chen hongbang 763934

A I RARCHITECTURE DESIGN

STUDIO

2015SEMESTER 2

HONGBANGCHEN

TUTOR:FINNIAN

WARNOCK

2

Fig. 1. Render of HYBIOS_HYBRID BIOSTRCUTURES de-signed by RIYAD JOUCKA

Joucka, R. 2012. Hybio-hybrid Biostrcture Project, London.

Fig. Cover. TECTONIC ARCHITECTURAL STUDIO

3

CONTENTSINTRODUCTION

PART A: CONCEPTUALIZATION

PART B: CRITERIA DESIGN

PART C: DETAILED DESIGN

A.1 DESIGN FUTURINGA.2 DESIGN COMPUTATIONA.3 COMPOSITION & GENERATIONA.4 CONCLUSIONA.5 LEARNING OUTCOMESA.6 APPENDIX

B.1 RESEARCH FIELDB.2 CASE STUDY 1.0B.3 CASE STUDY 2.0B.4 TECHNIQUE: DEVELOPMENTB.5 TECHNIQUE: PROTOTYPEB.6 TECHNIQUE: PROPOSALB.7 LEARNING OUTCOMESB.8 APPENDIX

C.1 DESIGN CONCEPTC.2 TECTONIC ELEMENTSC.3 FINAL DETAIL MODELC.4 LEARNING OUTCOME

4

81216202224

3032384246486062

688690

104

INTRODUCTION

My name is Hongbnag Chen (or Martin). Born in a small city

where locate in southeast of China. When I was a child, I

lived with my grandfather who is profession in carpentry, so

I have got chance to play around with many toys that made

from timber. However, the most of time, I’d rather making

my own little timber swards and bows, I guess that is when I

lit up a little spark for my desire of designing.

Long story short, when I was 14, the beauty of all those

well-designed architectures on the internet have drawn my

attention. Suddenly, architecture seems to me as a whole new

mysterious world that I have not met before. From then on,

everything about architecture interests me, and I think maybe

I can learn something about it in the university. After I study

more about architecture, I actually fall in love with it, not

only because of its aesthetic, but also various spatial experi-

ences it can bring to occupants and public.

To me, the first experience that I engaged with digital model-

ling was in Graphic Communication I took in first year. Us-

ing AutoCad for 2D drawing and sketchup for 3D modelling,

and retouch with photoshop, were my favourite working pat-

tern in the past two years. Beside this, Rhino is not strange to

me. I learnt Rhino in my second year Method class, but

4

I N T R O D U C T I O N

Fig. 2. Self-portraitC.H.B. 2015. Profile (Perth).

5INTRODUCTION

I didn’t quite comfortable to work with it. Yet I still have a

great interest in making grasshopper as a new modeling tool

for me. Because I think design will somehow be influenced

by the software environment that we work on. So it is always

best to experiment as much possibility as one can.

Nowadays, I think the digital design has undoubtedly opened

up a new era for architectural industrial. Especially, the

Building Information Modeling has already shown its poten-

tial and power in many built projects. Beside this, what dig-

ital design has brought to us is allowing various disciplines

have opportunity to collaborate. And I believe this is what

truly encourage creativity and edge-cutting breakthrough

take place.

Fig. 3. Render of reading room project in Rhino and Photoshop

C.H.B. 2014. Design Method submission

66

Fig. 4. M2 Scenic Drive concept representationMAS CAAD. 2012. Perspective drawing of Panoramic alpine urbanism.

P A R T A

C O N C E P T U A L I S AT I O N

7

A . 1 D E S I G N F U T U R I N G

DESIGN FUTURING8

As the development of civilization, the lengthen and quality

of human life are continually extended, on the other hand,

the damage to natural environment is also constantly ampli-

fied. What’s more, the damage to the natural environment has

shown no sign of stop or even slow down. It is all because of

our disregard to the limited natural resources, exaggerated by

technology development and vast population 1. As what Tony

Fry in his book Design Futuring 2:

“We are now at a point that hu-

man will have no future.” Tony Fry

And this situation can only be conquered by design, which

deliberately carried out towards a sustainable future. To more

specific, design that towards future is required to be confront-

ed and solved two major tasks 3. Firstly, it needs to slowing

the rate of defuturing. Secondly, It should be able to redirect

towards to more sustainable modes 4. In addition to this, Tony

Fry has also made a suggestion that design intelligence is an

essential element for creating design remade sustainability.

The figure 5 it is a bird’s eye view of Munich Olympic Park

which designed by Frei Otto in city of Munich. This is built in

1972, it has featured by Frei Otto’s famous lightweight net

structure, which has been recognized an adaptable, changeable

and highly structural efficiency5.

He has taken inspiration from nature and trying to find a way

to make an enclose space with minimal amount of material and

energy. He has also been considered as an researcher or inven-

tor, one of his famous experiment is soap bubble experiment,

which has been conducted in several ways, and the aim is to

examine the optimized surface and structural system (Fig.6).

As the surface tension of the soap solution the surface auto-

matically formed by bubble tends to minimize its surface area

for the given boundary, hence forming theoretically a minimal

surface 6(Fig.7).

I think Frei Otto has practiced and advanced the concept of

sustainability, along side with his study on physical and bio-

logical aspects. What’s more, the influence of his architecture

is not only about the form he created, but also the approaches

to architecture that have been opened by his research and dis-

coveries.

Beside structure, the material is also another important ap-

proach towards a truly sustainable architecture. This project

Hygroskin is designed by Achim Menges. (Fig.8) It is a mete-

orosensitive pavilion that made from plywood sheet, by utilized

the material’s elastic property to archive environmental

1. Tony Fry, Design Futuring (Oxford: Berg, 2009), pp 1-16

2. Tony Fry, Design Futuring (Oxford: Berg, 2009). pp 1-16.



5. Pritzkerprize.com, ‘Biography: Frei Otto | The Pritzker Architecture Prize’, 2015

<http://www.pritzkerprize.com/2015/biography> [accessed 9 August 2015].

6. Eberhard Möller, ‘Frei Otto - Leichte Dächer Für Eine Moderne Welt’, Stahlbau, 84 (2015),

299-304 <http://dx.doi.org/10.1002/stab.201510265>.

9DESIGN FUTURING

Fig. 5. Bird’s eye view of Munich Olympic ParkFrei Otto. 1972. Munich Olympic Park. Built project.

Fig. 6. Soap bubble experiment for the form-finding of minimal surfaces

Frei otto. 1987. Image record of soap experiment.

Fig. 7. Soap experiment with three rigid ringFrei otto. 1987. Documentation of soap experi-

ment.

DESIGN FUTURING10

responsiveness that according to humidity level around it1. The

idea here is fully use the responsive capacity of material itself,

instead of applying on elaborate technical equipment. Achim

Menge have drawn his idea from the pine cone environmen-

tal behavior, which closes its leafs in high moisture state, and

when the environment gets dry, it opens its leafs to drop seeds2

(Fig.9). Therefore, Achim Menge’s team tried to composed

multiple layers of timbers and experiment them with computer-

ized environment to recreate this behavior (Fig.10).

Thus, when this material applied to architecture, it allows struc-

tures open during the sunny days and close during the high hu-

midity raining days. In the end, what have been achieved here

is a very simple, cheap and environmental responsive plywood

pieces.

I think this is also a great example that has shown not only new

possibility in sustainable design, but also the potential of com-

putational design that helps architects marching towards more

sustainable design.

1. Achim Menges, ‘Material Computation: Higher Integration In Morphogenetic Design’, Archi-tectural Design, 82 (2012), 14-21 <http://dx.doi.org/10.1002/ad.1374>.

2. Achim Menges, ‘Material Computation: Higher Integration In Morphogenetic Design’, Archi-tectural Design, 82 (2012), 14-21 <http://dx.doi.org/10.1002/ad.1374>.

11DESIGN FUTURING

Fig. 8. Hygroskin pavilion placed within natural environmentMenge, A. 2013. Photography of HygroSkin-Meteorosensitive Pavilion

Fig. 9. Pine cone different forms in different humidity state

Menge, A. 2013. Photography of transformation of pine cone

Fig. 10. Computer controlled transformation of humidity responsively wood

Menge, A. 2013. Photography of programing wood in differ-ent humidity level

12

(NURBS) modeling system and integrate with parametric

design system, in addition to this6, there are softwares (within

parametric design) are doing digital simulate structural, envi-

ronmental condition and energy calculation7. After all, the ben-

efits of using computers in the architecture design process are

numerous, because it not only has ability to scripting informa-

tions for robots to making complex models, but also providing

opportunities to program materials that we can apply on build-

ings later on.

With the rising of digital architecture, there are some voices

that expressed their concern of whether design under digital en-

vironment limit ones creativity.

“CAD might conspire against creative though by encouraging

‘fake’ creativity 8.” Bryan Lawson

But it can be argued that creativity can actually be amplified

through parametric design, which using computer to write

algorithm that programs a robot to do very complex modeling

work that almost impossible to do by hands. Here is an examp-

DESIGN COMPUTATION

Currently, there are two different trends under the digital ar-

chitecture wave, which are called computerisation and com-

putation. On the one hand, computerisation is defined as a

digital way to input, manipulate and storage the per-conceptu-

alised data, which has been widely used today as a basic way

to design within digital environment, such as Computer-Aided

Design(CAD) or Computer-Aided Manufacture (CAM) in ar-

chitecture1. On the other hand, computation, or parametric de-

sign, is referred to designer create and modulate interconnected

elements to generate design variation, shift the design process

to “formation process precedes form”2. At present, the use of

computerisation has been adopted widely across the architec-

tural industry, but the computation is still at the stage that has

been applied relatively limited3.

What worthwhile to notice is the important role of computation

in digital design realm. Nowadays, digital architecture has been

increasingly shaped by scripting and collaborating with mate-

rial fabrication4. It can be seen from the digital modeller and

research-based design team are constantly involved in many pi-

oneering architecture practice, moreover, architectural schools

are training their students to be designed computation5. To be

specific, the most representative example of computation design

software is made up by Non-uniform Rational Basis Spline

A . 2 D E S I G N C O M P U TAT I O N

1. Branko Kolarevic, Architecture In The Digital Age (New York, NY: Spon Press, 2003).pp.3-62.

2. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, pp. 2014, 1-10.



5. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 2014, pp. 1-10.

6. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture,2014, pp. 1-10.

7. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture,2014, pp. 1-10.

8. Bryan Lawson. ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons

from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest

Edmonds and Linda Candy (New York: ACM Press) 1999, pp. 174-179

13DESIGN COMPUTATION

Fig. 11. Final assembled wall in gallery spaceManto, A. 2015. Photography of digital rustication foam wall

Fig. 12. Illustration of hotknife toolmarks on the surface of foam blocksManto, A. 2015. Drawing of digital rustication foam wall process

Fig. 13. IExploded axon of wall assemblyManto, A. 2015. Drawing of digital rustication foam wall process

14 DESIGN COMPUTATION

le that demonstrated the digital rustication was archived by

parametric design (Fig.11). This project is part of research that

translate the ancient method of making into contemporary pro-

cess, it displayed the making process of a freestanding wall

through the application of a multi-axis robotic arm connect-

ed with a hot-knife in service of cutting expanded polystyrene

foam into mass-customized and stackable blocks1. This project

was carried out by Andrew Manto and collaborated with his

team and MIT international designer center2. At the begin-

ning, Toolmarks are modified the surface of the foam using

a U-shaped hot knife3(Fig.12). The roughness of the finish is

depending on the distance between passes, and as the various

toolpath travel results in a scalloping effect4. This method can

be seen as a contemporary replication of traditional stone carv-

ing. This wall is made up by about 140 unique bricks, which

are cut from 4 distinct block blank types, and each shape is pre-

cisely controlled to be able to assemble perfectly5. Addition to

this, the wall is a hallow cavity, local features and overall global

form determined the specific depth of block6 (Fig.13). The con-

tiguous finished surface is archived by observing the minimum

overlapping distances between courses7.

I think this project has well proved that the digital design has

potential to expand our creativity by writing scripts for robots

that eventually help us to archived what human cannot.

Beside this, another great advantage that computation has

brought is its ability to programing and making materials. Re-

cently, an idea of 4-D printing is mentioned by Skylar Tibbits

with who is currently a Research Scientist in MIT’s Depart-

ment of Architecture8(Fig.14). This technology enable objects

to be created with four-dimension characteristics, which means

theirs structure will change over time, depending on the hu-

midity, heat, light or air pressure level around them9. He was

inspired by Achim Menge’s environmental responsive timber

projects, and trying do more than relying on material’s inher-

ent property. It is archived by using multi-material printer to

generate objects with custom properties10. By controlling the

composition of wood, with 3-D printer it is possible to produce

an piece of artificial wood that can be predicted its material be-

have within different natural conditions11(Fig.15). This process

can be seen as programing materials, it has even developed pro-

graming on other materials, like carbon fiber. The system will

be able to control carbon fiber to fold, curl, twist and respond to

various activation of energies12(Fig.16) .

Overall, the computation has shown its great potential from de-

sign to fabrication, from buildings to materials, which eventu-

ally become a powerful tool to help designer pushing architec-

tural industry towards a more sustainable future.

1. Digital Rustication and Andrew Manto, ‘Digital Rustication’, Monograph, 2014







8. Selfassemblylab.net, ‘Self-Assembly Lab’, 2015



11 .Selfassemblylab.net, ‘Self-Assembly Lab’, 2015


15DESIGN COMPUTATION

Fig. 14. Samples of various programmable materials (wood, hybrid plastic, fabric and carbon fiber)Tibbits, S. 2013. Photography of programmable material samples

Fig. 16. Carbon fiber is transforming depending on the heat applied to it

Tibbits, S. 2013. Photography of carbon fiber transformation

Fig. 15. Custom design wood grain using wood fila-ment

Tibbits, S. 2013. Photography of custom wood grain sam-ple

16

the Emergent Technologies and Design programme of the Ar-

chitectural Association in 2006, and interesting in the applica-

tion of algorithms in architecture4.(Fig.17)

This project is focusing on using developmental process of

plants as the execution of highly parameterised ‘programs’ or

developmental algorithms (known as L-system) to in form the

housing distribution5.(Fig.19) One of the main reason for using

this idea is, the system has ability to stimulate the natural rules

of growing plants, to be specific, the system will inform growth

in the direction of light, which is known as phototropism6.

Therefore, the housing distribution is generated by L-system’s

formal grammars which will incorporate to environmental

stimuli and structural performance7.

Addition to this, the Generative Components parametric soft-

ware is an important design tool for organising internal space

within each housing unit, and geometric constraints of struc-

tural stability, criteria for maximising sunlight penetration and

space area requirements were also incorporated8. Furthermore,

the light cores varying in width are formed around the areas

of sunlight densities to allow for various lighting conditions9.

An increase in the width towards the top maximises sunlight

penetration10.(Fig.18)

Through out the history of architecture, it can be seen that com-

position is a dominated architectural design approach. Com-

position has contained many forms, symmetrical composition

is one of the mostly applied design technique in architecture,

because of it has represented a sense of power, balance and or-

der. Although composition is a dominated mode of design ap-

proach in architecture till modern days, yet it only live in two

dimensional world which is not ideal for architects to design

in a three dimensional world. On the other hand, generation

start to become an alternative design approach of composition.

The concept of generative design is forming generation through

a predefined set of rules1. The contemporary architecture can

adopt this method in numerous ways, such as generating ex-

tremely complex forms or patterns by applying rules or data,

imitating natural evolutionary system and archiving organic de-

sign solution2. After all, although generative design approach

is still limited in architectural practice, yet generative system

opens up another dimension for designer to design things that

beyond their capability3.

It is obvious that generative design has its advantage to let de-

signer using custom primitive algorithms to archive complex

geometry that inherent environmental responsive abilities. Here

is a conceptual project done by Maria Bessa who graduated in

COMPOSITION & GENERATION

A.3 COMPOSITION & GENERATION

1. Jon McCormack, Alan Dorin and Troy Innocent, Generative Design: A Paradigm For Design Research,

1st edn (Melbourne: Design Research Society, 2004), pp. 1-8





4. Maria Bessa, ‘Algorithmic Design’, Architecture Design, Volume 79 (2009), 120–123







17COMPOSITION & GENERATION

Fig. 17. Render of Maria Bessa’s MArch Dissertation projectMaria Bessa. 2008. Phototropic Response informing housing distribution.

Fig. 18. Render of light coresMaria Bessa. 2008. Phototropic Response informing housing distribution.

Fig. 19. Diagrams of generative idea for conditions of growthMaria Bessa. 2008. Phototropic Response informing housing distribution.

18 COMPOSITION & GENERATION

curvilinear glazings, spaceframe and placeholder panels, and

structure is designed for strong wind loads during typhoons6.

However, this project has failed in both proving positive mi-

croclimate and overly expensive construction budget. Firstly,

as it located in subtropical area, the humidity level is relative

high during the summer, which become difficult to apply pos-

itive ventilation strategy in this fully enveloped canopy, thus,

the greenhouse effect will easy occur7. Secondly, as the entire

canopy is continuous from front to rear, the size of its structure

will be immense, therefore, it is not only asking for hugely ex-

pensive budget to build and maintain, but also extremely diffi-

cult to fabricate8.

To conclude, designer can setup primitive principles or rules to

allow generation take place and forming extremely complicat-

ed geometry which will be unimaginable for traditional design

method. However, it is its unpredictable complexity limit gener-

ative design become new predominate design approach. Lastly,

generative design can be adopt through out the design industry

or even in art, perhaps its best use is in architecture, where it

enable architects to work intuitive and non-deterministic way.

Thus, innovative designs can be produce which archive well

performance in both structural and environmental aspects.

As a generative approach towards design, it produced a range of

various-sized units that enable the optimal packing of units and

ensured a range of occupation types1. This design emerged from

what seem to be conflicting constraints, which can bee seen as

the composition algorithm is able to resolve multiple parame-

ters, and generate appropriate variants for differing structural,

environmental and social condition2.

As every coin has two sides, generative design is also limited by

the complex form which it has produced. Because the process

of generation is purely computational. Thus, designer couldn’t

predict its result which sometimes will end up with impossible

to fabricate and inhuman spatial environment3.

This project is a design proposal of the West Kowloon Cul-

ture District Masterplan in Hong Kong. It is designed by For-

ster + Partners, the great canopy is inspired by the calligraphy4.

(Fig.21) It is featured by the flowing form, accommodating

most facilities within the inner massive public space. The idea

of this design is creating an environmental modulator against

constantly changing temperature and unpleasant weather con-

ditions, which in the end become a positive microclimate5. In

this project, the top and bottom surfaces were generated in a

custom computer program, which result in a series of arrayed



3. Jon McCormack and Alan Dorin, Art, Emergence, And The Computational Sublime

4. Winning Concept Plans For West Kowloon Reclamation Announced, 1st edn (Foster and Partners, 2002)

5. Winning Concept Plans For West Kowloon Reclamation Announced, 1st edn (Foster and Partners, 2002)

6. brady peters, ‘The Great Canopy’, 2015



19COMPOSITION & GENERATION

Fig. 20. Render of the great canopy and facade patternBrady Peters / Foster + Partners. Image of the great canopy.

Fig. 21. Diagram and rendering of canopy structureBrady Peters / Foster + Partners. Image of the great canopy.

20 CONCLUSION

A . 4 C O N C L U S I O N

community inside people who visit or work in the park. There-

fore, the relationship between buildings and people is qui-

et weak. Hence, I think the “living architecture” will help to

strengthen this relationship between physical objects with hu-

mans.

To me, the idea of “living architecture” is about not only has liv-

ing appearance, but also establishing the emotional connection

with people. Firstly, generative design is an important design

approach for generating design with vivid or naturally looking

image. Secondly, human emotional connection has consisted

numerous elements, I think the most important part is memory,

if a physical object can store and share memories with people,

in certain stage, it has emotional connection with people and

the memories it has contained defines its own “soul”. Overall,

my concept is designing an “living intervention” that will be

able to store and share memories in a living-looking form.

In the end, this design will to be placed around bike path. It

will strengthen the relationship between site and visitors or

occupants, which echoes with the idea of community in this

environmental park.

As increasingly concerned of the environmental conditions that

we live in, the only thing we can do is using design to change

this situation and become a more sustainable world. Therefore,

something must be changed, in terms of design and construc-

tion, computational design has offered not only higher flexi-

bility, complexity and accuracy, but also expending designers’

capability and imaginations. Because it makes architect shift

from traditional form-making to form-finding by using algo-

rithmically generative design approach. Furthermore, with pre-

cisely digital simulation, architects will be able to find the most

efficient structural and environmental system that eventually

come out with sustainable designs.

In my opinion, many modern architectures in a certain exis-

tence, are relatively “isolated” from people, they more focusing

on the functional and aesthetic aspects, which make they more

or less become daily physical objects. Therefore, I want to pro-

posing an idea of “living architecture” which has its own soul

and make emotional connection with people.

In the site where located in CERES Community Environment

Park, the problem is the same, buildings and housing are fully

considered as functional physical objects with no soul and inner

connection with people. However, there is a strong sense of

Fig. 22 (right). Rendering of MINIMAL STRUCTURAL SYSTEM

21CONCLUSION

22 LEARNING OUTCOMES

A . 5 L E A R N I N G O U T C O M E S

After learning the computational design for three weeks, it has

not only made rethink architecture in a different dimension, but

also enlighten me where contemporary architecture is heading

to. Learning about the theory and practice of architectural com-

puting has been a existing journey for me, as I have had always

wanted to try and learn something new about architecture. And

through the readings and researches I have done every week,

my knowledge of design and construction methods has been

refreshed. Along side with experience of experimenting and

study Grasshopper, I understood that it not only a software pro-

duces organic forms and complex geometric facade, but also

a tool that gives more accurate control in the design and con-

struction process.

In the beginning of this semester, I didn’t know the term com-

putation is so different from computerisation, and the face of

algorithmic design is a mystery to me as well. What’s more, be-

fore I started to learn Grasshopper, I thought it is a complicated

software that require the understanding of coding and scripting.

Yet, I have changed my mind as soon as I started to engage with

it, because after understand the logic behind it, things become

more understandable. After all, learning about computational

design is very enjoyable.

I think I will redesign my past projects by using computational

design method to produce more efficient and innovative out-

come. This time, I would like experiment projects with genera-

tive design approach, which letting computer generate forms by

following the rules I have set. Because I think there is special

consciousness inherent in the form-finding process, and the re-

sult of emergence will go beyond my expectation. I think this

kind of uncertainty is what brings life to design.

Fig. 23 (right). Generative drawings

23LEARNING OUTCOMES

24 APPENDIX

A . 6 A P P E N D I X

MODELING FACADE RESPONSES TO SUN PATH SIMULATION SETS

1

7

4

2

8

5

3

9

6

2525APPENDIX

ELEVATION PLAN LINEWORK

PERSPECTIVE VIEW

26 REFERENCE

T E X T R E F E R E N C E

Achim Menges, ‘Material Computation: Higher Integration In Morphogenetic Design’, Architectural Design, 82 (2012), 14-21 <http://dx.doi.

org/10.1002/ad.1374>pp. 52-59

Brady Peters, ‘The Great Canopy’, 2015 <http://www.bradypeters.com/the-great-canopy.html> [accessed 11 August 2015].

Bryan Lawson. ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of

the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press) 1999, pp. 174-179.

Digital Rustication and Andrew Manto, ‘Digital Rustication’, Monograph, 2014 <http://monograph.io/manto/digital-rustication> [accessed

7 August 2015].

Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 2014, pp. 1-10.

Selfassemblylab.net, ‘Self-Assembly Lab’, 2015 <http://www.selfassemblylab.net/ProgrammableMaterials.php> [accessed 7 August 2015].

Maria Bessa, ‘Algorithmic Design’, Architecture Design, Volume 79 (2009), pp. 120–123 <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.

au/doi/10.1002/ad.831/epdf> [accessed 10 August 2015].

Tony Fry, Design Futuring (Oxford: Berg, 2009), pp. 1-16

Jon McCormack, Alan Dorin and Troy Innocent, Generative Design: A Paradigm For Design Research, 1st edn (Melbourne: Design Research

Society, 2004), pp. 1-8 <http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.146.3398&rep=rep1&type=pdf> [accessed 8 August 2015].

Jon McCormack and Alan Dorin, Art, Emergence, And The Computational Sublime, 1st edn (Melbourne: Monash University, 2001) <http://

citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.16.6640&rep=rep1&type=pdf> [accessed 8 August 2015].

Pritzkerprize.com, ‘Biography: Frei Otto | The Pritzker Architecture Prize’, 2015 <http://www.pritzkerprize.com/2015/biography> [accessed

1 August 2015]

Winning Concept Plans For West Kowloon Reclamation Announced, 1st edn (Foster and Partners, 2002) < http://www.fosterandpartners.

com/ar/news/archive/2002/02/winning-concept-plans-for-west-kowloon-reclamation-announced/?altTemplate=NewsItemPDF> [accessed 11

August 2015].

27REFERENCE

I M A G E R E F E R E N C E

Fig. Cover: TECTONIC ARCHITECTURAL STUDIO, 2015 <https://tectonicstudio.wordpress.com> [accessed 11 August 2015].

Fig.1: Riyad Joucka, Hybrid Biostructures, 2015 <http://archinect.com/riyad.joucka/status> [accessed 1 August 2015].

Fig.2: Aurthur’s own.

Fig.3: Aurthur’s own.

Fig.4: M2 Scenic Drive, 2015 <http://www.mas.caad.arch.ethz.ch/blog/panoramic-alpine-urbanism/> [accessed 2 August 2015].Fig.6: Io-anna Symeonidou, Soap Bubbles And Minimal Surfaces, 2015 <https://iam.tugraz.at/workshop14s/2014/03/25/soap-bubbles-and-minimal-sur-faces/> [accessed 1 August 2015].

Fig.5: Munich Olympic Park, 2015 <http://www.munichphotos.com/maxvorstadt/munich-olympic-park>[accessed 1 August 2015]

Fig.6: Ioanna Symeonidou, Soap Bubbles And Minimal Surfaces, 2015 <https://iam.tugraz.at/workshop14s/2014/03/25/soap-bub-bles-and-minimal-surfaces/> [accessed 1 August 2015].

Fig.7: Ioanna Symeonidou, Soap Bubbles And Minimal Surfaces, 2015 <https://iam.tugraz.at/workshop14s/2014/03/25/soap-bub-bles-and-minimal-surfaces/> [accessed 1 August 2015].

Fig.8: Hygroskin-Meteorosensitive Pavilion, 2013 <http://www.archdaily.com/424911/hygroskin-meteorosensitive-pavilion-achim-meng-es-architect-in-collaboration-with-oliver-david-krieg-and-steffen-reichert> [accessed 3 August 2015].

Fig.9: Hygroskin Sculpture Installation Mimics Real Skin, 2013 <http://thecreatorsproject.vice.com/blog/hygroskin-scultpure-installa-tion-mimics-real-skin> [accessed 4 August 2015].

Fig.10: Hygroskin Sculpture Installation Mimics Real Skin, 2013 <http://thecreatorsproject.vice.com/blog/hygroskin-scultpure-installa-tion-mimics-real-skin> [accessed 4 August 2015].

Fig.11: Andrew Manto, Final Assembled Wall In Gallery Space <http://monograph.io/manto/digital-rustication> [accessed 8 August 2015].

Fig.12: Andrew Manto, Illustration Of Hotknife Toolmarks On The Surface Of Foam Blocks <http://monograph.io/manto/digital-rustica-tion> [accessed 8 August 2015].

Fig.13: Andrew Manto, Illustration Of Hotknife Toolmarks Exploded axon of wall assembly <http://monograph.io/manto/digital-rustica-tion> [accessed 8 August 2015].

Fig.14: GERARD WARD, Samples Of Various Programmable Materials , 2014 <http://www.wired.co.uk/news/archive/2014-10/14/sky-lar-tibbits-exclusive-interview> [accessed 10 August 2015].

Fig.15: GERARD WARD, Custom design wood grain using wood filament, 2014 <http://www.wired.co.uk/news/archive/2014-10/14/sky-lar-tibbits-exclusive-interview> [accessed 10 August 2015].

Fig.16: GERARD WARD, Carbon fiber is transforming depending on the heat applied to it, 2014 <http://www.wired.co.uk/news/ar-chive/2014-10/14/skylar-tibbits-exclusive-interview> [accessed 10 August 2015].

Fig.17: Maria Bessa, <http://bessa-s.blogspot.com.au/p/blog-page_2797.html> [accessed 14 August 2015].



Fig.20: Brady Peters, The West Kowloon Masterplan, Second Stage Competition <http://www.bradypeters.com/the-great-canopy.html> [ac-cessed 12 August 2015].

Fig.21: Brady Peters, The West Kowloon Masterplan, Second Stage Competition <http://www.bradypeters.com/the-great-canopy.html> [ac-cessed 12 August 2015].

Fig.22: MINIMAL STRUCTURAL SYSTEM <https://wewanttolearn.wordpress.com/tag/threads/> [accessed 13 August 2015].

Fig.23: Generative Drawing <http://butdoesitfloat.com/filter/Joel-Garreau> [accessed 13 August 2015].

28

Fig. 24 Random Curvature of The Mind

29

P A R T B

C R I T E R I A D E S I G N

30 RESEARCH FIELD

1. The Biomimicry Institution. What is biomimicry? Ask nature. (2008-2011) http://biomimicry.org/what-is-biomimicry/#.VgTPQbREO-02. Maibritt Pedersen Zari. “Biometic approaches to architectural design for increasing sustainability”, School of Architecture, Victoria University http://www.cmnzl.co.nz/assets/sm/2256/61/033-PEDERSENZARI.pdf3. As above.4. As above.

result in producing similar appearance and system as what na-

ture does. The other one is fractal, it is a geometry that repli-

cating the idea of self-similarity within nature, which can be

found in the pattern of fish scale and petal. This principle has

also been adopted in computational design to generate facade

patterns and structures.

Beside this, nature has also taught us building performance

solutions such as constructibility, material utility and thermal

capacity. There is no doubt that biomimicry has brought an-

other perspective for us to rethink design in a more substantial

way.

Biomimcry is chosen as my research field. It is a approach that

seeking sustainable solutions to human challenges by emulat-

ing nature’s time-tested patterns and strategies 1. There are ba-

sically two ways in biomimetic design, first is defining a human

need or design problem and looking to the ways other organ-

isms solve this. Second, identifying a particular characteristic,

behavior or function in an ecosystem and translating that into

human designs 2. In addition to this, within these two approach-

es there are three levels of biomimcry which consisting imita-

tion of organism’s form, process and function 3.

In the organism level, it defined as specific organism (such as a

plant or animal) which involving mimicking part or the whole

of organism. Another level is mimicking behaviour, it is about

the translation of the certain way an organism behaves. In the

third level is the mimicking of entire ecosystem and the basic

principles that enable them to successfully function 4.

Furthermore, by incorporating computation and genetic design,

the idea of biomimicry has made the way of designing towards

dynamic generations which producing endless and unpredict-

able variations within parametric environment . There are

several popular systems are used, one is adopting the existed

natural rules of trees’ growth into coding representation, it has

B . 1 R E S E A R C H F I E L D

Fig. 25 Photograph of Nature Macro

31RESEARCH FIELD

32

1. Aranda Lasch. The Morning Line.(2013). http://arandalasch.com/works/the-morning-line/2. As above.3. Antonelli, Peter L. 1992. ‘The Algorithmic Beauty Of Plants (Przemyslaw Prusinkiewicz And Aristid Lindenmayer)’. SIAM Rev. 34 (1): 142-143. doi:10.1137/1034030.

CASE STUDY 1.0

From the diagram of projects development, it can be seen that

this project was produced from a truncated tetrahedron that us-

ing fractal to scaled the tetrahedron by a third in three dimen-

sions. In my experimentation of this project, I will exploring ap-

plication of fractal in different geometries with different scales

of fractal. Then I will try to testing different compositions of

three dimensional patterns.

The first case study I chose is the Morning Line by Aranda

Lasch which was completed in 2004. This project is the re-

sult of collaborating with the artist Matthew Ritchie and Daniel

Bosia of Arup’s AGU 1. They aimed to create an image of a

ruin from future, this project represented as a drawing in space,

where the lines are connected to create an intertwining network

with no certain terminal points 2. In this way, only the move-

ment in space will be emphasised.

In this project, the major design element is fractal, which is one

of biomimetic process. The fractal is considered as a geometry

that inherent in plant structures 3. In the application of building

blocks, one way to generating fractals is dividing the build-

ing blocks into their edges with certain points, which mostly

are connecting points of lines. It can produce many constantly

growing three dimensional patterns in any direction, therefore,

the idea of fractal suits for design purpose.

B . 2 C A S E S T U D Y 1 . 0

Fig. 26 (left) Diagram of fractal composition

33CASE STUDY 1.0

Fig. 27 Photography of the Morning Line on site

Fig. 28 Photography of model Fig. 29 Elevation drawing

34

Tetrahedron

Tetrahedron

Pyramid

Cube

Truncated

Tetrahedron

Tetrahedron

Pattern

fractal scale: 0.2

fractal scale: 0.2

fractal scale: 0.2

fractal scale: 0.2

fractal scale: 0.2

parameter: 0.1

fractal scale: 0.3

fractal scale: 0.3

fractal scale: 0.3

fractal scale: 0.3

parameter: 0.3

fractal scale: 0.4

fractal scale: 0.5

fractal scale: 0.5

fractal scale: 0.5

parameter: 0.5

fractal scale: 0.5

fractal scale: 0.7

fractal scale: 0.7

fractal scale: 0.7

parameter: 0.7

fractal scale: 0.6

fractal scale: 0.9

fractal scale: 0.9

fractal scale: 0.9

parameter: 0.9

times of fractal: 3 times of fractal: 3 times of fractal: 4 times of fractal: 5 times of fractal: 6

fractal scale: 0.3 fractal scale: 0.5 fractal scale: 0.7 fractal scale: 0.9

35

Tetrahedron

Tetrahedron

Pyramid

Cube

Truncated

Tetrahedron

Pentagonal

Pyramid

Pattern

fractal scale: 0.2

fractal scale: 0.2

fractal scale: 0.2

fractal scale: 0.2

fractal scale: 0.2

parameter: 0.1

fractal scale: 0.3

fractal scale: 0.3

fractal scale: 0.3

fractal scale: 0.3

parameter: 0.3

fractal scale: 0.4

fractal scale: 0.5

fractal scale: 0.5

fractal scale: 0.5

parameter: 0.5

fractal scale: 0.5

fractal scale: 0.7

fractal scale: 0.7

fractal scale: 0.7

parameter: 0.7

fractal scale: 0.6

fractal scale: 0.9

fractal scale: 0.9

fractal scale: 0.9

parameter: 0.9

times of fractal: 3 times of fractal: 3 times of fractal: 4 times of fractal: 5 times of fractal: 6

fractal scale: 0.3 fractal scale: 0.5 fractal scale: 0.7 fractal scale: 0.9

36 CASE STUDY 1.0

After all, my selection criteria will be :

1. A structural system that inhabited the qualities of nature.

2. A composition has various development possibilities.

3. A intractable system that combining modular segments.

These four iterations were chosen to respond selection criteria

in different ways:

Figure 30 & 32 were chosen because they both represent the na-

ture appearance of fractal composition. For figure 30, it further

developed from original geometry through increasing times of

fractal and fractal scale, result in a purer representation of frac-

tal geometry and also more aesthetically pleasing. On the other

hand, figure 32 has shown more potential to growth in various

directions.

Figure 31 was chosen because its composition has various de-

velopment possibilities. It allows to break different fractal seg-

ments and reconstruct in various forms

Figure 32 was chosen because it has suggested a potential in-

tractable system which forming a structure inherent both mod-

ular segments and unpredictable organic framework.

The selection criteria is determined by both project brief and

my design intention. In the brief, it aimed to creating an archi-

tecture intervention that will express, support, amplify or ques-

tion continuous relationships between technical cultural and

natural system. The goal of this project is creating more possi-

bility of future by introducing this architectural intervention in

site. Moreover, it is also asking for creating an innovative form

that contributes to the spatial experience or solutions to current

problems while connected with existing context.

My design intent is aiming to create an architectural interven-

tion that has form of plants (such as branches and vines) to echo

with the theme of planting in CERES Community Environment

Park, and also incorporating multiple modular sets that use for

storing daily objects (such as pieces of notes, photos or some

personal belongings) from occupants which represent some

memory moments, therefore, it not only interacting with occu-

pants but also strength the idea of community in the site.

This idea has been further developed by reading ‘Manufactur-

ing Material Effects‘ as it informing the importance of making

architectural experience through a designed effect.

37CASE STUDY 1.0

fractal scale: 0.5

fractal scale: 0.7

parameter: 0.7

times of fractal: 5

fractal scale: 0.5

Tetrahedron

Tetrahedron

Pentagonal Pyramid

Pattern

Pyramid

Fig. 30

Fig. 31

Fig. 32

Fig. 33

38

1. Busch, Benjamin. 2011. ‘Adaptive Structure: A Modular System For Generative Architecture’. http://www.academia.edu/8982412/Adaptive_Structure_A_Modular_System_for_Genrative_Architecture.2. As above.3. As above.4. As above.

This structure system can be generated by computational de-

sign. In this case, within the digital design process, the structure

is able to adapt various stimuli environment. In addition, the

idea of modular material system is able to making the outcome

not only digital geometry, but also providing the potential for

further fabrication and assembly at the architectural scale. Be-

side this, with incorporating DLA the modular system has of-

fered highly flexibility that can be massively produced as well

as reuse during the subsequent construction.

This project is called Adaptive Structure by Benjamin Bus-

ch. He proposed that to archive complex spatial phenomena,

it is necessary to take adaptive architectural design solutions

into account 1. Therefore, this project is aimed to investigating

self-organising system in order to generate, adaptive structures

consist with modular component that can be produced massive-

ly 2.

The idea of Diffusion-limited Aggregation (DLA) is funda-

mental concept of this project. DLA is referred to a model

from natural morphogensis that can generating biomorphic

aggregate structures 3. Basically, it is a self-organising process

of randomly moving elements connect to a constantly growing

cluster of aggregates 4. Thus, this process is capable of growing

infinitively and unpredictably.

CASE STUDY 2.0

B . 3 C A S E S T U D Y 2 . 0

Fig. 34 Diagram of DLA evolution Fig. 35 Render of adaptive structure

39CASE STUDY 2.0

Fig. 36 Render of adaptive structure

Fig. 37 Render of adaptive structure on site

40 CASE STUDY 2.0

To reverse engineering this project, it is important to know the

basic logic behind this project. As I stated previously, this proj-

ect is based on the concept of generating biomorphic aggregate

structures. By using modular system, this structure has became

highly adaptive and sustainable. Therefore, the logic behind

this is rather simple, it just adding a module to the other by

connecting to one of four pipes.

Although the logic is quite simple, but it still took me a while

to archive this outcome. I was started with a very complicated

way, however after several attempts, I have reached this solution

which has less grasshopper components but archive the same

result. To do this reverse engineering, I will firstly try to rep-

licate the basic logic of this project in 2-dimensional environ-

ment, then I will take the definitions into 3-dimensional to rep-

licate the whole project. (detail process is showed in next page)

After all, there are some differences between my result and

original project, firstly, I can’t figure out how to make the same

smooth module as the original module. Secondly, with my lim-

ited grasshopper modeling knowledge, I have trouble to making

it growing in multiple directions as what original project did.

I have tried jitter and random component to get different data

structure in each time of looping, , but it never work the way as

I wanted. Thirdly, I have failed to get my model to grow with-

in a certain space or path, but I will try to using attract point

technique to affect how each module choose to grow in my

later iterations. On the other hand, I did succeed to replicate

this project in the same logic and the outcome has very similar

looking to original project.

This is a very influential precedent project to study, because it

has very similar concept as mine which I have stated in the pre-

vious part. Moreover, this project has demonstrated the adaptiv-

ity and resilience of modular system, and also shown the quali-

ty of nature. After all, this project is very easy to assemble and

disassemble, which can be very convince for transporting and

build in full scale on site.

In order to develop this study further, I would like to test dif-

ferent modular system with different kinds of modules. Beside

this, I would also try to test different composition of 2 or 3

different modules, and to see which modular system is more

applicable.

Overall, this project has introduced me to the anemone plug-in

which is a very interesting and effective plug-in for archiving

complex model with repeating a certain set of definitions.

41CASE STUDY 2.0

a

b

c

a

b

c

DEFINING MODULEcreating an equilateral triangle :

[3 sides] > [polygon]

MODULE STRUCTUREdrawing lines from three points of intersetc-

tions toward to the central point :

> [divided curve] into 3 points (a,b,c) + [area] to get central point > [line]

DUPLICATING MODULEjoining thre lines together to form a starting geometry, copying original geometry along one of three vectors :

> [list items] to selecting line b & c >line c [end point] > [vector 2pt] > [construct plan] in

line c (using the same definition to get plan in line b) > [orient] orienting plan b to plan c

GROWTH IN 3-DIMENSIONALappling same logic in 3-imensional module and looping the

process to grow :

creating teltrahegon and forming lines from each intersec-tion towards central point = 3D module > [start loop] > same logic in previous step [list item] > [end point] > [vector 2pt] > [construct plan] > [orient] > [end loop]

TRANSFERING LINES TO TUBESusing previous outcome to forming tubes from each

line :

> [pipe] > [surface offset] to get thinkness > [pipe]+[cap] & [surface offset]+[cap] > [brep difference]

42 TECHNIQUE: DEVELOPMENT

B . 4 T E C H N I Q U E : D E V E L O P M E N T

[1] [2] [3] [4] [5]

[6] [7] [8] [9] [10]

[11] [12] [13] [14] [15]

[1] C=2 / T=1 [2] C=2 / T=3 [3] C=2 / T=5 [4] C=2 / T=7 [5] C=2 / T=9

[6] C=3 / T=3 [7] C=3 / T=5 [8] C=3 / T=7 [9] C=3 / T=9 [10] C=3 / T=11

[11] C=3 / T=6 / R=0.3 [12] C=3 / T=6 / R=0.2 [13] C=3 / T=6 / R=0.1 [14] C=3 / T=7 / R=0.1 [15] C=3 / T=8 / R=0.1

*C = Connection points T = Times of looping R = Factor of random reduce

43TECHNIQUE: DEVELOPMENT

[16] [17] [18] [19] [20]

[21] [22] [23] [24] [25]

[26] [27] [28] [29] [30]

[31] [32] [33] [34] [35]

[16] C=2 / T=1 [17] C=2 / T=3 [18] C=2 / T=5 [19] C=2 / T=7 [20] C=2 / T=9

[21] C=3 / T=3 [22] C=3 / T=5 [23] C=3 / T=7 [24] C=3 / T=9 [25] C=3 / T=11



44 TECHNIQUE: DEVELOPMENT

[36] [37] [38] [39] [40]

[41] [42] [43] [44] [45]

[46] [47] [48] [49] [50]




*C = Connection points T = Times of looping R = Factor of random reduce

45TECHNIQUE: DEVELOPMENT

[45]

The iterations I created in this section is the further investiga-

tion of the natural quality in terms of aggregation. What’s more,

in this matrix excises, the modular system is also the major fo-

cus point, which is derived from the criteria I set up in last case

study.

Because the design intent is making the structure growing over

time, and intractable with people in site. Therefore, it needs to

has certain structural quality that could adapt different topo-

graphic conditions, and easy to access by pedestrians. Hence,

the selection criteria will be adjusted to:

A structure that could reflect natural quality.

A flexible structure that could adapt different site condition.

A structure could be easily accessed and constructed

After all, these three iterations are considered as the best out-

come. 31&34 are successful because they has remained a clean

outcome without losing its organic form and stable structur-

al system. 45 is selected because it not only successfully ful-

filled the criteria, but also generated an interesting fluidity form

which echoed with the curving path in site.

[31]

[34]

46 TECHNIQUE: PROTOTYPE

After the iterations I have done in previous parts, I have found

that module with 4 connecting points has the best outcome,

because it has enough connections to generate various possi-

bilities, and still retain a clean representation after several re-

cursions.

The whole module can be divided into three parts, which area

the central joint, four equal length strips and joint for connect-

ing other modules. From this point, I decided to make the cen-

tral joint and connecting joint by 3D printer, thus in order to

have a consistent appearance, the perspex was selected to make

strips.

The main connection method is cross connection, and a com-

pleted strip is made from two pieces of strips by clip connec-

tion.

In this module, it needs to has the ability to containing peo-

ple’s “thoughts and memories”, which can be seen as personal

objects or physical objects that has special meaning to them.

Therefore, the central joint is select to be the container which

also implied the core of each module. To be more specific, this

container will has enough space to contain any object that not

larger than the size of an A4 letter.

In the end, the overall structure has a very orgainic form and it

could be changed by connecting in different ways.

B . 5 TECHNIQUE: PROTOTYPES

Laser cutting perspex strips

3D printing central joints

3D printing cylinder joints

47TECHNIQUE: PROTOTYPE

Module assembling sequence

48

The choice of the site is influenced by the brief which focus on the relationship between the technological, cultural and natural systems.

My site is CERES environment community, it is locat-ed at northeast from university of Melbourne. CERES is a non-profit education and research community that dedicated in help with urban ecology and sustainable development.

My client is administrators of CERES community, who is aiming to creating a community-based learning place that bring economically satisfying, culturally enriching and spiritually nurturing ways of living together. Al-though they have provided great environment and facil-ities to connect people in the physical way, yet the spir-itual connection is rather weak, which is the problem I will try to solve in my design.

B . 6 T E C H N I Q U E : P R O P O S A L

50

CERES administrators’ aim:Creating a community-based

learning place.

Bring economically satisfying, Bring economically satisfying,

culturally enriching and spiritual-

ly nurturing ways of living to-

gether.

CONNECT&

SHARE

51

SITE PHOTOS:

PHYSICAL WAY

?

52

Passerel le Solfer ino / France

Aggreculture projects

HOW OTHER PLACES CONNECT PEOPLE IN THESPIRITUAL WAY :

THE MAIN THEME IN CERES :

53

DESIGN CONCEPT

“LIVING” ARCHITECTURAL INTERVENTION

1. Using physical objects as containers to store people’s thoughts / memories.

2. Architectural intervention wi l l has a l iv ing form and abl i ty to grow.

Asakusa Shrine / Tokyo

E

54

In this design, the movement of people is the crucial element, thus in this site analysis, I mainly focus on the walk path (the red dash line) and bicycle path (the green dash line) in CERES.

According my site visit and analysis, I have selected a particular area to place my design (the yellow area). There are three major criteria influenced this selection:

1. The space has potential for design to grow in various ways.

2. The place is considered to be where the most people will visit.

3. The most desire place where people willing to install their thoughts and memories.

This area has not only met the first two criteria success-fully, but shown the evidence that people the desire of place their memories in there (Fig. left).

Design on si te

56

Design on si te

57

58

Ini t ia l sett ing Stage 1 Stage 2

DESIGN EVOLVING STAGES

To place the design, I will set up an initial modular struc-ture along the path way, and leave some modules to let people to access them and develop further from this ini-tial setting. The diagram above shows how design will evolve over time.

My design proposal is deeply embodied the concept of DLA (Diffusion-limited Aggregation), the form finding process will connect design to site through cultural value and natural approaches.

The proposal is a structure has ability to grow and evolve through the participation of occupants in CERES. This design also has the great possibility to fabricate with the integration of recyclable material and bringing minimal impact on site as modular system can be easily assem-ble and disassemble.

The design is innovative, because not only its idea of growing through people’s participation echoes with the theme of planting, but also helps to connect people in

59

Stage 3 Stage 4

the spiritual way by enable individuals to store their per-sonal memories and thoughts inside every module. In other words, rather than putting a completed design, I let design itself to grow and interact with people over time. In the end, its form is unpredictable and infinite. What’s more, because the inner structure is unmovable, therefore, after a long period of time, it will form different layers of memories which can be seen as the visual his-tory of CERES community.

However, this design still need to be refined, in next part I will push the design to let people more willing to par-ticipate and enjoy the process of storing their memories and constructing this structure.

60 LEARNING OUTCOMES

Objective 5. Developing “the ability to make a case for pro-

posals” :

The previous works in part B with producing of a proposal de-

velop our skill in critical thinking and making a case for pro-

posal by learning from precedents and innovations through

researches.

Objective 6. Develop capabilities for conceptual, technical

and design analyses of contemporary architectural projects :

The researches and case studies have a significant influence on

developing design analysis.

Objective 7. Develop foundational understandings of com-

putational geometry, data structures and types of program-

ming;

Weekly lectures and grasshopper excises introduced multiple

aspects of using geometry in creating space and structural per-

formances.

Objective 8. Begin developing a personalised repertoire of

computational techniques :

Personalised computational technique was developed by dis-

covery different combinations of grasshopper definitions.

Objective 1. “Interrogating a brief”:

In my proposal, I have constantly addressed the brief with my

parametric design and knowledge from my case studies, both

became a tool for me to finding the solutions.

Objective 2. Developing “an ability to generate a variety of

design possibilities for a given situation” :

&

Objective 3. Developing “skills in various three- dimensional

media” :

By familiarizing myself with plug-in like Anemone, and pro-

cess of digital fabrication, I am able to produce digital or phys-

ical forms through computational inputs.

Objective 4. developing “an understanding of relationships

between architecture and air” :

Usually we will get caught up with digital design, which lead-

ing us isolated from actual site. However, by producing actual

models and considering site context (B.6 Technique: proposal)

linking our the virtual works and actuality of physical site.

B . 7 L E A R N I N G O U T C O M E S

Fig. 38 (right). Generative drawings

61LEARNING OUTCOMES

62 APPENDIX

B . 8 A P P E N D I X

63APPENDIX

64 REFERENCE

T E X T R E F E R E N C E

Aranda Lasch. The Morning Line.(2013). <http://arandalasch.com/works/the-morning-line/> [accessed 30 August 2015]

Antonelli, Peter L. 1992. ‘The Algorithmic Beauty Of Plants (Przemyslaw Prusinkiewicz And Aristid Lindenmayer)’.

SIAM Rev. 34 (1): 142-143. doi:10.1137/1034030. [accessed 1 September 2015]

The Biomimicry Institution. What is biomimicry? Ask nature. (2008-2011)

<http://biomimicry.org/what-is-biomimicry/#.VgTPQbREO-0> [accessed 23 August 2015]

Maibritt Pedersen Zari. “Biometic approaches to architectural design for increasing sustainability”,

School of Architecture, Victoria University <http://www.cmnzl.co.nz/assets/sm/2256/61/033-PEDERSENZARI.pdf>

[accessed 23 August 2015]

Busch, Benjamin. 2011. ‘Adaptive Structure: A Modular System For Generative Architecture’.

<http://www.academia.edu/8982412/Adaptive_Structure_A_Modular_System_for_Genrative_Architecture. >

[accessed 11 September 2015]

65REFERENCE

I M A G E R E F E R E N C E

Fig. 24: Andy Brummer. Curvature of the mind. 2015.<http://curvatureofthemind.com/images/random/>


Fig. 25: Nature Marco. 2015. <http://androidwallpape.rs/content/02-wallpapers/72-green/nature_macro_1920x1200.jpg>


Fig. 26: Aranda Lasch. The Morning Line. 2013. <http://arandalasch.com/works/the-morning-line/> [accessed 30 August 2015]




Fig. 30: Author’s own.




Fig. 34 Busch, Benjamin. Adaptive Structure. 2011. <http://benbusch.info/portfolio/adaptive-structure/> [accessed 11 September 2015]




Fig. 38 Generative Drawing <http://butdoesitfloat.com/filter/Joel-Garreau> [accessed 13 August 2015].

66 Fig. 39 Photo of conceptual model

67

P A R T C

D E TA I L E D D E S I G N

68

The feedback from my interim presentation is good in general,

but I still need to develop my design in details. Also there are

four questions raised after interim presentation:

1. Why would people interact with the installation?

2 How do they get access to modules?

3. How do they understand how the system fits together?

4. What would be the expected/interesting possible outcomes

and how could you control these outcomes?

Base on the feedback, I will further develop modules with more

detailed joining system. And the operation of this installation

will be considered into more explicit rules and features. For

instance, I will introduce the concept of time line to the design,

by using certain colour codes to represent specific time of the

year. In this way, the design not only recorded the time when

each module was putted, but also forming an polychrome effect

that could attract people and interact with design. Apart from

this, to control the outcome I will set up several initial structur-

al components to indicated the direction of how design might

growth.

DESIGN CONCEPT

C . 1 D E S I G N C O N C E P T

69DESIGN CONCEPT

Merri Creek

River bank

Green vi l lage

Graden area

Major bui ldings

Global vi l lage

MER

RI C

REEK

IND

ON

ESIA

N VILLA

GE

AFR

ICA

VILLAG

E

VILLAG

E GR

EENC

AFE

HO

NEY

LAN

D

OR

GA

NIC

MA

RK

ETTH

E MER

RI

CO

MM

UN

ITY G

AR

DEN

VISITO

R C

ENTR

EPA

RK

ING

LOT

LEAR

NIN

G C

ENTR

E

ENER

GY

PAR

K

Merri Creek

People movement

COMMUNITY

CONNECT

SHAREENGAGEMENT

GREEN URBANSUSTAINABLEAGRICULTURE

GLOBAL AWARENESS

PARTICIPATION

WATER-SAVING EC

OLO

GLY

FOODBICYCLING

PEOPLEGROWTH

SPIRITUAL NURTURINGCULTUREGRADENING

LINVING TOGETHER

PUBLICTHE MEERI CREEKCRERES

MELBOURNE

OR

GA

NIC

SOCIAL

NON-PROFIT

EUDCATION

LEARNING CENTRE

LOC

AL

NATU

RA

L EN

VIRO

NM

EN

T

*THE BOARD MEMBERS OF CERES COMMUNITY

?

PHYSICAL CONNECTION

SPIRITUALCONNECTION

70 DESIGN CONCEPT

Merri Creek

River bank

Green vi l lage

Graden area

Major bui ldings

Global vi l lage

MER

RI C

REEK

IND

ON

ESIA

N VILLA

GE

AFR

ICA

VILLAG

E

VILLAG

E GR

EENC

AFE

HO

NEY

LAN

D

OR

GA

NIC

MA

RK

ETTH

E MER

RI

CO

MM

UN

ITY G

AR

DEN

VISITO

R C

ENTR

EPA

RK

ING

LOT

LEAR

NIN

G C

ENTR

E

ENER

GY

PAR

K

Merri Creek

People movement

COMMUNITY

CONNECT

SHAREENGAGEMENT

GREEN URBANSUSTAINABLEAGRICULTURE

GLOBAL AWARENESS

PARTICIPATION

WATER-SAVING EC

OLO

GLY

FOODBICYCLING

PEOPLEGROWTH

SPIRITUAL NURTURINGCULTUREGRADENING

LINVING TOGETHER

PUBLICTHE MEERI CREEKCRERES

MELBOURNE

OR

GA

NIC

SOCIAL

NON-PROFIT

EUDCATION

LEARNING CENTRE

LOC

AL

NATU

RA

L EN

VIRO

NM

EN

T

*THE BOARD MEMBERS OF CERES COMMUNITY

?

PHYSICAL CONNECTION

SPIRITUALCONNECTION

71DESIGN CONCEPT

72 DESIGN CONCEPT

As the agriculture and nature environment are the main themes

in the Ceres Community. Therefore, my research field will be

allocated in biomimicry to echo with Ceres’s themes.

One of my important precedent study is the Adaptive Structure

by Benjamin Busch. This design is heavily based on the notion

of DLA (Diffusion-Limited Aggregation). It is a natural pro-

cess of accretion over-time which can be observed in many nat-

ural systems. It is started with a seed, then a certain particle is

moving until it attaches with another particle, and this process

will recursively running over time, to form a cluster of aggrega-

tion. In the end, this system will produce a constantly growing

structure which could have infinite possibility and a life form.

To solve the spiritual connection problem, I need to develop this

system further. By looking at the most successful cases of con-

necting people in the spiritual way. I have found they all tend to

use certain physical object as reference to people’s memories or

thoughts, then connecting them together to symbolise the con-

nection of people’s memories.

Therefore, my design concept will incorporate DLA into modu-

lar system to give the natural living appearance, then each mod-

ule as a container for people’s memories to connect people in

spiritual level.Fig. 40 Diagram of DLA system is affected by

gravity and stickiness

73DESIGN CONCEPT

74 jOURNAL

By referencing to DLA system, I will made few initial structural

settings as origin seed. And people will get access to modules

around these settings, how people will construct each module is

very random as randomly moving particles.

However, people will more like to connect modules to the ad-

jacent settings, and avoid to develop stricture towards path or

river.

Overall, as the design is going present a living-appearance

structure which inherent infinite possibilities, therefore the ex-

pected outcomes are only indicating how design might grow in-

stead of informing people how certain module should be placed

in certain position. In order to archive expected outcomes, I can

arrange the position of origin settings to suggest the direction

of this structure meant to grow.

Apart from this, because design is about connecting people’s

memories, and memories are constructed by the event, space

and time. In this case, the space is allocated in the Ceres Com-

munity and events are the things people recorded which can be

stored inside of module. Therefore, in order to represent time

I will incorporate colour coding to record a specific period of

time.

75jOURNAL

SPACE

TIME

EVENT

“MEMORY IS CONSTRUCTED BY TIME, SPACE AND EVENT.” *MODULE PRODUCE IN

JANUARY

DESIGN TIMELINE

76

SPACE

TIME

EVENT

“MEMORY IS CONSTRUCTED BY TIME, SPACE AND EVENT.” *MODULE PRODUCE IN

JANUARY

DESIGN TIMELINE

77

MODULE FORMATION

78 DESIGN CONCEPT

MODULE FORMATION

79DESIGN CONCEPT

MODULE DEVELOPMENT

80 DESIGN CONCEPT

MODULE DEVELOPMENT

81DESIGN CONCEPT

1. Memories objects 2. Store in module 3. Close module

4. Connnect ing to other module

5. Complete

INSTRUCTION OF DESIGN

82 DESIGN CONCEPT

1. Memories objects 2. Store in module 3. Close module

4. Connnect ing to other module

5. Complete

INSTRUCTION OF DESIGN

83DESIGN CONCEPT

84 DESIGN CONCEPT

85DESIGN CONCEPT

PHASE 1

CONSTRUCT BASE

PHASE 2

CENTRE OF MODULE

PHASE 3

COMPLETE MODULE STRUCTURE

PHASE 4

FINAL MODEL

86 TECTONIC ELEMENTS

C . 2 T E C TO N I C E L E M E N T S

MODULE ASSEMBLING SEQUENCE

PHASE 1

CONSTRUCT BASE

PHASE 2

CENTRE OF MODULE

PHASE 3

COMPLETE MODULE STRUCTURE

PHASE 4

FINAL MODEL

87TECTONIC ELEMENTS

88 TECTONIC ELEMENTS

Fixed connection detailscale 1:2

89TECTONIC ELEMENTS

Fixed connection detailscale 1:2

90 FINAL DETAIL MODEL

C . 3 F I N A L D E T I A L M O D E L

91FINAL DETAIL MODEL

MODULE PROTOTYPE


PROTOTYPE MODEL DETAIL


DESIGN DEVELOP ON SITE

1 2

3 4

5 6

7 8

FINAL MODEL

100 FINAL DESIGN MODEL

FINAL MODEL

101FINAL DESIGN MODEL

102 FINAL DESIGN MODEL

103FINAL DESIGN MODEL

104 LEARNING OUTCOME

C . 4 L E A R N I N G O U T C O M E

After all, by defining the rules, apply them into a recursive pro-

cess, computational design has shown a potential of recreat-

ing the natural process and reinterpret the natural system in

designing architectures. But I believe the potential of compu-

tational design is still far more to explore. Also, by applying

this advance design approach with critical thinking of design

process, the architecture will be guiding towards a more sus-

tainable future.

The feedback from my final presentation is mainly focusing on

the storage of durable memory. To respond to this common, I

think as the rapidly development of 3D printing technology in

recent years, people would getting more accesses to 3D print-

ing. Thus, it can be argued that people can adopt this technolo-

gy and making memorable or meaningful objects by 3D print-

ers. Then people can store those 3D printings inside modules so

that the overall design has not only created a sculptural effect,

but also represented the idea of contemporary computational

design.

During the design process, the challenge is finding the best

definition, but it could be resolved by testing different combi-

nations and putting rationale into it. With more practices on

computational design, not only my confidence of utilising com-

putational design method has increased, but also I have gained

a different perspective in the way of perceiving contemporary

architectures.

During the fabrication process, there is a challenge of material

tolerance. I think there was much to improve in this area of the

course. Overall, the experience of turning computational design

into something tangible is very enjoyable and I have learned

many new things from it.

105LEARNING OUTCOME

chen hongbang 763934

Documents