1

AIRS T U D I O

HSIN YEHSEM 2, 2015

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B.1RESEARCH FIELD

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TESSELATION PRECEDENTSThe initial concept for the design proposal is a structure for plants to grow onto. Therefore, the field of re-search is tesselation, as this technique creates vacant spaces on a base structure that plants can potentially grow into and fill the spaces.

Throughout the research, it also becomes clear that porous effect on light-feel/thin stuctural/grid is very effective in producing a unique, delicate, and intrigued feeling to a design. This will be discussed with the three projects of tesselation I have selected for this section.

The project I chose to iterate for B.2 Case Study 1 is the Voussoir Cloud as the caternary lines are inter-esting for form and structural design. The technique of tesselation, using lightweight and porous material, from all three projects also influenced the design of my proposal.

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The Voussoir Cloud is made of 3-dimensional wedged petals, which connect to one another to form 5 columns. Extending from each column, the petals become larger and eventually con-struct several vaults at the top of the structure. The design team used digital hanging chain models and form finding technique to refine the profile lines into pure caternaries. The petals represented ‘voussoirs’, traditional wedge-shape stone used to construct arch, but reverse the heavy impression of voussoirs by using folded thin wood laminates as the material. The Vossoir Cloud demonstrates the method to create archi-tectural structural with light material and porous elements.

IwamotoScott

V O U S S O I R C L O U D

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Transformer is a lightweight, layered, and light-re-sponsive structure that has active-shading function with the potential to be incorporated into building envelope. The quad-shape, polystyrene petals are attached to the lightweight, but rigid polycarbonate strucutal grid. Sensors on the petals interpret light data and deliver message to the motors to alter the petals in closing or opening motions to achieve optimised shading. Transformer is an example of lightweight, transformable, and porous structure that can provide efficient shading, while being structurally stable.

I.M.A.D.E

T R A N S F O R M E R

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POLY.lux is constructed a number of thin flat elements, which created three tunnels hanging from the roof. The form naturally occurred by pull of gravity force. There are more than 1400 bat-tery-powered LED lights attached to the pieces, and lighten up the structure. The POLY.lux is a design that aims to provide sensory experience to passer-bys with its thin material, porous de-sign, and delicate lighting.

SOFTlab

P O L Y . l u x

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B.2CASE STUDY 1

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SPECIES 1

Offset of anchor points at bottomZ force

Offset of anchor points at bottomZ force

Offset of anchor points at bottomZ force

Offset of anchor points at bottomZ force

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SPECIES 2

Specie 1 ---> Specie 2- Base curve is changed from rectangle to circle.- Lofting curves are offset - Anchor points changed

Offset of circle curveZ forceRest length

Offset of circle curveZ forceRest length

Offset of circle curveZ forceRest length

Offset of circle curveZ forceRest length

Offset of circle curveZ forceRest length

Offset of circle curveZ forceRest length

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SPECIES 3

Specie 2 ---> Specie 3- Number of points increase- Change of anchor points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

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SPECIES 4

Specie 3 ---> Specie 4- Project top curves to a dome- Loft between top and bottom voronoi curve- Change of anchor points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

Offset of circle curveZ forceRest lengthNumber of points

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SPECIES 5

Size of top end of pipeSize of bottom end of pipeRest lengthSize of base circle

Specie 4 ---> Specie 5- Use pipe as basic geometry

Size of top end of pipeSize of bottom end of pipeRest lengthSize of base circle

Size of top end of pipeSize of bottom end of pipeRest lengthSize of base circle

Size of top end of pipeSize of bottom end of pipeRest lengthSize of base circle

Size of top end of pipeSize of bottom end of pipeRest lengthSize of base circle

Size of top end of pipeSize of bottom end of pipeRest lengthSize of base circle

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SPECIES 6

Specie 6- continue from Specie 4

Size of top voronoi cellSize of bottom voronoi cellRest lengthNumber of points

Size of top voronoi cellSize of bottom voronoi cellRest lengthNumber of points

Size of top voronoi cellSize of bottom voronoi cellRest lengthNumber of points

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SELECTION CRITERIAThe proposal for my design is a structure for plants to grow onto it and create a unique form that combines the structure and the plants’ body. When creating the iterations, I was trying to achieve forms that are easy for plants to grow into. I also experimented with forms that are possible to become a shelter for people. Therefore, the criteria for selecting successful iterations of this exercise is a form that is porous / web-like, continuous, and creates shelter space.

Four outcomes from the iterations are selected and extrapolated...

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SELECTED OUTCOMES

This structure has a distorted web structure that forms good base for plants to grow and fill up the vacant spaces. The base is circular, and when some pillars are added under, the circular edge create some shelter from sunlight.

The web-like structure has a unique form and very porous. This gives plants many possible routes to grow. There are not much shleter pro-vided, but the form is a good inspiration for fur-ther development.

This structure has a lighter appearance than the others as it is supported by several thin pipes. These pipes provide routes for plants to connect at the two main structures in the middle. There is no shelter, but the connections between each part is interesting for further development.

These mushroom-like tubes have expanding tops, which provide some shelter from sunlight. There are spaces in between each tube, so peo-ple can walk between and get close to plants growing on the tubes. Web pattern can be later implemented onto the tubes’ surface to make them suitable for plants growth.

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B.3CASE STUDY 2

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Freeland Buck, 2008Vienna, Austria

T E C H N I C O L O U R B L O O M

Fig. 1archinect.com

www.freelandbuck.com1. “Technicolour Bloom,” Freeland Buck, retrieved 18 September 2015, http://www.freelandbuck.com/Projects/TechnicolorBloom.2. Ibid.

MIDPOINT MIDPOINT

MIDPOINT

1/4 1/4

1/4 3/4

3/43/4

Diagram

47Fig. 2

Technicolour Bloom uses parametrical design and standard fabrication technique to produce a dou-bly-curved architectural form. 1400 unique pieces of flat plywood panels, which are partly colour-sprayed, are used for constructing this kaleidoscopic installation at Silver Gallery, Vienna.1 There are two layers of exact pattern, one on top of the other, to create a three-dimensional sense of the pattern.

The project intends to give new possibility to topological surface by incorporating traditional architectural parameters (structure, aperture, and material), to the doubly-curved geometry.2

The use of parametric design enables the complex pattern to be implemented onto the curved surface easily. The pattern, although appears complex, is based on a simple rule using conventional drawing parameter, as shown in the diagram below. The project is successful in showing new possibility of what parametric design can achieve. The collaboration between computation and construction also successfully create a mythical experience for people when interacting with Technicolour Bloom.

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REVERSE-ENGINEERThe main part of reverse-engineering this project is to create the same pattern of Technicolour Bloom. The doubly-curved surface can be easily achieved by lofting several curves. In my process, the main part will be attempting to generate the pat-

tern based on the underlying rule of the pattern, as previously shown.

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1. Lofting several curves for the bottom layer.

2. Lofting several curves for the upper layer.

3. Using Lunchbox to create tri-angles on a rectangle surface, and then create quadrangles inside the triangles.

4. Using Lunchbox to create tri-angles on a rectangle surface, and then use VORONOI to generate similar effect as the quadragles.

5. Using Lunchbox to create trian-gles and quadrangles inside the triangles on the surface. Using LIST ITEM to select each of the three lines that make up the tri-angles. Use EVALUATE to select points at 1/4 and 3/4 on each line. Use AREA to figure out the cen-tre point at each triangle, and use MERGE and INTCRV to link cen-tre with other two points to draw desired curve. Repeat this three times.GET THE PATTERN !!

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7. Change the base surface of the pattern in step 5 to the loft surface in step 2. This attempt successful-ly incorporates the pattern to the curved surface.

6. PROJECT the pattern in step 5 to loft surface in step 2 in the at-tempt to incorporate the pattern to the surface. The result was distort-ed and some curves are missing.

8. OFFSET each curve a few distance away from the original, and LOFT the offsetted and original curves to transform the pattern’s lines into flat frames. This is repeated four times, separately for each group of curves - each line of the triangles and the line of the quadrangles. Both upper and bottom layers gone through this process.

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9. Bake the lower layer with peach material colour, and then copy it by offsetting a little bit upward and make this copied layer white. This is to achieve the effect of spraying inner side of the lower layer peach, while the outer side remains white, as done in the construction of the project.

10. Bake the upper layer with white material.

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PROCESS DIAGRAM

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Fig. 3www.christofgaggl.com

This outcome can be further de-veloped by changing the basic surface to a flatter topographical surface or a sphere to extend the ability to project pattern gener-ated by using DELAUNAUY or VORONOI, which is restricted to planar surface, onto the more regular surface.

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The outcome depicts the essence of the original project, and explores the effect created by repeating a simple pattern on two overlpping layers.

However, the outcome pattern could have been more accurate to the original pattern if the hexa-gon can be further divided into 12 segments rather than just 6 segments. The method to achieve this was not figured out, as every attempt would restrict, in later stage, the ability to draw curves between 1/4 points, 3/4 points and centre points of each triangle. Another difference is that the lower layer of the original project is in white and peach on either faces, but in the reverse-en-gineered outcome, two layers are baked, one in white and one in peach, and placed closely to create similar effect. This may be resolved by extruding the lower layer in rhino to create a solid and render each face in white and peach.

The reverse-engineered outcome is successful in creating pattern using the same underlying rule as the original pattern. The outcome also achieve the aim of the original project, which is to give new possibility to topological surface by incorporating traditional architectural parameters (structure, aperture, and material). Parametric design has enables the ability for designers to create forms and pattern that would be too complicated to produce or even imagined in the past.

OUTCOME & ORIGINAL

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B.4TECHNIQUE: DEVELOPMENT

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SPECIES 1

Triangular panel - U: 8, V: 15Curve group 1 - Crv1: 0.75, Crv2: 0.25Curve group 2 - Crv1: 0.25, Crv3: 0.75Curve group 3 - Crv2: 0.75, Crv3: 0.25IntCrv Degree: 1Curve offset: 0.8Hexagon curve offset: 0.9Quadrangle subdivide: 1Amplitude - B: 0.39

Triangular panel - U: 6, V: 10Curve group 1 - Crv1: 0.5, Crv2: 0.5Curve group 2 - Crv1: 0.5, Crv3: 0.5Curve group 3 - Crv2: 0.5, Crv3: 0.5IntCrv Degree: 3Curve offset: 0.8Hexagon curve offset: 0.9Quadrangle subdivide: 1Amplitude - B: 0.39

Triangular panel - U: 6, V: 10Curve group 1 - Crv1: 0.2, Crv2: 0.8Curve group 2 - Crv1: 0.8, Crv3: 0.2Curve group 3 - Crv2: 0.2, Crv3: 0.8IntCrv Degree: 3Curve offset: 0.9Hexagon curve offset: 0.9Quadrangle subdivide: 2Amplitude - B: 2

Triangular panel - U: 6, V: 10Curve group 1 - Crv1: 0.75, Crv2: 0.25Curve group 2 - Crv1: 0.25, Crv3: 0.75Curve group 3 - Crv2: 0.75, Crv3: 0.25IntCrv Degree: 3Curve offset: 0.9Hexagon curve offset: 0.9Quadrangle subdivide: 2Amplitude - B: 2

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Triangular panel - U: 8, V: 12Curve group 1 - Crv1: 1, Crv2: 0.5Curve group 2 - Crv1: 0.5, Crv3: 1Curve group 3 - Crv2: 1, Crv3: 0.5IntCrv Degree: 3Curve offset: 0.9Hexagon curve offset: 0.9Quadrangle subdivide: 2Amplitude - B: 3

Triangular panel - U: 8, V: 12Curve group 1 - Crv1: 0.7, Crv2: 0.3Curve group 2 - Crv1: 0.3, Crv3: 0.7Curve group 3 - Crv2: 0.7, Crv3: 0.3IntCrv Degree: 3Curve pipe radius: 1Hexagon curve offset: 0.95Quadrangle subdivide: 1Amplitude - B: 1.2

Triangular panel - U: 8, V: 12Curve group 1 - Crv1: 0.3, Crv2: 0.3Curve group 2 - Crv1: 0.3, Crv3: 0.4Curve group 3 - Crv2: 0.3, Crv3: 0.4IntCrv Degree: 3Curve offset: 0.9Quadrangle subdivide: 1Amplitude - B: 1.2

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SPECIES 2

Triangular panel - U: 10, V: 10Triangular frame scale: 0.95Curve group 1 - Crv1: 0.7, Crv2: 0.3Curve group 2 - Crv1: 0.7, Crv3: 0.5Curve group 3 - Crv2: 0.3, Crv3: 0.5IntCrv Degree: 3Curve offset: 0.5Amplitude - B: 0.97

Triangular panel - U: 10, V: 10Quadrangle frame scale: 0.7Curve group 1 - Crv1: 1, Crv2: 1Curve group 2 - Crv1: 0, Crv3: 0Curve group 3 - Crv2: 0, Crv3: 1IntCrv Degree: 1Pipe radius: 1.5Amplitude - B: 0.97

Triangular panel - U: 10, V: 10Quadrangle frame scale: 0.7, N:2Curve group 1 - Crv1: 1, Crv2: 1Curve group 2 - Crv1: 0, Crv3: 0Curve group 3 - Crv2: 0, Crv3: 1IntCrv Degree: 1Pipe radius: 1.5Amplitude - B: 0.97

Triangular panel - U: 10, V: 10Quadrangle frame scale: 0.85Curve group 1 - Crv1: 1, Crv2: 1Curve group 2 - Crv1: 0, Crv3: 0Curve group 3 - Crv2: 0, Crv3: 1IntCrv Degree: 3Pipe radius: 1Amplitude - B: 0.97

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Triangular panel - U: 10, V: 10Quadrangle frame scale: 0.85Curve group 1 - Crv1: 1, Crv2: 1Curve group 2 - Crv1: 0, Crv3: 0Curve group 3 - Crv2: 0, Crv3: 1IntCrv Degree: 1Pipe radius: 1Amplitude - B: 0.97

Triangular panel - U: 10, V: 10Quadrangle frame scale: 0.8Curve group 1 - Crv1: 1, Crv3: 1Curve group 2 - Crv1: 0, Crv3: 0Curve group 3 - Crv2: 0, Crv3: 1Curve group 4 - Crv3: 0, Crv4: 1IntCrv Degree: 3Pipe radius: 1Amplitude - B: 2

Triangular panel - U: 10, V: 10Quadrangle frame scale: 0.8Curve group 1 - Crv1: 0, Crv3: 0Curve group 2 - Crv1: 1, Crv3: 0Curve group 3 - Crv2: 0, Crv3: 1Curve group 4 - Crv3: 0, Crv4: 1IntCrv Degree: 3Pipe radius: 1Amplitude - B: 1

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SPECIES 3

Triangular panel - U: 3, V: 5Quadrangle N: 2Curve group 1 - Crv1: 0.5, Crv2: 0, Crv3: 0Curve group 2 - Crv1: 0, Crv2: 0, Crv4: 0.5Curve group 3 - Crv2: 0, Crv3: 0.5, Crv4:0IntCrv Degree: 3Scale of curves: 0.97

Triangular panel - U: 3, V: 5Quadrangle N: 2Curve group 1 - Crv1: 0.2, Crv2: 0.4, Crv3: 0Curve group 2 - Crv1: 0.2, Crv2: 0.4, Crv4: 0Curve group 3 - Crv2: 1, Crv3: 1, Crv4:1IntCrv Degree: 3Curve pipe radius: 1

Triangular panel - U: 3, V: 5Quadrangle N: 2Curve group 1 - Crv1: 1, Crv2: 0.5, Crv3: 1Curve group 2 - Crv1: 0, Crv2: 1, Crv4: 0Curve group 3 - Crv2: 0, Crv3: 1, Crv4:1IntCrv Degree: 3Curve pipe radius: 1

Triangular panel - U: 3, V: 5Quadrangle N: 2Curve group 1 - Crv1: 0.5, Crv2: 0, Crv3: 1Curve group 2 - Crv1: 0.5, Crv2: 0, Crv4: 1Curve group 3 - Crv2: 0, Crv3: 1, Crv4:1IntCrv Degree: 3Curve pipe radius: 1

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Triangular panel - U: 3, V: 5Quadrangle N: 2Curve group 1 - Crv1: 0.5, Crv2: 0.5, Crv3: 1Curve group 2 - Crv1: 0.5, Crv2: 0, Crv4: 1Curve group 3 - Crv2: 1, Crv3: 1, Crv4:1Curve group 4 - Crv1: 1, Crv2: 0.5, Crv4:1IntCrv Degree: 3Curve frame scale: 0.99

Triangular panel - U: 3, V: 5Quadrangle N: 2Curve group 1 - Crv1: 0.8, Crv2: 0.5, Crv3: 1Curve group 2 - Crv1: 0.5, Crv3: 1, Crv4: 0.5Curve group 3 - Crv2: 0.5, Crv3: 1, Crv4: 0.5Curve group 4 - Crv1: 0.9, Crv2: 0.5, Crv4:1IntCrv Degree: 1Pipe radius: 1

Triangular panel - U: 3, V: 5Quadrangle N: 2Curve group 1 - Crv1: 0.8, Crv2: 0.5, Crv3: 1Curve group 2 - Crv1: 0, Crv3: 0, Crv4: 0Curve group 3 - Crv2: 1, Crv3: 0.5, Crv4: 0.5Curve group 4 - Crv1: 0.9, Crv2: 0.5, Crv4:1IntCrv Degree: 1Pipe radius: 1

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SPECIES 4

Hexagon cells - U: 4, V:3Curve group 1 - Crv1: 0.5, Crv2: 0, Crv3: 1Curve group 2 - Crv1: 0, Crv3: 1, Crv4: 1Curve group 3 - Crv2: 1, Crv3: 1, Crv4: 1Curve group 4 - Crv1: 1, Crv2: 1, Crv4:1IntCrv Degree: 1Pipe radius: 1

Hexagon cells - U: 4, V:3Curve group 1 - Crv1: 0.7, Crv2: 1, Crv3: 1Curve group 3 - Crv2: 0.5, Crv3: 0, Crv4: 0.7Curve group 4 - Crv1: 0, Crv2: 0, Crv4: 0IntCrv Degree: 3Curve frame scale: 0.97

Hexagon cells - U: 4, V:3Curve group 1 - Crv1: 0, Crv2: 1, Crv5: 1Curve group 3 - Crv2: 0.5, Crv3: 0, Crv4: 0.7Curve group 4 - Crv1: 0, Crv2: 0, Crv4: 0.7IntCrv Degree: 1Curve frame scale: 0.97

Hexagon cells - U: 4, V:3Curve group 1 - Crv1: 0, Crv2: 1, Crv4: 0.7, Crv5: 0Curve group 3 - Crv1: 0, Crv3: 0, Crv4: 0, Crv5: 0.5Curve group 4 - Crv1: 0, Crv2: 0, Crv4: 0.9IntCrv Degree: 3Curve frame scale: 0.97

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Hexagon cells - U: 4, V:3Curve group 1 - Crv1: 0, Crv2: 0.4, Crv3: 1, Crv4: 1, Crv5: 1Curve group 4 - Crv1: 1, Crv2: 1IntCrv Degree: 1Curve frame scale: 0.97

Hexagon cells - U: 4, V:3Curve group 1 - Crv1: 0.5, Crv2: 0, Crv3: 0.7, Crv5: 0IntCrv Degree: 3Curve frame scale: 0.97

Hexagon cells - U: 4, V:3Curve group 1 - Crv3: 0, Crv4: 0, Crv5: 1IntCrv Degree: 1Curve frame scale: 0.97

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SPECIES 5

Triangular panel - U: 5, V: 5Quadrangle N: 1Curve group 1 - Crv1: 0.75, Crv2: 0.25, Crv3: 1IntCrv Degree: 1Pipe radius: 1

Triangular panel - U: 5, V: 5Quadrangle N: 1Curve group 1 - Crv1: 0.75, Crv2: 0.25, Crv3: 1IntCrv Degree: 1Pipe radius: 1Quadrangle curve pipe radius: 1

Triangular panel - U: 5, V: 5Quadrangle N: 1Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0.5IntCrv Degree: 1Pipe radius: 1

Triangular panel - U: 5, V: 5Quadrangle N: 1Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0.5IntCrv Degree: 1Pipe radius: 1Quandrangle pipe radius: 1

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Triangular panel - U: 2, V: 2Quadrangle N: 2Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0.5Curve group 1 - Crv1: 0.5, Crv2: 0.5, Crv3: 0.5IntCrv Degree: 1Pipe radius: 1Quadrangle pipe radius: 1

Triangular panel - U: 2, V: 2Quadrangle N: 1Curve group 1 - Crv1: 1, Crv2: 0.8, Crv3: 1Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0.5Arc for curvePipe radius: 1

Triangular panel - U: 2, V: 2Quadrangle N: 1Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0Curve group 1 - Crv1: 1, Crv2: 0, Crv3: 1Arc for curvePipe radius: 1

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B.5TECHNIQUE: PROTOTYPES

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PROTOTYPE RESEARCH

Fig.1

ICD/ITKE Research Pavilion 2014-2015, ICD/ITKEThe pavilion is digitally designed based on the analysis of the web building process of div-ing bell water spider (Agyroneda Aquatica).1 The underlying rule of the water spider’s web proves to be material efficient and stable. The pavilion is fabricated by stiffening a flexible pnuematic formwork with carbon-fiber rein-forcement from the inside.2

Fig. 2

1. “ICD/ITKE Research Pavilion 2014-2015,” University Stuttgart, retrieved 18 September 2015, http://icd.uni-stuttgart.de/?p=12965.2. Ibid.

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

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Fig.3

The Hive UK Pavilion Milan 2015,BDP & Wolfgang ButtressThe Hive is part of the UK Pavilion at Expo Mi-lan 2015. The connecting rods of the structure is no thicker than a finger to create a very del-icate sense.3 The structure was based on the construction of bee hive, which is able to carry the weight.4 The rods are interlocked with each other and LED lights are attached.

Fig.4

3. “Expo milan 2015: inside the hive with wolfgang buttress at the UK pavilion,” Designboom, retieved 18 September, http://www.designboom.com:8080/architecture/uk-pavilion-expo-milan-2015-wolfgang-buttress-interview-05-05-2015/.4. Ibid.

www.designboom.com

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JOINTS RESEARCH

Sqirl Cafe Canopy 2012, Freeland BuckThe canopy are made of individual curved strips, which are only hung from its outer edge and connected with each other at in-ner edge.5 This creates a single, intercon-nected structure that can be hung to create a canopy.

5. “Sqirl Cafe Canopy,” Freeland Buck, retrieved 18 September 2015, http://www.freelandbuck.com/Projects/SqirlCanopy

Fig. 5

Fig. 6http://www.freelandbuck.com/Projects/SqirlCanopy

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Possible Mediums Kite 2014, Freeland BuckThe project is a 48 cubic foot space frame was reinvented using the tetrahedral kite concept developed by Alexander Graham Bell. The frame is supported by light ma-terial that connects with each other at the joint shown in Fig. 8. The frame is a 3-di-mensional volume that project 2-dimen-sional image as it turns in air.6

Fig. 7

Fig. 8http://www.freelandbuck.com/Projects/PossibleMediumsKite

6. “Possible Mediums Kite,“ Freeland Buck, retieved 18 September 2015, http://www.freelandbuck.com/Projects/PossibleMediumsKite

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PROTOYPING

Incorporate pattern from reverse-engineering onto the surface developed from case study 1

Lofting the curves with their offsetted parts.

Baking the frames created from loft.

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Extract one part of the prototype, and MAKE2D in rhino to generate flat drawing of the pattern.

Separate each triangle frame and prepare each piece ready for laser cutter.

PRODUCING JOINTS

76

When the prototype is pushed in, the struc-ture transformed according to the force.

PROTOYPE JOINTS

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When the prototype is pressed from the top, the structure becomes flat. Hence the material and structure make the prototype flexible to change.

The lightweight and porous structure from B.1 Research on tessela-tion designs have informed the final decision to produce a thin, rigid, and porous prototype for my proposal

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B.6TECHNIQUE: PROPOSAL

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SITE ANALYSIS: COLLINGWOOD CHILDREN’S FARM

CARPARK

ABBOTTSFORD CONVENT

FARM CAFE

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SITE:- people visit the farm to be close to nature- the Farm Cafe is a social space where most people go and stay- users are mostly family with children and adult groups

CHOSEN SITE: THE OPEN AREA AT THE BACK OF THE FARM CAFE

REASON:- the cafe is a social space that encourage people to engage with the design proposal- the cafe provide reasons of people staying longer: food, shelter, seats

DESIGN BRIEF:- a web structure for plants to grow into to emphasise the power and

beauty of plant growth

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SITE ANALYSIS

CERES

COLLINGWOOD CHILDREN’S FARM

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- power of plant growth, such as climb-ing a post, breaking concrete structure

INSPIRATIONS

- existing planting at site, a variety of planting methods suitable to different types of plants

DESIGN CONCEPT:- a web structure for plants to grow into to emphasise the pow-er and beauty of plant growth- provide shelter for people- a playful space for children, even adult to get in and enjoy

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DESIGN PROPOSAL

People can get into the structure and be really close with plants, to see and experience the beauty of plant growth, which the Children’s Farm emphasised.

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Shelter are provided by the structure, and interesting shad-ows may be created under sunlight.

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DESIGN PROPOSALThe design proposal is a network structure that allows plants to grow into its form, as well as create shelter for the people at the Collingwood Children’s Farm. It is to be situated at the open area of the Farm Cafe. Its function is providing space for plant growth within a human environment, potentially for the cafe staff to grow edible plants for their menu, and pro-vide shelter and entertainment for visitors.

TO INTERACTTO SEETO TOUCHSHELTERPLANT GROWTHNETWORK

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B.7LEARNING OBJECTIVES &

OUTCOMES

90

Objective 1The brief of my design proposal: a structure suitable for plant growth, has provided direction and limitation to my decision when using parametric tool, Grasshopper, for form finding in the iter-ations of Case Study 1 & 2. I was manily focusing on creating web-like, porous, or expandable form that will be useful inspirations to my design proposal.

Objective 2The techniques I learned from the tutorial videos for Grasshopper have increased my ability to produce more interesting forms using parametric tools in com-plex/simple logic. For B.2, B.3, & B.4, I was able to understand the logic of the scripts and alter them accordingly.

Objective 5The open-ended brief of studio Air al-lowed me to draft my brief according to my own interest and research. B.1 Research Field provided the foundation of my design brief, and through out the iterations and reverse-engineering, I was able to narrow down the outcomes I in-tended to achieve.

Objective 6After understanding the tools and appli-cation of parametric design, I was able to analyse the concepts, techniques, and design of contemporary architectural projects. This enables the critical analy-sis in B.1 Research Field and selection of a project for B.3 Case Study 2.

B.1 B.3 B.2

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Objective 3I learned about the knowledge of using Rhino, Grasshopper, and various 3D me-dia, such as the laser cutter, card cutter, and 3D printer, through the exercise of iterations, reverse-engineering, and pro-totyping. This skills widen the possible design solutions I can use for my project.

Objective 4In my understanding, the name of this studio, AIR, encompass meanings of flu-id form, transformable structure, and at-mosphere of surroundings. The paramet-ric tool, Grasshopper, has enabled me to achieve these qualities in form-finding, as the logic of the script can be easily changed to suit various requirements and limitations of a brief.

Objective 7I have developed foundational knowl-edge about computational geometry, data structures and types of program-ming through the process of iterations and reverse-engineering. I needed to re-search for solution when I faced trouble with the programming. Websites, such as food4rhino and Grasshopper3d, are useful to find plug-in and solutions in parametric programming.

Objective 8Now that I have learned the advantages, disadvantages and area of application of parametric programming, I have im-proved my capability to achieve certain desired forms through parametric pro-gramming. This capability was what makes my B.2, B.3, B.4, and B.5 possi-ble.

B.3 B.5 B.4

92

93

B.8ALGORITHMIC SKETCHES

94

GEODESIC ON SPHERE

95

VORONOI LINES FROM 3D OBJECT

96

FRACTAL TECTRAHEDRA

97

98

EVALUATING FIELDS

99

GRAPHING SECTION PROFILES

100

GRAPHING SECTION PROFILES BAKE

101