized Critique”, Anamesa, [Online], no. The Perception Issue, pp. 3 April 2013. Available from:http://www.nyu.edu/pubs/anamesa/archive/fall_2008_perception/seeing_oneself_seeing_the_weather_project.pdf.

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Teshima Art Museum (2010) Ryue Nishizawa

The harmonica linkage of all things, the infinite connections between human and nature, will create a spiritual space “matrix” to elicit visitor’s childish wonder and evoke their perceptions. Architecture is a matrix space which provides different angles on theories or questions for people to view evaluate and perceive.

Teshima Art Museum is lo-cated at a remote countryside island - Teshima Island in Japan. This spreading water-droplet shaped museum is a successful example of ar-chitectures dissolving in the environment by pushing the boundary between natural and man-made.

The free curves create a dynamic space inside which stretches low and horizon-tal. Two big oval openings let light, sky, clouds, woodlands, birdsong to fill the interior3, I think, in other words, the two openings are frames and all

natural stuffs are exhibits.

The gateway should also integrated itself with the surroundings, and to evoke visitors’s interpretations and evaluations of “where am I?” and “I am entering an alive city!” They participate in the evaluation of the gateway and Wydham city, and this is what makes architecture and city alive and memorable.

It reminds me an artist James Turrell which has similar ideas with Olafur Eliasson. He makes use of light and space to create spiritual space to

evoke visitors’s imagistic and perceptual conservation with the space, nature and them-selves4. Skyspace (fig. 1)is one of his most ambitious work, observers look at the sky in a way as it was framed.

Fig. 1 Skyspace

3 db erica 2010, 17 December 2010-last update, Ryue Nishizawa:Teshima Art Museum [Homepage of designboom], [Online]. Available: http://www.designboom.com/architecture/ryue-nishizawa-teshima-art-museum/ [2013, 04/03].4 Trachtman Paul 2004, “James Turrell’s Light Fantastic”, Smithsonian, [Online], , pp. 2 April 2013. Available from: http://www.paultrachtman.net/pdfs/turrell.pdf.

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Before the Renaissance, build-ings were constructed but not designed. A concept of separating the conception and construction of a building began developed during Renaissance. Architecture becomes an individual professional that separated from engineering. Architects do sketches and drawings on paper to communicate ideas, but there is a deficiency that unnoticed design errors may occur and lead to construction failure5.

In 21st century, using computers as a design tool be-come a global trend. It is much accurate and time-efficient. There are two modes of operations: 1. Computerization 2. Computation

Computerization is about automation and realization. The ideas and concepts in human designer’s mind are being translated into digital data6.

Computation is more about sharing information and communication between humans and computers. Computation controls the relation-ship between smaller to larger parts of the design process, allows alternative solutions which could be further developed by designers. Computation is more about an exploration in design process6.

Therefore, throughout the Wyndham Gateway Project, computational system becomes a main design tools as it allows rational design variations such as curvilinear formation, folding, morphogenesis. There are no rights or wrongs in architecture, instead of giving one definite answer, exploration of possibilities are more important. Especially in exploration of interaction and perceptions that the gate-way want to provide, by using computational tools, stimulate anima-tion and scenes could be generated, as well as different possibilities of patterning and structure. It saves the time to evaluate the accu-rate structural details and joint connection and gives a wide variety of possible variables. Options are created to save the best hidden inside.

5 Yehuda E. Kalay 2004, “Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design”, Cambridge, Mass.: MIT Press, [Online], , pp. 03 April 2013-5-22. Available from: http://app.lms.unimelb.edu.au.ezp.lib.unimelb.edu.au/bbcswebdav/pid-3815742-dt-content-rid-11838999_2/courses/ABPL30048_2013_SM1/ABPL30048_2013_SM1_ImportedContent_20130121032620/Pages%201-25%20from%20Kalay%20-%20Architectures%20New%20Media%20%282004%29%20COMMENTED%20-%20SR.pdf.6 Dunn Nick 2012, “Algorithmic architecture” in Digital Fabrication in Architecture, 1st edn, Laurence King Publishing Limited, Britain, pp. 60-65.

COMPUTATIONALARCHITECTURE

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Algorithm is a kind of medium to generate and develop architec-tural design ideas, a procedure to a solution to a problem. It involved a finite number of steps and accurate instructions. Algorithm acts as an universal solution procedure, which consists of rules, and generates multiple versionings, the output of an algorithmic procedure is always unknown and open. The basis of algorithmic design is that under the same rules and procedure, design-ers can produce different specula-tive forms.

It allows designers to explore mul-tiple possible solutions unknown. The working principle is like natu-ral processes such as genetics, it creates randomness and even algorithms are able to generate new algorithms6. Very different from conservative design tool which solutions are preconceived, prede-termined and well defined.

Algorithm is an innovative tool to generate a new identifier in Wynd-ham Gateway Project, rather than generating multiple possibilities, it also acts as an effective tool to study and connect different com-ponents, by following a series of rules and steps, different possibili-ties can be generated by defining the relationships of the dependen-cies. It makes the design process of gateway project much flexible to generate emotional and spiritual space to provide special experience to travelers.

Zaha hadid’s works is well-known for its use of algorithmic design to gen-erate form. The installation “Arum”, the self-supporting lightweight pleated metal evolved on the basis of algorithmic form generation, it fol-lows a finite steps and instructions7. The evolution of pattern is guided by rules. The design process is compu-tational and clearly each step is an exploration between multiple varia-tions. It successfully creates a per-ceptual and emotional space.

Arum

Arum (2012) Zaha Hadid

ALGORITHMICDESIGN

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Morphogenesis is a concept and a group of methods, an evolutionary development of form in an organism, for the derivation of form and its transformation. The living or-ganisms are a kind of system that evolves their complex form and behavioral patterns as a result of growth and adaptation. The interactions between different components over time, it is a dynamic, biological growth and transformations.

Digital morphogenesis in architecture links to a number of concepts such as emer-gence, self-organization and form-finding. It is a result of computational method which uses a series of logical steps to do emergent transformations and rearrange-ments.

In gateway project, morphogenesis can as-sist the emergence of speculative designs by exploring possible scenarios that relat-ed to different parts, known as “differentia-tion“ and numerous connections between them, a degree of “integration“. Therefore, it shifts the design process from “mak-ing of form” to the “finding of form”8. So it really makes the design process as an exploration between variations and devel-opment, the interaction between travelers and the project.

Morphogenesis provides infinitive unknown possibilities between differentiation and integration. Patterning is not only in 2D but also 3D, how one pattern to emerge from 2D to 3D can and how to deal with the relationship inside are the most interesting topics I would like to explore in gateway.

Branching MorphogenesisSabin+jones labstudio

Branching morphogenesis is an experiment to explore natural process-es in living organisms. The project investigates the relationships of part-to-whole during the generation of branched structures by interaction of lung endothelial cells. It records the force network exerted by vascular cells in their matrix environment. The pattern generated is the result of overlapping 5 time records. “There’s a perception of artists as flakes and scientists as geeks, and never the twain should meet. And there are certain places I’ve presented where it’s considered to be sort of play, rather than product.”9 This is exactly what I think the Wyndham gateway is, to evoke viewer’s perception and evaluation by showing them dif-ferent angles to theories and phenomenon. Also, I like the fact that the pattern created really acts as a 3D space that allows visitor to go inside and explore, integrated 2D into 3D.

8 Dunn Nick 2012, “Morphogenesis architecture” in Digital Fabrication in Architecture, 1st edn, Laurence King Pub-lishing Limited, Britain, pp. 66-73.9 Popp Trey 2009, February-last update, An Architect Walks Into the Lab. Available: http://www.upenn.edu/ga-zette/0109/feature1_6.html [2013, 04/04].

Morphogensis

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10 Dunn Nick 2012, “Parametric and generative design” in Digital Fabrication in Architecture, 1st edn, Laurence King Publishing Limited, Britain, pp. 54-59.11 Woodbury Robert 2010, “How do designers use parameters” in Elements of Parametric Design, 1st edn, Routledge, , pp. 23-48.

PARAMETRIC MODELLING

1.2

Parametric modeling is a de-sign tool that enables designers

to define relationship between elements or groups of elements. It

is very different from conventional design tools that each parts re inde-

pendent, separated and no communi-cations. Instead, in parametric design,

everything is connected and interdepen-dent.

Designers input data and information to para-metric design tools and data will flow through the

independent to dependent parts, known as propaga-tion. The more data propagates the dependencies such

as surface and defining curve, become more complex and generate explicit and editable form.

In order to easily organize and define the relationship, divide-and-conquer strategy is applied that the whole design is divided into parts. By managing the interactions among the parts, es-tablishing an understandable link from part to part, a hierarchi-cal model is well organized.

However, the relationship-definition task is quite time-consum-ing and hard for the inexperienced. Parametric design involved a series of steps which need to be input very precise, one mis-place may not work11.

By using parametric design, infinitive variations will generate during design process by varying the relationship between each interdependent components part in Wyndham Gateway Project. The dependencies influenced one another and combine to give an entire new variation. It gives a broader design process and multiple realizations. It is much time and labor efficient; as if one part of the model need to be changed, the other parts will also change together depend on the definition of relationship. It saves the time for amendment. The concept behind it “every-thing is connected and defined by the relationship between”, allows more spaces to design the interaction between travel-ers, city and the project. For example, by varying relationship between the scales, force, orientation, form, different solutions will come out and we are able to save the best from the options.

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Bloomburg Pavilion

12Lauren 2011, 13 December 2010-last update, akihisa hirata architecture office: bloomberg pavilion [Homepage of designboom], [Online]. Available: http://www.designboom.com/architecture/akihisa-hirata-architecture-office-bloomberg-pavilion/ [2013, 04/03].

Akihisa hirata makes use of parametric design to make unfolding pattern roof planes. An equilateral triangle acts as a base; each side of the tri-angle is added a pleated plane composed of hyplane triangles which has two different angles. Therefore, each hyplane triangle in the plane will have different inclined angles. And so the direction of each plane is different side by side. Then, each side of the hyplane triangles in the edge of the pleated plate will further attach to a smaller scale of pleated plane with same composition. Repeat the steps twice12.

The form generated is dependent by the relationship between hyphane triangles and pleated plane. It follows a series of instructions and rules, if you alter one step, the form generated will be different.

Akihisa Hirata

I think this is a very good example of showing how para-metric patterning evolves from 2D to 3D, from a pleated plane to a perceptual space. In Wyndham Gateway, explo-rations will be the most important part of the design pro-cess, for example, if I make change in the angle or size of the triangle in the Bloomburg Pavilion, or even change the geometry from triangle to hexangon, multiple variations will be generated. How to form a spiritual and perceptual space to allow interaction and participation between the project, travelers and city becomes the main question. As there is no definite answer in architecture, parametric design becomes a powerful tool to search and develop the selected solution from variables.

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I take reference of the design process of Zaha hadid’s “Arum”. The intersecting points formed on free-form curve are being extracted and further developed into triangular folding. I am very interested in curve shape as it provides continuous and dynamic space which I believe it is very emotional and perceptional. But also, the pattern of folding fascinated me a lot, so I explore a lot in the relationship between curve and straight lines, to demonstrate many pattern variations which can create a spiritual and perceptual space to evoke visitor’s wonder and imagistic conservation.

AlgorithmicExplorations

I

AlgorithmicExplorations

2EXPLORATION

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Conclusion“Every great architect is - necessarily - a great poet. He must be a great original interpreter of his time, his day, his age.” – Frank Llyod WrightComputational design is a global architec-tural trend and it can broaden our explora-tions in architecture. I am very fascinated with the parametric patterning, what im-pressed me the most is not the iconic and impressive skin, but the relationships and rules behind that generate variations. Everything is connected. How’s the pattern generated in 2D can be further developed into a 3D space? It would be a very interest-ing question.

This is really my first time to investigate deeply in the theories of architectural theory. In the begin-ning, I was really confused as my previous educa-tion did not talk about this and no readings were required. But after I read through all the theo-retical readings, it opens my eyes and makes me realize computation is a new way to do the design process. I think self-creativity is still very impor-tant, although computational design is a great tool in design development by generating mul-tiple variations, but it relies on human mind to do further development and decide the possibilities in different options. What computational design re-ally helps is to broaden the space for exploration. I would like to investigate more and hope to see the different angles and visions.

Conclusion LearningOutcome

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DEVELOPMENT OF PERCEPTION

As I mentioned before, this is my first time to touch digital architecture and parametric tool, to be honest, it is quite hard for me. However, digital design is the mainstream of today’s architec-ture and I believe it is very important to get familiar with that. It is not about to follow the trend, but to have a deeper under-standing of the spirit of computation age. Actually, I am really fascinated with the thinking behind parametric design, the relationship between each dependency. Although it is very complicated and quite hard to determine, I always failed in determining that. But, it always gives me some unexpected surprises which make me amazed. All these experiences in parametric design make me realized that if you are unsat-isfied with something, what you should do is not ignore it. Know the rules well so you can break the rules.

I would like the Western Gateway to be a symbol, a new identifier for the present and future. Therefore, digital technologies would be the innovative method to provide the best outcome, but also, it sets up a discourse of what future architecture should be. Rule is bound be CHANGED. Although I believe it would take a life-long time to explore, but this project would be my starting point.

BDESIGN

APPROACH

B

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PATTERNING

Patterns can be found everywhere, from tiny to enormous, visible to in-visible, 2 dimensions to 3 dimensions. It is not only for surface decorations, but also for experience. The flexibility and abstraction of pattern would be innovative to the Western Gateway Project.

[...]The human body was perhaps the first surface that received designed patterns. [...] With such a widespread practice one should not expect a well-defined, unitary func-tion. As practices evolve they acquire new functions and loose their prior functions, or new functions are superimposed upon older functions. Patterns might serve purposes of decorative enhancement, feature accentuation, camouflaging, totemic identification, semiotic differentiation, or any combination of those.”“

I am very fascinated with what Patrik Schumacher talked about patterns, its infi-nite possibilities and cannot be divided into unitary function. According to Schumacher, there are two central tasks of architectural design:

1. Organization of architecture is more about spatialization of the social order via objective distances, as well as physical connections. 2. Articulation is about the subjective com-prehension of the spatial order.

Me and my group agree his points and believe patterns would be an innovative combination of organization and articulation. Patterning could be the intermediate point between objective and subjective, by creat-ing 3D correlated patterning that define the physical spatial distances and also evoke people’s subjective interpretation and expe-rience towards the space/relationship, I like the word “relationship” more.

And this can be efficiently aid by Parametri-cism, it has a strong emphasis on conspicu-ous differentiation of surface, to create some amazing patterns, and make correlation to the underlying spatial structure. Objective and subjective became well connected to each other’s. Civic Courts by Zaha Hadid is a good example for Parametricism.

Additionally, we all think it would be an amazing attempt to the Wyndham Gateway Project. As Wyndham would like the gateway to become a new identifier to the municipali-ty, what we think about the definition of “new identifier“ is about how the gateway could evoke people’s special emotion and experi-ence on “in & out”. The gateway should act like an intermediate space between Wynd-ham City and outside which bring by para-metric patterning. This set up a new dis-course about physical and virtual, objective and subjective, which really become a new identifier of Wyndham City.

Patrik Schumacher (2009)AD Architectural Design – Patterns of Architecture, Vol 79, No 6

WHY

Zaha Hadid Architects, Rand-ers Art Museum Competition,

London 2009

Zaha Hadid Architects, Civil Courts,

Madrid, 2007

Interiority Project – Masterclass Zaha Hadid,

Vienna 2009

http://www.patrikschumacher.com/Texts/Parametric%20Patterns.html

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Space is meaningless. [...] We have relationships - but not space.”“Architecture as articulation, not art; dynamic knowlege, not code. Articulation are made, sustained, transformed, and destroyed in a continuum of concrete practices, one of which is architecture. “

“- Buckminster Fuller - Buckminster Fuller

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GROUP’S SHARED IDEAS

PATTERNING

EXPLORATION

CONNECTION Connect the natural environment to architecture

1

Architecture as a perception of human experience

PERCEPTION2

Individual participation experience

EXPERIENCE3

WYNDHAM GATEWAY PROJECT

EXPLORATION

3

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>1.0

TAICHUNG METROPOLITAN OPERA HOUSETOYO ITO 2009

PATTERN DEVELOPMENT

Toyo Ito, an Japanese ar-chitect awarded 2013 the Pritzker Architecture Prize, perceived technology is the great hidden force that plac-es “order“ or patterns on the environment. All architecture should be a technological order and design evolution is a kind of order-generating stages and adaption.

We totally agree his thinking about order and patterns.

We believe patterns are an interpretation of order; it is not only about surface deco-ration, but also how to place the orders on the environ-ment. Patterning is a tool to shape people’s mental and physical routine. Just like his Taichung Metropolitan Opera House, the geometric order is being pulled apart, through repeating to create such 3 dimension emotional cave shape.

It would be interesting to incor-porate fluidity by patterning in the Western Gateway Project to emphasize the experience of “in & out“.

CASESTUDYCASE

STUDY

1

2

3

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FLUID CONTINUOUS SPACE

>>

http://www.designboom.com/cms/images/anita03/toyoito09.jpg

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1.0CASESTUDYCASE

STUDY TAICHUNG METROPOLITAN OPERA HOUSEMATRIX

TOYO ITO 2009

List Length = 50

List Length = 30

List Length = 10

List Length = -10

List Length = -30

Min = 20

Min = 100

It would be more powerful to use fluidity and continu-ous curvilinear in patterning to emphasize the experience of “in & out“ and dynamic movement, compared with the angular and linear form. By adjusting the timer in Kangaroo, longer time setting can obtain a smooth curved structure.

Provide an experience of “in & out” by designed order of pat-terns, for example, curvilinear to emphasize the movement and dynamic.

The shorten columns would be more suitable to use in pattern-ing of Gateway and by adjusting the length of different columns could create a much more dy-namic experience.

SELECTIONCRITERIA

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Scale = 0.1 Scale = 1.5

Scale = 0.5 Scale = 1.9

Scale = 0.9The widening of the diameter of columns allow more sun-light to pass through and thus better connection with the environment. The narrowing of the diameter of columns increase the sense of indoor. Therefore, by adjusting the diameter from small to large can create a sense of “in & out”.

Although it has some prob-lems in adjusting the list length of different columns, but it already clearly shows the 3 dimensional curvilinear potential in creating a dynamic relationship in Gateway Proj-ect. It would be quite innova-tive to use it on curve form and

further develop it by bending, twisting or folding. However, it has limitation to the further development of the organiza-tion of columns and it does not look nice at the side view, so we need to do more explora-tion in the pattern and form study.

CASESTUDYCOMBINED

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/ VEIN?O2?CO2?

http://darkroom.baltimoresun.com/wp-content/uploads/2012/06/REU-BELGIUM_-4.jpg

During the exploration, we realized that the form of cause study 1 looks similar to human blood vessels system. We started to search for the connection between air, gateway project and perceived experience by study of human trans-portation systems. And we finally come across our main concept that link through the all parts of gateway project - Breathe in & Breathe out.

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INTERMEDIATE SPACE

GATEWAY AS AN

EXPERIENCE/IDEA BREATHE IN

DYNAMISMBREATHE INBREATHE OUT

FORM IN

3 CRITERIA

BRINGBREATHE OUT

FORCE

DENSITY

FLOW

The Wyndham Gateway acts as an intermedi-ate space between Wyndham City and the outside. People pass through the gateway are just like air breathing in and out, a kind of phenomenon which occurred in every living organisms. Therefore, it is very important for the gateway to evoke an experience of “Breathe in, Breath out” to the visitors. Dyna-mism is emphasized and 3 crite-ria - force, density and flow are proposed to the idea of form and patterns in order to realize the breathing in and out experi-ence in the gateway.

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BREATHINGSTUDY Starting from the research of gas transportation system

inside human body, we divided the whole investigation into 3 criteria and created the patterns according the phenom-enon of the breathing system. The patterns produced could be used for the surface decorations, but it still need further develop. The next step is to do the form exploration.

SYSTEMS

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BLOOD VOLUME DIRECTION OF AIR AIR FLOW IN AIR SACBLOOD VESSELSGAS PRSSSUREBLOOD PRESSURE

FORCE FLOWDENSITY FORCE FLOW

The result of human breathing system re-search is quite successful. We are mostly interested in the patterns of blood vessels and air flow in air sac, as they are more efficient in communicating the idea of dynamism and po-tential in further development. We would like to go further in next breathing exploration.

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FURTHERDEVELOPMENT

CONTRACTIONMUSCLE

RELAXATIONTO CONTROL BREATHING

&

After the first exploration in breathing, we tried to go deeper. The action of breathing in and out, is controlled by the rhythm of contraction and relaxation of muscle. Form exploration in muscle system is carried out, as the patterns generated by the rhythm of contraction and relaxation would be more powerful in creating a space with “breathe in, breathe out” experience.

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DENSITY FORCE FLOW

CONTRACTION & RELAXATION OF MUSCLE CELLS CONTRACTION STRENGTH MOVEMENT OF MUSCLE CELLS

The result of muscle exploration is not really suc-cessful, as the patterns generated are 2 dimen-sional and it is hard to develop into 3 dimensional forms. Further exploration is needed, more case studies are needed.

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2.0MEISO NO MORI MUNICIPAL FUNERAL HALL

CASESTUDY

TOYO ITO 2006

DESIGNINTENT

Most of Ito’s works have no single guiding principle; they are mostly based on the construction of algorithmic challenges that relinquish control from the grid. He emphasized a “psychological order“ through the building as a result of architectonic articulation. The undulating roof/column reflects Ito’s

idea of “personal architectur-al syntax” and the rejection of formal repetition. Ito always searches for an intermedi-ate space with ambiguity of inside versus outside, as well as the thin boundary between physical object and spiritual.

We all agree that it is a successful example of re-

alization his concept. The beautifully undulating roof intermediate with the sur-rounding mountain perfectly. Moreover, the continuous fluid roof is an amazing example of ambiguity and in-termediation between dyna-mism and calmness, fulfilling his intention of “ambiguity” and “psychological order”

Architecture in electronic age is figuration of vortex of information from the primitive age. The human body has been linked with nature as a member in which water and air circulate. people today are equipped with an electronic body in which information circulates, and are thus linked to the world through network of information by means of this other body. [...]

““

- Toyo Ito

http://2.bp.blogspot.com/-cg9-KZBINu0/TZPfg8x5qJI/AAAAAAAAAKo/EPkaZ-_GJtg/s1600/Meiso_no_Mori-420x0.jpg

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This is the first step of our recre-ation of project. We followed the thinking of Ito to set up a 10 X 10 point grid and use ‘point’ compo-nent, set multiple point, for each 10 points in row. Therefore, there are totally 10 ‘point’ components.

1

After setting up the 10 ‘point’ components, all points are on the X plane. We need to move the Z plane of each point, to make a curved surface which defined by 10 X 10 points. ‘De-compose’ followed by ‘Point XYZ’ and sliders to control the data of each point in Z plane, created the surface by ‘SurfacebyPoint’.

2

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After that we need to make a trian-gular grid on the surface. We need to ‘divide’ and ‘explode’ the surface into points. By using ‘Polyline’ to connect each point, and generate the rectangular grid.

At the stage of divide the surface into points and explode it, used ‘List Item‘ to separate the points at the edge and on the surface, connect each point that is the same number in a row by ‘Line’, gen-erate diagonal lines.

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The diagonal lines and rectangular grid are overlapped together; we need to remove the overlapped lines by using ‘removeDuplicateLines’to generate the triangular grid. The grid is defined by the 10 X 10 points.

5

1

2

3

4

5

Points

Adjust Z Plane

CreateSurface

Create PointsOn Surface

ConnectPoints by

Lines

RemoveDuplicate

Lines

We took this methodology to de-velop our form by adjusting the data of points in Z plane following a set of rule, for example, the rhythm of muscle contraction. It tackles our problems in form generation. Also, surface patterns need to be place on the form surface and should be cor-related, not just triangular grid.

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EXPLORATION

4FORM

EXPLORATION

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CASESTUDYTECHNIQUE 1.0

DEVELOPMENT

1

EVOLUTION

RHYTHM OF MUSCLE CONTRACTION & RELAXATION

62 63

32

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54

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5CASESTUDYEVOLUTION

Breathe In Breathe Out

In search for a technique to satisfy our argument - Dynamism to create a space that evoke “breathe in, breathe out” experi-ence. We explored dif-ferent types of muscles rhythm of contraction and relaxation. The structure is self-supporting and suspended over the site.

We evaluated each option; depend on the front view, side view and the level difference. We proposed the entry to Wyndham should have higher level height and the exit with lower level. Also, the interior should have smooth transition of ups and downs to emphasize

the sense of breathing, but not in constant height level along the way. After 5 evolutions, continuous adjusting the elevations and level height, option 5 is the relatively satisfied in fulfilling all criteria.

The surface is too linear, failed in developing sense of transition of contrac-tion and relaxation in both entry and exit. Along the entry or exit way, transition of ups and downs should be emphasized to create a sense of “breathe in, breathe out”, better not in a constant height level.

The overall curved surface is too constant in entry and exit way, failed to evoke transition of experience.

Failed in creating space with “breathe in, breathe out” experience, no transi-tion of level height in exit and entry way, the level dif-ference between ups and downs of curved surface can be increased.

Better than the previ-ous, however, level height should be further adjusted; the curve on the side view is quite messy and too ir-regular.

1

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CASESTUDYEVOLUTION 2 After the development of form, we tried

to put the patterns that we explored in breathing onto the curved surface. But the result of evolution 2 is distracting from our argument, as it cannot show the sense of dynamism and movement as well as ‘breathing’. The stiff form of geometry gives a feeling of stability instead of mobility.

3 Instead of stiff polygon, we tried strips of geometry to emphasize the movement. The effect is nice especially different density of patterns is placed on the surface, create a visual dynamism. However, it is difficult to consider the joint between each geometri-cal component in the strip, especially the size of each component is different. The fabrication would be difficult.

CASESTUDYEVOLUTION 2

BREATHING STUDY

70 71

CASESTUDYEVOLUTION

4 The muscular-like strip work perfectly on the form, the level difference create the void which let the sunlight pass through, it also act as an ambiguity between close and open. Moreover, it satisfied our argument about use of dynamism to provide a ‘breath in, breath out’ experience.

Medium density of strip would be the best to communicate our concept.

MUSCLE

CASESTUDYTECHNIQUE 1.0

DEVELOPMENT

The development correlates the pat-tern of rhythm of breathing / muscle contraction (pattern of form) with the muscle (pattern of surface). The entry way of the gateway to Wynd-ham city would have higher height level and higher density of strip

- contraction of muscle to attract people comes in. The exit way with lower height level and less dense strips to emphasize the relaxation of muscle, people travel through this gateway would have an experience of ‘breathe in, breathe out’.

Breathe InContractionRelaxation

Breathe Out

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CASESTUDYTECHNIQUE 2.0

PROTOTYPE

We fabricated one strip of the form to investigate its buildability and materiality. We orginally thought of using transparent plastic to do the model but because of its dif-ficulty in standing and cutting and we firstly tried cardboard. After we constructed one strip, we found that it is very hard for the strip to

stand and maintain its curvature. We tried to adjust its fold line from 10 to 8 and then to 5. It is still quite difficult for it to stand the shape in digital model.

We are going to study some cause studies as stated in proposal.

On the other hand, we developed some patterns on the strip to investigate whether the connec-tion of the pattern can help the strip from standing. We picked one pattern that developed in the breathing study and constructed it by wood stick. The result was quite satisfactory. However, the curva-ture is very difficult to be accurate and we are not planning to use wood in the project.

We are much more interested in transparent and translucent plastic profile, but it needs further reserach in the self-supporting system of the strips.

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CASESTUDYTECHNIQUE 3.0

PROPOSAL

The Wyndham Gateway should be a new discourse of archi-tecture, also a new identifier for the municipality, provide a special arrival experience for motorists. Therefore, the gateway should be iconic and perceptual.

Patterning is the innovative combination of organization of physical spatial order and articulation of subjective com-prehension of spatial order. It would be the best to interpre-tate our concept - ‘Breathe in, breathe out’, the action of peo-ple entering the Wyndham city through the gateway is ‘breathe in’, and people who leaving is ‘breathe out’. The gateway func-tions as an intermediate space between Wyndham city and the outside. What we want to em-phasize is that - the gateway is not only an object but a living form, through the expression of dynamism to provide people a ‘breathe in, breathe out’ experi-ence.

The gateway should be alive and dynamic instead of steady and stiff. We are using mus-cular-like strips to imitate the contraction and relaxation of muscle which control breath-

ing, adjust the density and level height of curved mus-cular strips, create a transi-tional space between in and out, physical and subjective.

The ‘muscle’ contracts to at-tract people, provides people a ‘breathing in and out’ experi-ence, especially for the motor-ists travelling at high speed. We are setting up a new discourse that architecture should be ‘alive’, dynamic instead of stiff. It should communicate with human as well as evoke their participation experience and perception. It is innovative, icon-ic, and emotional and connects to the site. It will become a new identifier for Wyndham city.

We are now investigating the materials used in the develop-ment. We proposed plastic with different transparency, to create a wave of visual dynamism. We have studied some case stud-ies such as Shadow (Fig.1) by Gianluca Milesi Architecture and Change of State (Fig.2) by Nadaaa. Joints and build abil-ity are identifying to investigate which systems work the best.

http://www10.aeccafe.com/blogs/arch-showcase/files/2012/06/r0009_low.jpghttp://www.nadaaa.com/#/projects/a-change-of-state/

FIG.2FIG.3

FIG.1

Fig.1 ShadowFig.2 Change of StateFig. 3 Joint of Shadow

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AlgorithmicSketches

II

These algorithmic sketches are developed based on the previous sketch. I modified the components of triangular grid. I divided the surface and then used Isotrim to extract the surface, followed by Graft, Dispatch, Surface CP, and then a numerous other components such as Rotate, Weave. To create such muscular-like strip to emphasize the idea of dyna-mism and breathe in and out experience.

These algorithmic sketches are developed by con-necting the 10 X 10 points by lines. By using the Point XYZ to make the adjustments in the Z plane, determine the ups and downs. It is inspired by the rhythm of contraction and relaxation of muscle. The undulating continuous curvilinear space provides a transitional experience of ‘breathe in and out’.

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CASESTUDY

There are numerous objectives of studio Air, including developing an ability to generate a wide variety of design possiblities for an as-signed situation and three dimensional media skills, for example, algorithmic and paramet-ric design skills. We need to use grasshopper widely is a kind of these training. Moreover, other than computational skills, there is also a need for us to develop critical thinking and the ability to make a case for proposals, as well as conceptual, technical and design analysis of architectural spatial order

For my experience in studio, at the begin-ning, I knew nothing about grasshopper and parametric design. 8 weeks had pass, I could make a quite complicated parametric model by my own and start to have basic concepts about the relationship between each com-ponents, especially mesh, point and surface. They are the basic components of grasshop-per that almost appear in every data flow in grasshopper.

Computation is very efficient in generat-ing unexpected variables as if I only change one dependency in a link of relationship, the result generated would be very different, such as the muscular-like stripped structure (fig.1) I created. I am responsible for the form regeneration of case study 2, all form explo-rations (technique evolution 1&4) as well as adding the stripped pattern on it, plus the patterns study of case study 1 and muscle. The stripped pattern is placed onto its sur-face by adding the components.However, when I finished the muscular-like stripped structure and went to fabricate it. I

faced the joints and support problems. As I decided the structure is self-supporting, and it failed in physical model. Therefore, I am searching other methods to support it, for example, I studied the Shadow by Gianluca Milesi Architecture, and the reinforced plas-tic profile is supported by iron rods.

This is my first time to really get involved in computational design process. It broadens my vision towards architecture. As in Hong Kong, what I only do is hand drawing and sketching. I still think they are important, but it is always good to learn something you don’t know in order to open your eyes. The theoret-ical research open a new door for me, a new angle towards architecture that architecture is no longer restricted as a real solid but also can be conceptual and virtual.

Although personally I like the traditional design process more than computational design process. However, I believe compu-tational design is a spirit of new era and I have the responsibility to get familiar with it. Architects are someone that can capture the spirit of the age. It is not about you like it or not, if you are unsatisfied with something, what you can do is not acting like none of your business. You have to know it well so you can break it. And I am convinced that what make architecture, know the rules, then break it.

LearningObjectives

Outcomes&

(fig.1)

I feel something so rightDoing the wrong thing

I feel something so wrongDoing the right thing”“ - OneRepublic

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BPROPOSAL

C

Idea about breathe in & breathe out is good

Form has to look like muscleBreathe in & breathe out experienceConstruction details

A new identifier for Wyndham City - Alive

No need to be amazing, want it to be interesting to evoke traveler’s participation

Form is too chaoticNo 2D surface pattern

Feedback

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A S

PIR

IT

BREATHE INBREATHE OUT

PRIN

CES

HIGH

WAY

PRINCES FREEWAY

CONCEPT

Our concept is “Breathe in, Breathe out”. The Princes highway and Princes Freeway meet at the site, it is as an intermediate space between Wynd-ham City and outside. The principle is just like the blood capillary where artery and vein meet. So, in our idea, the Wyndham Gateway is acting like muscle which controlling breathe in and breathe out action, it contracts and attracts vehicles to enter the Wyndham City (breathe in), and it relax to carry out breathe out action for vehicles which leave the city. The gateway is a new identifier for Wynd-ham City, as it is more than simply an object, it is alive, it represents a new spirit of Wyndham City - an alive city, the gateway allows the communcia-tion between city and travelers.

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CONCEPT

1

2

3

PRIN

CES

HIGHW

AY

PRINCES FREEWAY

The muscle contracts to carry out breathe in action - Enter

Blood Capillary - Intermediate Space

The muscle relaxes to carry out breathe in action - Exit

There are three sites. Site 3 is penetrated by Princes Freeway, one way in and one way out. Site 2 is penetrated by Princes Freeway (into the Wyndham City). And site 1 is penetrated by Princes High-way only. And site 1 area is so small and not located near the two main free-ways, site 2 and 3 are more suitable for the location of gateway.

We decided the Princes Freeway will be our main focus of circulation, where breathe in and breathe out experience will happen. We also decide the middle part of site 2 and 3 will be the best location for gateway as the distance between in and out way is long, provide more space to design tran-sitional breathing experi-ence.

The gateway will act like muscle contraction and re-laxation to bring out breathe in and breathe out experi-ence. The pattern will be strip-like to emphasize the visual distortion of contrac-tion and relaxation. It is very obvious to drivers and attract them to go through the gateway enter Wyndham City, the gateway is alive.

APPLY TOSITE

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This study model shown that during breathe in action, the lung will expand and the diameter will be increased. And for breathe out action, the lung will flatten and diameter will be decreased. We would like to apply this phenomenon to the form finding of gateway. Through adjust the height and width of muscular strip to bring out the contraction and relaxation experience.

LUNG

IN OUT

LUNG

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SUPPORTING

CANTILEVER

BREATHE IN BREATHE OUT

A B

BREATHE IN

FREE

WAY

FREE

WAY

HIG

HW

AY

SITE

2

SITE

1

BREATHE INBREATHE OUT BREATHE OUT

A

B

FORMFINDING

The level height of breathe in part will be much higher than the breathe out part, in order to emphasize the contraction and relaxation feeling.

From the previous study, we know that during breathe in action, the lung diameter will be increased. Therefore, in the entry side of the gate-way to Wyndham City, the width of breathe in part will be widen and become nearly semi-circular.

As the gateway has a quite long suspended strip span through the freeway, it needs rigid and strong sup-porting point to support the suspended strip. The loca-tion of the supporting point will be at the transitional point between breathe in and breathe out parts. Also, the breathing out part would become cantilever to provide semi-close space.

Through the entry way to Wyndham City, the gateway will start to narrow down from the middle part to the end. So, it creates a transitional experi-ence from wide space to limited space, gives drivers a sense of contraction and breathe in experience, they will feel like being “breathed” into Wyn-dham City. Moreover, the breathe out part, from the start (exit way of Wyndham City) to the end, the height of strips will be transform from high to low, and from semi-open space to open space, to emphasize the sense of relaxation and provide breathe out experience.

90 91

EVOLUTIONAs the previous prototype is too chaotic, there-fore we decided to redesign the form accord-ing to the site constraint. However, the first trial prototype is not quite successful, as the curve is too angular and not smooth enough. It did not have a sense of contraction and relax-ations to bring out breathe in and out experi-ence, therefore we decided to recreate a new prototype obeying the rules.

The second trial prototype is much success-ful than the first one. The curve is smooth and widen opening and narrow down end, the feel-ing of contraction and relaxation is quite obvi-ous. But we believe we could push the feeling further and few improvements are done to the next prototype.

In third prototype, we increase the height of the opening and make the end much narrower than the previous one, also we adjust the angle of curve of the supporting strip in site 2, and it surprisingly created a smooth curva-ture transited from the strip faced to Princes Highway to Princes Freeway. We all love this change and decided to keep it. However, we recognized a big issue that we forgot to mea-sure the actual height of opening, it is about 20m and it is too high, we decided to make it

This prototype satisfies all the definitions. The widen opening and narrow down end empha-sized the breathe in experience. The transition of curvature from breathe in and breathe out is smooth. The breathe out part also success-fully provide and breathe out experience from semi-open to open space. We all agree to use it as our final form.

1

2

3

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PATTERNFINDING

For the patterning, we have studied the muscle cells in the muscle fiber. How contraction and relaxation are brought, the phenomenon inside is being stud-ied to transform it into the 2D pattern on the strip and strengthen the “breathe in breathe out” experience.

The phenomenon of contraction and relaxation is depending on the move-ment of actin. When the actin move towards the myosin, the muscle cells will become much darker and con-traction occurs. When actin moves away from myosin, relaxation hap-pens and the muscle cells become much lighter.

We extracted this phenomenon and decided the shape of muscle cells as our 2D pattern. Also, there will be solid, translucent and void in the pattern to intimate the contraction, partially contraction and relaxation stage. However, due to time pres-sure, we only used solid and void as our pattern. The entry ways of breathe in and breathe out part will have more voids than the end part, to emphasize the transition breathing in experience.

ActinMyosinRELAXATION

CONTRACTION

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The gateway successfully pro-vide a “breathe in breathe out” experience to drivers when they enter and leave Wyndham City. The twisting muscle pattern, designed according to the form of gateway, strengthen the con-traction and relaxation feeling.

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IN

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IN

100 101

OUT

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EXPLORATION

5CONSTRUCTION

104 105

Construction

}

}

GROUND JOINT

BEAMJOINT

ALUCOBONDALUMINIUMCLADDING

EDGEBEAM

106 107

DETAILSGROUND JOINTGROUND JOINT

Mild steel or stain-less plates fully welded with stiffen-

Stainless steel hold-ing down bolts fixed expanding anchors to foundation

It is very important of the edge beam to ground level joint. As the span of strip is quite long, the joint and foundation have to be very strong and stiff to support the loading. By using stainless plates with stiffeners such strong supporting ele-ments could satisfy the structural require-

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DETAILSBEAMJOINT

We initially decided to use stacking joints for the edge beam joint. However, when we went to buy materials to make detail model, we could not find stacking joint, so we change to a more common joint - an-chor joints.

The anchor joints screwed in for connect-ing the waved edge beam. The two anchor joints are screwed to a hinge. So, the waved edge beam could follow the curva-ture of the outer edge beam by adjusting the hinge. It is stiff and flexible.

The central hinge make the waved edge easily to curve according to the outer edge beam.

The detailed anchor joints screwed to the central hinge.

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DETAILS

=Normal Cleats bolted into the panel are used for connecting each strip module.

STRIP MODULEMODULEJOINT

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MODEL

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EXPLORATION

6FINAL MODEL

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1st PHASE

1:50

1af2

1af1af

1af1

Front

1af

7bf

7bf

1ab1ab

7bb

1ab1af

2b_a

6bf6bf

3bf

6bf6bf

Back

6bf

1ab2

1ab1

6bb6bb6bb

3cb

6bb6bb

20bf

3cb

3cb

3bf

3bf

20bf

6bb

6bf6bf6bf6bf6bf 6cf

6cb

15cf

1ab

15cb

15cf

Front Back

15cf

15cb

15bb

15bf

15ab

15af

12af 12ab12ab12af

13bb

13bf

1af1ab

13bb

13bf

12bb

2af2ab

5cf 5cb

12bf

12bb12bb

12bb

12bb

12bf

12bf

20bf20bf

18af

5af

18ab

18af

5ab

1af

18ab

18ab

20cb20cb

12bb12bb

20cb

20cf

20cf 20cf

20bb

2ab2af

20bb20bb

20ab

20af

18af

17ab17af

16bb

16bf

3af3ab

3bb

3bf

1af

3ab

3af3af

16bb

1af

16bb

16bf16bf

3ab

7bf

7bb

16ab16af

6af

6ab

7af

7ab

7cf

7cb

9bf

8ab8af

9af

Front

9ab

9cf

9cb

10af 10ab

1af2

11af

11ab

11bf

11bb

11cf1 1cb 1af1

11cf1 1cb

11cb11cf

7bb

18fb18fb18fb

18bb

18bb

18bb

12bf

12bf

12bf

12bf

12bb12bb

12bb

12bb

12bb

12bf

9bb

19af

19ab

19af

19ab

19af 19ab

19bb19bb

19bb19bf

19bf19bf

19ab19af

3

5

16

7

8

9

10

11

12

13

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15

4

19

20

18

17

16

2

19bb

16bb

6bf

15cb15cf14bb14bf14bb

6bb

14bf

14bb

14bf

PLYWOOD 2.5mm KAKA

14bb

18fb18bb

14bf

12bb12bf

12bb

12bf

13bb

13bf

13bf

13bb

13bb

7bf

13bf18af

18ab 13bb

7bb

13bf12bb

9bf

12bf 19af

19bf

19ab12bb12bf

9bb

16bf

At first we planned to make a 1:50 model, we divided each row of strip into 3 parts, a, b and c and labelled them such as 12af and 12ab, f means front and b means back strip. Howev-er, man strips are too long so we need to cut one strip into 3 parts and make a rectangular plate with two holes for screws to connect each strip together.

After we get back from Fablab, we were so surprised by its length, the longest one approximately 2 metres length after we connected the three separated strips. After calculation, the model is about 2m X 3m. We forgot to calculate its actual length. But we still decide to keep going.

However, when we tried to use the hand riveter to connect the strip together, it failed because of the MDF panel is too thick, two panels approxi-mately 6mm. The screw could not pass through and fell off. As if we could not use hand riveter, the model making will be too time-consuming as it is very massive. Therefore, we decided to change a new approach - 1:100.

118 119

2nd PHASE

1:100We changed the model making scale to 1:100. Therefore, the model size is about 1m X 1.5m. We think it is acceptable and sent to Fablab and keep using MDF 3mm panels as the material. MDF pan-els are the most suitable material to make strips as it is very stiff and not expensive.

We then card cut the sur-face pattern. We flattened the waved edge beam with thickness.

The first trial strip is done. However, we faced a big difficulty, as we did not cut the site; it was very dif-ficult to define where the strips are located. Also, it is very hard for the strips to stand as it purposed, the curvature and the ori-entation are very inaccu-rate to be done my human hands and observations. Therefore, we can only use pencil to mark the approx-imately position of each strip and drill a hole on the paper and insert the strip into it. But unfortunately some strips were failed to stand.

The site plan were also done by eye observation, it was very inaccurate. We originally planned to use black paper as the site base, and then used white paint to draw the road. The model will be whole white to enlarge the contrast.

After we finished some of the strips, as laser cut will leave a burn mark on the edge. We tried to use white spray to cover the mark. However, the result was not good-looking. Also, flatten edge beam looked weird and unreal-istic.

Although the fabrication of 1:100 model was a really tough time and the result was not accurate and realistic. However, we learnt some smart ways on how to make the model making process efficient, such as laser cut the site base with strip location holes. After the presentation, we started to develop the final model.

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3rd PHASE

1:150

After the previous two models mak-ing, we learnt a lot about how to do the work efficiently. We used 4 MDF Panels as our site base; the location of each strip was being cut a 3mm width hole. Also, each base of the strip is extruded 3mm (thickness of MDF). We expected the product no need to use glue, simply inserting the extruded part into the site holes, the strip could stand by itself. Orientation and curva-ture are very accurate as it is under computational calculation.

3mm MDF Timber Panel

Extrude 3mm

In order to cover the burn mark made by laser cut, I used white postercolor to paint a layer of white color on each strip especially the burn side.

We marked all the strips according to their row and part - 1-20, a-c and f&b(front and back). However, in later stages, all the marks are covered by the white paint and it was time-con-suming to find out all strips belong to which row.

After the postercolor paint is dried out, I took it to open space and spray white paint on it, to make the surface color smooth and it is much efficient than painting by hand. However, the spray is very expensive.

Unfortunately, that night rained heavily and all the strips got wet. I rushed to courtyard and collected all the strips back, put them under the heater to dry out. Luckily all strips are fine.

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It is so ridiculous that somebody cut out our glued base and stole our four mountboards for base making. I have to remove all the stains left. We were all shocked at that time and felt very angry.

Work keeps going. We first insert all the strips into the base holes. It is quite time-consuming as all the marks on the strips were gone.

After that we changed our approach in making waved edge beam. We cut nu-merous 3mm depth strip and make it to be a realistic weaved beam attached to the outer edge beam. Surface pat-tern claddings were all unrolled and stick to the surface of the strip.

Because the contact surface between the waved edge beams and the surface cladding is very small, it is very difficult to use UHU to glue the exact position. Therefore, we used needle, put some UHU inside and press it, small amount UHU will come out and small surface could be glued exactly.

DONE!

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ALGORITHMIC SKETCHES

EXPLORATION

7

132 133

The waved pattern grasshopper defini-tion has to applied to individual strip. After that I tried to trim each surface to produce the pattern.

134 135

WHAT NEXT?

EXPLORATION

8

136 137

Studio Air is a quite different learning experience since I studied architec-ture. Throughout these 3 months, I have touched much knowledge about digital technologies in architecture – visual programming, algorithmic de-sign and parametric modeling. And it really changes my understanding about what is design process.

The readings in every week were really brainstorming and evoked me to think a different angle towards architecture and what means design. Parametric modeling such digital design tools are very common in our daily lives, not only in architectural field, but also other scientific fields, such as biology. Therefore, it made me understand that design process is not simply a process to create an object. What we actually design is a concept, a relationship. Process is a kind of exploration. There is no right or wrong answer. I believe every op-tion and discoveries are interesting and valuable, the process is about how and why we choose this one to develop and reveal its potential.

CASESTUDY

LearningObjectives

Outcomes& Although it is quite hard to fully

understand the relationship be-tween each component in grass-hopper, but now I am able to have a rough overall concept about the most common components, such as “Flip”, “Item”, and “Graft” and so on. I understand the objective of studio air is not really want us to be a master of grasshopper, but develop an interest as well as critical thinking about the digital parametric modeling, so we are able to generate a wide variety of possibilities in different situation. And I really interested in grass-hopper and its amazing potential to produce multiple variables. I believe every variable is an ex-ploration and infinite potential is embedded inside, therefore it is very important to understand grasshopper well. Sometimes I feel like every time I use grass-hopper is like travelling in an unknown place. I just had a small piece of the map, but after I kept exploring I collected more and more pieces of map, so, practice makes perfect. My skill in utilizing Grasshopper would be improved from time to time. And surpris-ingly my classmates in Hong Kong suddenly told me they want to learn grasshopper.

The shift of my idea about design process become much stronger when I study deep in grasshop-per to produce different matrix by defining different relationship between each component. To be honest, at the beginning I re-ally feel frustrated as I could not control grasshopper to do what I want it to do. It always failed when I tried to connect different com-ponents. However, I later realized that somehow the aim of grass-hopper is not producing what you want, but something you unex-pected. For example, the stripped pattern in my digital model is gen-erated unexpectedly when I was tried to combine different defini-tions together. It really changed my mind about what is failure. For me, failure is not exist, as every step I move is a development, a process and an exploration.

138 139

Moreover, this is the first time I really understand the meaning of “argument”. More importantly, about the correct format of documenta-tion, it should be well-organized and have a good sequence. The making of journal in three stages is a good chance to train me how to document a design process in a reasoned flow. Express of interest and innovation, and then your design approach, finally is the proposal you developed for clients. Working in a team is a really frustrated thing, as conflicts, misun-derstanding always happen. Every-one has different standards and it is very difficult to corporate and com-promise. But I understand it will be very common when working in archi-tectural film so it is a good training for future. Rather than group com-munication, I also learn a lot about fabrication, how to prepare a drawing for laser cut and card cut, and most crucial is how to plan your work flow and process. We had two painful experience about the scale of model is too big, and we did not consider how to cut the model elements so we could work efficiently, for example, cut a hole in site plan board, sim-ply insert the extrusion of strip into the hole. Then the strip could stand stiffly and no need additional glue.

I really found I benefit a lot from this studio, from my concept about archi-tecture, to parametric modeling tool. I promise myself I will keep using Grass-hopper and try my best to get familiar with it. I admit part of the reason is that the tuition fee of this subject and the modeling fee are very expensive, I should learn something useful and should not waste the resource pro-vided. Whatever, this is part of my life journey and I will always enjoy every moment of it. Every mile will be worth my while. Finally want to say thank to my tutors David and Alex and friends who have saved me. It is impossible to survive alone.

Bibliography1 Kaneko Gemma 2010, “An Argument Against Timelessness”, [Online], no. Mercer Street, pp. 3 April 2013. Available from: http://www.nyu.edu/cas/ewp/kanekoar gument11.pdf.

2 Tiffany Rafael 2008, “Seeing Oneself Seeing “The Weather Project”: Notes on Olafur Eliass on’s Institutionalized Critique”, Anamesa, [Online], no. The Perception Issue, pp. 3 April 2013. Available from:http://www.nyu.edu/pubs/anamesa/archive/fall_2008_perception/seeing_oneself_seeing_the_weather_project.pdf.

3 db erica 2010, 17 December 2010-last update, Ryue Nishizawa:Teshima Art Museum [Homepage of designboom], [Online]. Available: http://www.design-boom.com/architecture/ryue-nishizawa-teshima-art-museum/ [2013, 04/03].

4 Trachtman Paul 2004, “James Turrell’s Light Fantastic”, Smithsonian, [On-line], , pp. 2 April 2013. Available from: http://www.paultrachtman.net/pdfs/turrell.pdf.

5 Yehuda E. Kalay 2004, “Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design”, Cambridge, Mass.: MIT Press, [Online], , pp. 03 April 2013-5-22. Available from: http://app.lms.unimelb.edu.au.ezp.lib.unimelb.edu.au/bbcswebdav/pid-3815742-dt-content-rid-11838999_2/courses/ABPL30048_2013_SM1/ABPL30048_2013_SM1_ImportedCon-tent_20130121032620/Pages%201-25%20from%20Kalay%20-%20Architec-tures%20New%20Media%20%282004%29%20COMMENTED%20-%20SR.pdf.

6 Dunn Nick 2012, “Algorithmic architecture” in Digital Fabrication in Archi-tecture, 1st edn, Laurence King Publishing Limited, Britain, pp. 60-65.

7 Zaha Hadid Architects 2012, 04 October 2012-last update, Autumn Review: Arum Installation and Exhibition by Zaha Hadid Architects at Venice Architec-ture Biennale. Available: http://www.zaha-hadid.com/ [2013, 04/04].

8 Dunn Nick 2012, “Morphogenesis architecture” in Digital Fabrication in Ar-chitecture, 1st edn, Laurence King Publishing Limited, Britain, pp. 66-73.9 Popp Trey 2009, February-last update, An Architect Walks Into the Lab. Available: http://www.upenn.edu/gazette/0109/feature1_6.html [2013, 04/04].

10 Dunn Nick 2012, “Parametric and generative design” in Digital Fabrication in Architecture, 1st edn, Laurence King Publishing Limited, Britain, pp. 54-59.

11 Woodbury Robert 2010, “How do designers use parameters” in Elements of Parametric Design, 1st edn, Routledge, , pp. 23-48.

12Lauren 2011, 13 December 2010-last update, akihisa hirata architecture office: bloomberg pavilion [Homepage of designboom], [Online]. Available: http://www.designboom.com/architecture/akihisa-hirata-architecture-office-