(Inglés) Studio Air - 2016 - Semestre 1 (663308)

STUDIO AIR

2016, SEMESTER 1, FINNIAN WARNOCK

GUANJIN CHEN 663308
Contents
INTRODUCTION
PART A CONCEPTUALISATION

A.1 Design Futuring 9
A.2 Design Computation 15
A.3 Composition/Generation 21
A.4 Conclusion 26
A.5 Learning Outcome 27
A.6 Algorithmic Sketch 28
PART B CRITICAL DESIGN
B.1 Research Field 41
B.2 Case Study 1.0 42
B.3 Case Study 2.0 50
B.4 Technique: Development 56
B.5 Technique: Prototypes 61
B.6 Technique: Proposal 66
B.7 Learning Objectives 70
B.8 Algorithmic Sketch 72
PART C DETAILED DESIGN
C.1. Design Concept 82
C.2.Tectonic Elements and Prototypes 94
C.3.Final Detail Model 104
C.4. Learning Objectives and Outcomes 116

- Guanjin Chen, 08.02.Year unknown.
- Raised in Shenzhen, China, from 0 to 16 years old.
- Currently undertaking an undergraduate degree at the
University of Melbourne, major in Architecture.
- One year experience in 3D modelling and rendering tools such as Rhino5, AutoCAD,
Sketchup, V-ray; Design tools such as Adobe Creative Suite; New to Grasshopper.
- “Computation work in architecture made design possible(not simple) to everyone”
- “However documentation is losing individuality and being stylised”
- “Not saying this is negative, I’m talking about an inevitable trend”
4 CONCEPTUALISATION
PHOTOSHOP
ADS-EARTH, SEM1, 2015
SECTION OF STUDLEY PARK BOATHOUSE

ADS-WATER, SEM2, 2015
CONCEPTUALISATION 5
A
6 CONCEPTUALISATION
CONCEPTUALISATION 7
8 CONCEPTUALISATION
A
A.1 Design Futuring
Over time, architecture from an art form According to Fry, toward sustainability, not only
that’s treated by Renaissance architects through the conventional design process and techniques
decorative elements, to a space that modernist should be abandoned, but also the ideology and
architects more concern about its function and entire mindset [3]. A shift towards design that use
technical aspects. However, architecture is no speculation for critical a provocative purposes
longer simply refer to form or functions, it posses is highly needed, as Dunne & Raby believe,
with functional aspects and aesthetic qualities. the skill here is making links between today’s
As today, we see the growing importance of world and the suggested one [4], designers are
design as it shapes the perception of material encouraged to dream something impossible to
world[1], yet its design is outdated as a solution reflect on present instead of hopping something
to the still accelerating defuturing condition of possible that only leads them to a destined
unsustainability[2]. Therefore an urgency for a future. Here the advanced design process would
new culture of design and to be specific, new allow more possibilities and potentials on the
culture of architecture. design, or in other way, the design itself allow
more possibilities and potentials, for example
to influence how we perceive and what we
experience.
1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16
2. Ibid., p3.
3. Ibid.,
4. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press),p4
CONCEPTUALISATION 9
Fig. 1
Fig. 2
FIG.2
10 CONCEPTUALISATION
Inside the volume is a carved out space shaped by
varying contours that form the main space as well
as protrusions and openings toward the outside.
(Archdaily)
Fig. 3
Fig. 4
CASE STUDY A.1.1 CroATiAn PAvilion
The project is a floating Pavilion to present The use of space is therefore ambiguous and
arts and architecture of Croatia at the Venice the distinction is blurred, the context of space is
Biennale in 2010. It is designed by a group of 14 not taken as shelter here, and unlike all pavilion
leading Croatian architects, who have made the kind of structures. The structure reveals itself
recent Croatian architecture visible on the global with different densities of steel mesh, although
scene. Unlike working in the usual formats of it seems to be transparency and easily perceived,
their previous speculative projects, designers only entering it can fully understand its spatial
decided to work together on a single proposal. organisation. On the other hand, it brings a wire
frame drawing into the reality, it’s more like a
Based on the idea of Mirage which is an raw armature of space with its own characteristic
optical phenomenon naturally occur in which before a completed rendering. It inspires not
light rays are bent to produce a displaced image only design pieces afterwards but introduces a
of a distant object or the sky, the structure is new way of spatial design that reconnects the
constructed on an existing barge welded from inside space with outside surroundings.
wire mesh, in more than 40 layers of varying
contour to create this feeling of fata morgana.
And the construction of space inside the volume
is carved out and shaped by these contours.
CONCEPTUALISATION 11
Fig.
Fig. 6
Fig. 7
5 CASE STUDY A.1.2 MUSéE DES ConflUEnCES

The project is designed back in 2001, completed in - Key word: Urban
2014 after 4 years of construction. As a museum it was
envisioned as a “medium for the transfer of knowledge” The building ground of the museum is located on a
and not as a showroom for products. Undoubtedly the peninsula that was artificially extended 100 years ago and
reflection of modernism had an enormous and long- situated in the confluence of the Rhône and Saône rivers.
lasting impact on the young architects back in 50s, 60s, The building serves as a distinctive beacon and entrance
while Coop-Himmelb(l)au is one that stands out among for the visitors approaching from the South, as well as a
them. Their projects can not be simply defined as starting point for urban development.
“deconstructivism”, their reflections on the complexity
of architecture expresse their exploration of future, and - Key word: Space and logics behind complexity
architectural language such as “pluralism” and “complex”
“The Musée des Confluences understands itself not as
- Key word: Cloud. an exclusive “Temple of the Muses” for the educated elite,
but as a public gateway to the knowledge of our time.
The structure is floating above the ground supported It stimulates a direct, active use—not only as a place of
by fewer columns, what’s interesting is that the result contemplation, but also as a meeting place in the city.”
of this is the specific features of the building gave
way to functional features of the city, the ground was Coop-Himmelb(l)au believes today’s knowledge
greatly contributed to the city life and shapes public can no longer be divided into separate areas because
space underneath. This idea of a living room in city grid of the interwoven of multidisciplinary, such a result is
introduced a way of improving citizen’s daily life, also mapped to the inevitable performance of fracture, fuzzy,
address the issue of crowdedness in the growing. overlapping, cross and other features of architectural
space.
A.2 Design Computation
Undoubtedly, the integration between Apparently, computation introduces much

computer and architecture is dominant in this simpler and more creative opportunities when
accent of science and technology, this new user illustrate and edit their design, although
continuity if man-machine relationship has it opened the study of complexity in design,
become a medium that assist design thinking incorporating various design parameters and
and making[1]. From initially being medium to exploring performative design of material
represent digitally which computerisation does, systems, it does not automatically establish
to design approach which computation does, the design as innovative. Computation uses
however, it is rather important to distinct the computers to produce and develop ideas
definition of computerisation and computation that can be seen as puzzle making but not
and how they have changed the discourse problem solving[2], architects need to select the
of architecture in terms of methodology and optimised one among all to fulfil the task.
thinking.
So with this, computation has not yet separated
from today’s design process, indeed computers
are superb analytical engines with logical
reasonings and conclusion[3], bear in mind, it is
the tool for designer, with the assist of computer,
it is depended on them to design humanly.
1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York:
Routledge), p5
2. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided
Design (Cambridge, MA: MIT Press), pp. 5-25
3. Ibid., p5
Fig.
“MAD’s research concerning the integration of digital media into architectu

design, demonstrates a unique approach toward architecture”
- MAD
Fig.
Fig. 10
CASE STUDY A.2.1 AbSolUTE TowErS

8
Absolute Towers are one successful practice of MAD The generation of the building when explained
Architects, completed in 2012 at Mississauga, Canada. appearance is rather simple, but in terms of the
ural These two high-rises depart away from traditional construction phase and even prior to that, conventional
skyscrapers which throughout the process of urbanisation, methods were not as capable as digital methods when
have been symbols of wealth and prosperity of the society generating forms and testing both natural and social
and region, and technological bravado, the project vectors, in order to understand and explore flexibility and
jumped out of the limited framework that often results new possibilities in hereunto in simple and traditional
in limited stereotype impression, which is normally rigid, functions, structures then are no longer separated away
linear structures. Similar to “Turing Torso” located in from human life and urban environment.
Sweden, what makes this project unique is the rounded,
pure looking. Behind this is the simplicity and clarity of However, it’s been criticised a major issue which is the
the structural logic, another building is constructed after wastage of vertical spaces especially the shift of service
the success of the first one, which work in concert with ducts and pipes. Moreover, the idea of the peripheral
the power of aesthetics that’s based on the form. communal balcony is not as efficient as it supposed to be,
it might not only be a wasted space but a nuisance to the
Functionally, the entire building rotates by different occupants.
degrees at each level, not only corresponding with
the surrounding scenery but to handles wind loading
and sunlight, to ensure the comfort throughout the
apartment.
9
Fig. 11
Fig.
Fig. 13
12 CASE STUDY A.2.2 “AS AUTUMn lEAvES”

Located in a historic hutong district in Beijing
during Beijing’s 2013 Design week, “As Autumn “At LCD we understand the complexity and
Leaves”(AAL), designed and built by students of the publics’ curiosity in computational design.
the Laboratory for Computational Design, as a With this in mind we attempt to create work
spatial installation that’s based on ephemerality that utilizes these methodologies while rooting
of nature. Began with the study of geometric design in the emotive and ephemeral. By evoking
growth patterns and geometries related to memories and emotions the experience is far
natural logics and materials, parametric deign more important than the image.”
tools were involved to investigate variation
and adaptability within the systems. Leaves - as The project “As Autumn Leaves” is remarkable
individual components were digitally fabricated not just for the unique design, but the way it
using laser cut acrylic which is strong in tension regenerated and introduced new possibility
that allows bending, acrylic “leaves” were then into the decaying traditional culture, their works
pre-assembled into “families” and aggregated inspired generations now days new way to
on site. Moreover, in order to evaluate wind and design and construct architectural forms.
gravitational forces, physics based modelling
programs were used to generated solutions
under certain circumstances, therefore results in
a floating structure in the existing spaces.
A.3 Composition/Generation
The shift from composition to generation in “Architect write programs to customise their
the design approach of architecture is induced design environments”[1]
by the advancement of digital technology, and
since the communication level of the user and With the generative design, algorithm thinking
design is based on design components, for is introduced, a recipe for getting computers to
instance drawing, erasing, etc, this change also do something[2] works in imitation of natural
parallels the shift from traditional drawing/ rules and generate endless variations. It is a form
sketching to computing. However, there is finding process where creative ideas and forms
much more to do more than representation, interlink in a series of algorithms rather than
by computing, architects are able to predict form making.
design outcomes during design process with
the model which computer generates, the As shown in Lecture 3, the Bird-oid Objects
simulates performance analysis and knowledge described a generative design process based
of materials and construction systems, and by on the behavioural response of the biological
experimenting solutions before realising them, characteristic of birds, by scripting the computer
increase the effectiveness and suitability of to keep a certain distance between units under
solutions to complex design problems. certain conditions, magnificent figures are
automatically generated with a simple rule.
By computational design, the resulted design
outcome would achieve optimal qualities both
spatially and materially, and efficiency within
the given environment.
1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p9
2. Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson, MIT Encyclopedia of the Cognitive
Sciences (London: MIT Press), p11
“Algorithmic design systems enable the selective manipulation of fabrication d
whereby material can be structured according to its properties and functio
requirements” - Fabio Gramazio
Fig. 14
CASE STUDY A.3.1 ThE SEqUEnTiAl WAll
The project is done by a group of students of
the elective course program of the Professorship Because structurally the construction is rather
of Architecture and Digital Fabrication at simple - a 6axis industry robot cuts commercially
data ETH Zurich in 2008. The Sequential wall is a available wooden slats to length and stacks them
performance based design in robotic timber to walls, physical experiments are explained to
onal construction, it researched and explored the define their arrangement and scope of variation,
architectonic and constructive potential digital therefore requirements were taken as generative
fabrication. parameters into the design system, abstracted
into design algorithms, which results in a
Essentially the task was to integrate the constructive system whose properties in terms
functional requirements, such as load bearing function and design go beyond the individual
and insulating behaviour as well as its batten module, and there characteristics were
constructive weather protection and thermal tightly bonded that they became mutually
performance, which are the basis for every dependent. Although practically speaking,the
design, to an external timber wall. controlled interplay of complex material
arrangements cannot surpass the functionality
of a high specialised constructive layer in a large
scale, the project opened up a combination of
computational design strategies and physical
experiments allows transforming the functional
requirements into new potential for the design.
“The phenomenon of architecture can be most adequately grasped if it is analyzed
as an autonomous network (autopoietic system) of communications.”
- Patrik Schumacher
Fig. 15
Fig. 16
Fig. 17
d
CASE STUDY A.3.2 AADRl SWARm PRinTing
Done by a post-professional masters design thesis study “…..capable of engaging with today’s complex urban,
of AA school of architecture, swarm printing in terms of rural and natural environments with more intricacy
Arial Robotic Construction, works on algorithmic and and tailoring than is possible through conventional
robotic behaviours of design that capitalise on utilising architectural design.”
today’s multicopters(UAVs), or drones.
This project contributes not only a new design or
The project aims to provide a shortcut to an existing construction methods, but an emerging trend of hybrid
pedestrian route that spans between two steep natural architecture that both design and production are
cliff faces where no conventional construction machinery involved in an algorithmic decision making, and this
can easily access, additive fabrication technology - 3D decision making is not done by human but machinery
printing, the method they came out is necessary under that’s set up by biological characteristic of life as a
this circumstances. This research argues that design circular organisation, which also reflects the concept of
and production can be developed as a singular creative autopoeisis.
process based on the behaviours of robotic systems,
unlike traditional separation of design and construction
phase ,the research prepossessed a possibility of pre-
design yet allow unpredictabilities that address a variety
of environments, such as wind and bad weather, through
real-time structural feedback. By “unpredictability”, the
structural typology might change throughout production
based on the decisions of drones, and new connective
bridging possibilities might be explored.
Fig. 18
A.4 Conclusion
Architecture, beyond just the visual aesthetic

and shelter for mankind now days, it is its role to
influence people’s perception of the present and
the future, and therefore, it is designer which
in specific, us, to make this possible. Unlike
previous, by incorporating digital technology
architects have ability to explore the greater
possibilities, while this fresh and stimulation
design approach open doors to complexity and
parametric outcomes, architecture should retain
sustainability, redirect future and reconnect
societies. Also it is importance to question
the end products it produces, undoubtedly
Computational design is generative because of
its capacity to analyse and to response effectively,
however, it’s gradually taking designer’s place
by its optimised results and efficiency, it is
vital to take balance between the benefits
and shortcoming form it. Although computer
is argued that its incapable of creating new
instructions, lack creativity and are dependant on
the user(humans) to function[1], to some extent
architects themselves is doubted as well. Find an
equilibrium between from find and form making
is crucial, so as between consumer demands and
dream, and taking sustainability as solutions to
now and future. It truly is an ongoing debate
and what I anticipate is to keep learning and
exploring, to be able to contribute something to
the society that engage human into the “world”
I’m pursuing.
1. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided
Design (Cambridge, MA: MIT Press), pp. 5-25
A.5 Learning Outcomes
Within three weeks, my knowledge of

architectural computing has greatly expanded
since starting this subject by constantly learning
theories and practice through Rhinoceros and
Grasshopper. Architecture as a never-ending
dialogue between space and experience of
one’s own, these digital tools make it possible
to generate design models I might never
achieve by hands, and make it possible to even
optimise it. Furthermore, I acknowledge that
algorithm, not only as something technology
artificially, but a manmade interpretation of the
rule hidden in the formation of nature, is more
important as a way of thinking by both human
and computer. Although due to the limitation
of my computation ability I might not be able
to address certain issues, but by keep learning
I believe in the coming days my works can
eventually be implemented in reality.
A.6 Algorithm Sketches
(for more information refer to “Algorithm Sketch Book”
BIBLIOGRAPHY
1. Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson, MIT Encyclopedia of the
Cognitive Sciences (London: MIT Press), pp. 11, 12
2. Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design,
83, 2, pp. 08-15
3. Kolarevic, Branko (2003). Architecture in the Digital Age: Design and Manufacturing (New York;
London: Spon Press） Suggested start with pp. 3-62
4. Kalay, Yehuda E (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-
Aided Design (Cambridge, MA: MIT Press), pp. 5-25
5. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture(London; New
York: Routledge), pp. 1–10
6. Oxman, Rivka, and Robert Oxman.(2010) The New Structuralism. (Hoboken, N.J.: Wiley, Print)
7. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice(Oxford. Berg), p.1-16
8. Dunne, Anthon & Raby, Fiona(2013), Speculative Everything : Design Fiction, and Social Dreaming(MIT
Press)p.1-9, 33-34
1. Dezeen.(2012) ”Absolute Towers Twisted Skyscrapers By MAD”.<http://www.dezeen.com/2012/12/12/

absolute-towers-by-mad/> [ accessed 19 Mar. 2016]
2. Tallbuildings.ru. (2016).”«MAD» Architects”. <http://tallbuildings.ru/en/sumasshedshie-arhitektory> [

accessed 19 Mar. 2016]
3. ArchDaily. (2012). Absolute Towers / MAD Architects”. <http://www.archdaily.com/306566/absolute-

towers-mad-architects> [ accessed 19 Mar. 2016]
4. ArchDaily(2013) LCD Exhibits “As Autumn Leaves” At Beijing’s 2013 Design Week”<http://www.
archdaily.com/451572/lcd-exhibits-as-autumn-leaves-at-beijing-s-2013-design-week>[ accessed 19
Mar. 2016]
5. Dhub.org. (2016) As Autumn Leaves | D*Hub”. <http://www.dhub.org/as-autumn-leaves/> [ accessed

19 Mar. 2016]
6. Egs.edu. (2016). Patrik Schumacher - The European Graduate School”. <http://www.egs.edu/faculty/

patrik-schumacher> [ accessed 19 Mar. 2016]
7. Kokkugia.com (2016). “ Swarm Printing: Aerial Robotic Bridge Construction - Kokkugia”. <http://www.
kokkugia.com/AADRL-swarm-printing-aerial-robotic-bridge-construction> [ accessed 19 Mar. 2016]
8. rok-office.com.(2016).”ROK - Rippmann Oesterle Knauss Gmbh | Projects | The Sequential

Wall”.<http://www.rok-office.com/projects/sequential-wall-068/> [ accessed 19 Mar. 2016]
9. ArchDaily.(2010) “Croatian Pavilion At The Venice Biennale”. <http://www.archdaily.com/74469/

croatian-pavilion-at-the-venice-biennale> [ accessed 19 Mar. 2016]
10. Coop Himmelb(l)au(2016) “Musée Des Confluences”..<http://www.coop-himmelblau.at/

architecture/projects/musee-des-confluences> [ accessed 19 Mar. 2016]
IMAGE REFERENCE
1.
2.3.4.5. http://www.archdaily.com/74469/croatian-pavilion-at-the-venice-biennale
5.6.7. http://www.coop-himmelblau.at/architecture/projects/musee-des-confluences
8.9.10. http://www.i-mad.com/work/absolute-towers/?cid=17
11.12.13. http://www.archdaily.com/451572/lcd-exhibits-as-autumn-leaves-at-beijing-s-2013-design-
week
14. http://gramaziokohler.arch.ethz.ch/web/e/lehre/148.html
15.16.17.18. http://www.kokkugia.com/AADRL-swarm-printing-aerial-robotic-bridge-construction
B
38 CRITERIA DESIGN
CRITERIA DESIGN 39
40 CRITERIA DESIGN
B
B.1. Research Field
TESSELATION
Tessellation is the division of a surface into The chosen project study is the Voussoir
smaller, repetitive geometrical patterns both Cloud as the catenary lines have great
on 2-dimensional surface and 3-dimensionally potential for form finding and structural
volume, without generating gaps or design, the interest on tessellation, the use
overlaps. With the emergence of advance of specific material and porous elements
digital technologies now days, tessellation that brings softness and lightness are all
can easily be optimized and embedded into influential in the next stage of design. The
complex forms without compromising to project is made of 3-dimensional wedged
certain concerns. Conventionally, we saw petals which connect to one another to
tessellation most commonly through the form five columns and several vaults above,
façades as decoration, however, designers extending from the bottom of each column,
today begin to explore the full potential of this the petals become larger until meet another
research field, by integrating tessellation into at the top. In terms of fabrication of this
the structure, by enhancing its performances project, the petals are laser cut thin wood
and by empowering the user’s experience. laminate that are folded along the curved
score line and zip tied together, although the
material and way of fabrication is arguably
fragile. Under this circumstances, the
stability is achieved and expressed through
structure, the use of digital modelling tool
like kangaroo to optimise the overall form in
real world condition prior to fabrication make
this possible, therefore the project is a site-
specific since the gravity of earth, the anchor
points of the vaults and columns need to be
taken into account.
CRITERIA DESIGN 41
B.2. Case Study 1.0
VOUSSOIR CLOUD by IwamotoScott
SCIArc Gallery, Los Angeles, 2008
Initial model Anchor points
42 CRITERIA DESIGN
Kangaroo output
Derived from this project, firstly as what they have

done, we could explore the possibility and push it
to the extreme in terms of material performance
since both the “Voussoir Cloud” and studio task
requires timber product particularly. Secondly,
the idea of chaining and stable the structure at a
few anchor points can be applied on our design
to create more possibilities. Thirdly, just like the
“Voussoir Cloud” iself draws from studies of Frei
Otto and Anotonio Gaudi’s works, such efficient
and stable model of upside down hanging chain
can be applied through the use of computation,
especially Kangaroo, we can model digitally and
test the outcome is rather important. Lastly, talking
about fabrication concerns, we should definitely
consider the time and cost, for instance, the pieces
we could tessellated and variations.
Fig.1
CRITERIA DESIGN 43
B.2.1. Iterations
DEPTH
Displacement depth {D}
Scale input of holes {S}
Variable = number slider
D=-2.5
S=0.2
WIDTH
Displacement depth {D}
Scale input of holes {S}
D=-2.5
S=0.2
INCREASE
Number of punctures {N}
Displacement {up/down}
N=3
1up, 2down
RELEASE
Variable = placement of anchorpoint
1column
44 CRITERIA DESIGN
D=-3.5 D=-5 D=-7
S=0.15 S=0.1 S=0.01
D=-2 D=-1.5 D=-1

S=0.4 S=0.6 S=0.9
N=8 N=10 N=16

2up, 6down 5up, 5down Gradually
All columns Wall Interval
CRITERIA DESIGN 45
SKELETON
Number of voronoi {N}
WbFrame Distance {WF}
WbThicken {WT}
WbCatmullclark {WC}
N=50
WF=30
+WT, +WC
COIN & DIAMOND

Box morph
Height {N}
NURBS Crv
FRAGMENTIZATION
Offset {F}
F=-0.3
46 CRITERIA DESIGN
N=600 N=100 N=100
WF=30 WF=50 WF=200
+WT, +WC +WT, +WC +WT, +WC
Box morph Box morph Box morph

H=0.1 H=0.3 H=0.8
F=-1 F=0.3 F=1
CRITERIA DESIGN 47
B.2.2. Successful Outcomes
As already known that the task is to design a ceiling in a meeting room of an
office, therefore, the concern of selection among many iterations that are produced
by grasshopper needs to be relevant to the site context, and factor that affect users’
experiences, four important aspects are then settled that associated with considerations.
Visually Attractive Light & Shadow Effect

Can be further more developed digitally. By incorporating light timber material and porous
elements, light and shadow needs to be carefully
handled, also light and shadow can create interesting
pattern and bring in dynamic effect.
This outcome is quiet visually attractive and The shape undulates from the lowest point on
draws my attention, the way to realise interval one side to the highest point on the other side,
anchor points apparently creates great result. gives a sense of dynamic under the structure, also
the light and shadow effect could be pictured
rather interesting.
48 CRITERIA DESIGN
Light weight & softness Constructibility
s In relation to the office, surrounding by the mass Associate with fabrication concern and the longevity
y volume and cool colors of concrete and glass, the of the project, both the overall form and individual
g ceiling should bring softness and warmth to delight module needs to shift from paper architecture to
the space. reality.
This three-dimensional voronoi skeleton Considering constructibility, this model could

changes the structural of the model in a be made by pre-fabricated pieces that can easily
developable way, the less use of material and the produced by laser cutting machine, and the be
smooth lines work together to introduce a sense assembled on site. Also in case there is a damaged
of light weight and softness into the space. pieces over occupied period, the project can be
repaired or even changed partially.
CRITERIA DESIGN 49
B.3. Case Study 2.0
THE MORNING LINE by Aranda Lasch
Seville, Spain; Istanbul, Turkey: Vienna, Austria: Karlsruhe, Germany, 2008-2013
Fig.2 Fig.3 Fig.4
50 CRITERIA DESIGN
Fig.6
Fig.5
The Morning Line is a loop-like project that

has no beginning or end, lines in the composition
joins together and form a network of intertwining
figures that repeats on different scales and
rotations, it is them and the picture they made
define the structure and the space. To accomplish
this, The morning line is conceived as an infinitely
modular construction that is built from a single
shape which is named “the bit”. Each bit is
conceived as a universal brick that is mapped with
Matthew Ritchie’s drawings, in terms of the shape,
the bit is derived from a truncated tetrahedron
that shrinks or grows and then arches back onto
itself to produce three dimensional fractals.
Based on the portability, recyclability and
readjust-ability, the whole project can be easily
modified and moved around. In this case,
parametric modelling involves to increase the
variability since the change of measurements of
the bit would allow the growth and shrinkage of
the fractal. This can be achieved by trimming the
generated shapes and scaling another onto the
vertices of the previous one to create an ongoing
recursive structure.
Choosing this precedent allow me to explore
tessellation in a particular way(subdivision) at
this stage, and also think three-dimensionally,
the development of the matrix will furthermore
increase complexity of the design.
Fig.7 Fig.2, 3,4, 5. Patterns on the surfaces of truncated tetrahedron.
Fig.6. Creating patterns
CRITERIA DESIGN 51
B.3.1. Reverse Engineer
THE MORNING LINE by Aranda Lasch
Seville, Spain; Istanbul, Turkey: Vienna, Austria: Karlsruhe, Germany, 2008-2013
Creating Truncated Tetrahedron
XY Polygon Extrude Cap Explode Scale Trim

sqrt((y/z)^2-x^2) Z
0.333
Creating Overall Structure
Mapping drawings
Area
Brep Graft DeBrep Sort Item Discontinuity Cull Pt(Brep) Item P
4 Series Pt(Drawing) Item P
0
1
52 CRITERIA DESIGN
Produce a set of drawings
To reverse engineer this project, the structure is essentially modelled from “bottom-up” which
means, the geometry of each individual model is the essential, therefore the first thing is to create
the individual module, step one is to modelled a tetrahedron which is defined as generation two
and trim it by four tetrahedrons that is 1/3 of its size at each corner, this truncation then becomes
the logic. Step two is to apply the logic on the four tetrahedrons which are defined as generation
three and their smaller sized ones which are the generation four. Step three goes back to the overall
form, two large truncated tetrahedrons as generation one emerge and serve as the base geometry
for crystallisation. Final step is to map a set of drawings from Matthew onto the surface of each
truncated tetrahedron according to the generations.
Crv
Plane 3Pt Orient Boundary
Plane 3Pt
CRITERIA DESIGN 53
54 CRITERIA DESIGN
Generation 1 Generation 2
Generation 3
Generation 4
CRITERIA DESIGN 55
B.4. Technique: Development / Matrix
SPECIES Evaluate Deluny Mesh WbFrame D
WbCatmullclark WC=3 D
Level[WC] = 0.6 W
SPECIES Rotate 15 Scale D=10 D

degrees
D-50+WT v=9 v
+Vorono[V]
Type[T]=1 T=2 T=3 T=4 T=5
56 CRITERIA DESIGN
D=7 D=10 D=13 D=16 D=5 D=7
D=7 D=10 D=13 Unfold Unfold Unfold

WT=5 WT=5 WT=5
D=20 D=40 D=40 WC=0.6 WC=3 D=40

+WT +WT
WC=3
v=11 v=20 v=50 Unfold Unfold Unfold
T=6 T=7 T=8 T=9 T=10
CRITERIA DESIGN 57
B.5. Technique: Site analysis
The site is a meeting room at the heart of an office which is currently under
construction. The site is ideally a rectangle with 4x6m dimension, the site is surrounded
by glass wall on three side.
1:50 @ A4
Plan
1:50 @ A4
Section Perspective
58 CRITERIA DESIGN
B.5. Technique: Material Test
Paperback Timber Veneer
The selected material is timber veneer but with a paper glued on one side to increase
its flexibility. Although it is extraordinary flexible when bend against the grain, contrastively
it is relatively tough to bend along the grain.
Type 1 : Bend along the grain
Type 2 : Bend against the grain (with 1cm fixed at each end)
Type 3 : Bend against the grain
Type 1
Type 2
Type 3
CRITERIA DESIGN 59
B.5.1 Technique: Prototypes - concept
The studio has been separated into several groups of 2-3 students with similar
interests. Started from the exploration of tessellation and material performance, Feng
Chao, Haotian Wu and I needed to come up with a proposal in a week, although we
were in the same research field, we studied different approaches. Fortunately, this
difference well categorized our new prototype in terms of three tracks.
OVERALL FORM MACRO-SCALE
JOINT/TESSELLATION MESO-SCALE
INDIVIDUAL MODULE MICRO-SCALE
60 CRITERIA DESIGN
B.5.1 Technique: Prototypes - Feng Chao
Macro Scale, overall form

A macroscope formfinding is to design from top to bottom, the overall form dominates
the design. Derived from the precedent study “Aggregated Porosity”, with considerations of
the site and in order to meet the certain atmosphere needs, Feng Chao initially developed
his idea into a prototype with a contrasting theme, a contrast between dynamic & static,
curvature & flat, touchable & untouchable.
KEY SELECTIONS
Citeria Met
Interlocking Panels
Seperated Ceiling Modules
Split Scaling
Contrasting Panels
Opening For Shadow
Fig.8
CRITERIA DESIGN 61
B.5. Technique: Prototypes - Haotian Wu
Micro Scale, individual module and material performance
Fig.9 Iterations
Fig.13 ICD/ITKE Pavillion
Fig.15, 16, 17, 18. Testing prototypes
A microscope formfinding is to start from the basic components and details, the overall form
might be even determined by the individual module. Derived from the precedent studies “VoltaDom”
and “ICD/ITKE pavilion 2010”, with considerations of the material performance, Haotian Wu thought
that individual module should be decided prior to anything else, he initially experienced several
possibilities of the selected timber veneer, since conventionally timber veneer has been used to
create relatively straight and flat elements, here we tried to bend it three-dimensionally. Later some
issues seriously influenced the shape of individual module especially the problem of joints, so we
learned from precedent project “Dragon Skin Pavilion” - to notch each individual module, and at the
same time, we changed to hexagon shape with a more pleasing visual effect.
62 CRITERIA DESIGN
Fig.10, 11, 12. Modules based on “VoltaDom”
Fig.14 Details
Three types of new prototypes
CRITERIA DESIGN 63
B.5. Technique: Prototypes - Guanjin Chen
Meso-scale, Waffle system and Recursive Subdivision
Waffle System
Interative
Physical models of prototypes
64 CRITERIA DESIGN
My initial idea was to produce a ceiling
that the design of structure and single
elements is equally important, derived from
precedent studies “Voussoir Cloud” and
“the Morning Line”, my prototype split into
two parts, part one is a waffle structure
with designed curvature to further define
the installation of part two; part two is pre-
assembled offset based on the repetition,
rotation, scaling of one single module, based
on the principle of recursive subdivision. Later
this idea is embedded into the new prototype
as the relatively “flat” system which would be
installed on the wall and people might be able
to touch the material. At meso-scale level, it
also solved joints problem of this system.
Three types of new prototypes
CRITERIA DESIGN 65
B.6. Technique: Proposal
The “WO - CLOUD” by Group
Our proposal at this stage is to design a ceiling that is composed by two parts.
ATTACHING
Static, Flat
- The diagrams and image on the left hand side show
the part that will be installed on the wall, the randomly
subdivided hexagon pieces are attached on the waffle
structure to create a sense of static contrasting to the other
part. This part will also allow user to get closer to touch
and feel the material.
Connection of two systems
66 CRITERIA DESIGN
SLOTTING
Visible surface of the `“dynamic” system
Dynamic, Curvature
- The diagrams and image on the right hand side show the
part that will be hanging above head, each piece is ideally
notched with the one next to its wider side, and attach
with the one on its longer side by one hanging hook. The
whole part delivers a sense of dynamic both by every single
module, and the curvature of the overall form.
CRITERIA DESIGN 67
68 CRITERIA DESIGN
CRITERIA DESIGN 69
Objective 1 Objective 2
Studio brief - design a ceiling for a meeting Learned from tutorial videos and online
room, has provided both direction and forums for grasshopper, I can produce more
limitation to my selection when using digital attractive forms using parametric tools in
modelling tools. In the iterations of Case Study complex/simple logic, and I’m able to step
1 & 2, plug-ins such as weaverbird, kangaroo back and the final result can be completely
were really useful for form finding, I tended difference just by changing simple thing.
to create more complex however buildable Throughout the iterations, I understood the
module with relatively lightweight and porous logic of scripts and alter them accordingly.
character, in order to be expandable and fit in
the site.
B.1 B.2 B.3
The open-ended brief of studio Air allows us Contemporary architectural projects are now
to critically design base on our own studies. days more or less raised from the advance
Embrace every new ideas and think it critically digital tools, even the concept, for instance,
is crucial today, as a group, it is not easy to by pushing the limitation to extreme,
discussed, argued and eventually came up computation itself can be the premise of
with an idea that meet everyone’s interests, a project, and the architectural intent on
also its rather tough to find logic behind and the other hand goes back to influence the
develop it subsequently. exploration of computation capacities. In this
case, understanding tools and application of
parametric design, enabled the critical analysis
in B.1 and choice of precedents for B.2 and B.3.
70 CRITERIA DESIGN
B.7. Learning Objectives and Outcomes
I extended my knowledge of digital modelling Air, is about fluid form, transformable
program such as Rhino, Grasshopper through structure, and atmosphere of surroundings,
the practice of iterations, reverse-engineering it fits in the context, changed by the context,
and prototyping undoubtedly, I learned about and sometimes, influences the contexts. Such
the knowledge of various 3D media such as air-like architectural practice brings a sense
the laser cutter for physical modelling as well. of dynamic, lightness and freshness into the
These skills provide me more possible solution space, along the development of parametric
for my design. tools, this qualities can be achieve through
form-finding.
B.4 B.5 B.6
Foundational understanding of computational By getting familiar with computational
geometry, data structures and types of techniques, I am aware the importance and
programming has obviously been developed, potential of this field, using parametric tool is
websites for instance, food4rhino and definitely a short-cut, however, understanding
grasshopper3d are extremely useful when I’m its pros and cons, knowing what/when/
facing problem and looking for solutions. Also where to apply are rather essential. Moreover,
discussion with classmates can produce even although computation introduce a brand new
more creative outcomes sometimes. way of designing in architectural field, beside
using it expertly, becoming the programmer
of programming is what we’re aiming for at a
higher level.
CRITERIA DESIGN 71
B.8. Appendix - Algorithmic Sketchs
72 CRITERIA DESIGN
CRITERIA DESIGN 73
74 CRITERIA DESIGN
CRITERIA DESIGN 75
76 CRITERIA DESIGN
CRITERIA DESIGN 77
BIBLIOGRAPHY
1. Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’.
Architectural Design, 83, 2, pp. 56-61
1. Dragicevic, Pierre, “Gaudí’S Hanging Chain Models | List Of Physical Visualizations”, Dataphys.org,
2015 <http://dataphys.org/list/gaudis-hanging-chain-models/> [accessed 20 April 2016]
2. “VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.com <http://www.iwamotoscott.com/VOUSSOIR-

CLOUD> [accessed 19 April 2016]
3. Contemporary, Thyssen-Bornemisza, “The Morning Line – Matthew Ritchie Aranda\Lasch Arup

AGU”, Issuu, 2015 <https://issuu.com/tba21/docs/the_morning_line_book_with_cover> [accessed 16
April 2016]
IMAGE REFERENCE
1. http://www.iwamotoscott.com/VOUSSOIR-CLOUD
2.3.4.5 http://www.spans-associates.com/hidden-3/
6. http://arandalasch.com/works/the-evening-line/
7. http://thecreatorsproject.vice.com/creators/arandalasch
8. https://issuu.com/chaosp/docs/air_studio?e=11281466/34263073
10. 11. 12. 14. Credit to Haotian Wu
78 CRITERIA DESIGN
CRITERIA DESIGN 79
C
80 PROJECT PROPOSAL
C.1. DESIGN CONCEPT
C.1.1. Materiality 84
C.1.2. Key Notes 86
C.1.3. Site Consideration 87
C.1.4 Flow Chart 88
C.1.5. Diagram 90
C.1.6. Lighting 92
C.2. Tectonic Elements and Prototypes
C.2.1. Prototype 1 96
C.2.2. Prototype 2 100
C.3. Final Detail Model
C.3.1 Prototype 3 104
C.3.1. UV Value and Price 110
C.3.2. Further Development 112
C.4. Learning Objectives and Outcomes 116
PROJECT PROPOSAL 81
Perspective
82 PROJECT PROPOSAL
C
C.1. Design Concept
PROJECT PROPOSAL 83
DESIGN CONCEPT (MATERIALITY)
Photo of the mid-term proposal
84 PROJECT PROPOSAL
Twisting Test
Derived from the midterm presentation, Simultaneously we still believe that this
our idea was inherited from proposal - the material based logic should be incorporated,
“Wo-Cloud” and has been developed further. this time we started by playing with the
Initially, the previous proposal focused on timber panels in a 3-dimensioanl way to
the internal feature of the chosen material extremely exhaust its potential.
- paperback timber veneer, and has been From the above images, we discovered
inspired by several successful projects, for that twisting the strip can produce diamond
instances, “DragonSkin”, such connection shapes from different angles which can be
like “notch” was used to interrelate the tessellated on any surface, also the grain
individual components, though it was along the bending direction creates a
successful in using some aspects of the naturally flowing pattern. As what we did
timber veneer material property to create a in the previous proposal, we now found the
single integrated surface. starting point of the micro-scale tectonic, we
However the we were limited by the went back to the macro-scale formfinding.
simulation of the overlapping and notching
between panels, also the design language
diwe realized that this logic might not be
suitable to a complex curved surface and
has relatively low potential to make further
development.
PROJECT PROPOSAL 85
CONCEPT (KEY NOTES)
Fusion
Collision
Stream Line
This time we attempt to achieve the

three key notes mentioned in the midterm
presentation:
1. Streamline, the overall form is tessellated 3. Collision: the form should compose
into single members which is made out of two contrasting parts or different tectonics
timber veneer, to present a smooth surface in order to enhance and to vibrate the
with geometrical nuance in the office atmosphere
meeting room.
2. Fusion: the ceiling is extended to the

wall to integrate the design into experience,
allowing users to have a close look and
closely touch the material.
86 PROJECT PROPOSAL
CONCEPT (SITE CONSIDERATION)
Plan Morph Front Elevation Morph
Side Elevation Morph Entrance
Again we started from the site analysis.

The meeting room is wrapped with glass
wall is the central piece of the office, it
has a strong sense of transparency and
communication. Since the office is located on
the ground floor, visually speaking the space
and the interior design should be shared
by the whole floor and even by the outside
passers-by, the open floor to ceiling height
of the meeting room also has great potential
to be exhausted. However, the solidity of the
side supporting columns and the back wall
breaks the spatial transparency. So we think
it would be a good opportunity to infuse our
design on the three elements
1:50 @ A4
Plan
PROJECT PROPOSAL 87
CONCEPT (FLOW CHART)
Generating Form Tectonics

Site analysis U V
Structure
SIde view
Lunch box diamond

Piping
strcutrue
Front view
Joints
Plan view
Structrual
Boolean into joints

Taperin
accounting for depth
Generating site model
Micro adjust left ceiling P a n e l

Use base of column as via graph mapper
origin point Digitalised handdrawn
artistic clip
L o f t
Interploate curves
Panels
Micro adjust right
ceiling via graph
M ove c u r ve s to s i te
Ex trac ting alternate BizerSpan
Cost control
measures
Update on site constrcution
Mateirla testing
Data of material's twisting
88 PROJECT PROPOSAL
Fabrication Installation
Indexing Cutting and labeling Attach ceiling hook to X

@ Offset for
structure segments joints
Module
assemblage All module
offsite assemblage
Onsite final Assembly
ng Create central hole for 3D print with
Laser cut brass sheet
Adjust extend of bend L o f t U n r o l l Indexing Laser cut timber veneer

sheets
C o s t
PROJECT PROPOSAL 89
PLAN MORPH
Unity Division Overlapping Wings Twist & Coil Swirl
So based on key notes and criteria And from the front view, we intentionally
mentioned before, we started morphing the add some angular or bulge nuance where
form from three views. From the top view, we the space will not hinder users. So the design
initiated the two sides from the two columns will be viewed as a deliberate jewellery in
and collide them in the central lighting space. the glass box and even the outside passer-
Then based on feedback from Finn, instead by will be attracted. And then we accentuate
of creating two mere surfaces, we should the spatial swirl on the back wall so when
overlap or even swirl the two wings so that users enter the room the space is relatively
the design can conduct a more spatial and 3 open but in the end of the vision point the
dimensional sense. two streams twist and blend.
On the side view, we started off by
pushing the form inwards closer into the
column giving more un-secluded glass
area for the meeting room. Later from user
circulation and form analysis we moved the
ending point for the veneer tapering high
along the column. This despite the extending
area, we taper the curve below the ceiling to
save more free space for users and because
of the clockwise circulation, we lift the left
side a bit to strengthen the unbalance and
to create an more lively asymmetrical design.
90 PROJECT PROPOSAL
SIDE ELEVATION MORPH
Open Up View Geometrical

Antisymmetry &
Circulation
FRONT ELEVATION MORPH
Viewing Adjustment Spatial Nuance Inverting Surfaces
PROJECT PROPOSAL 91
LIGHTING (ARRANGEMENT I)
Fragmenting Low Frag High Frag

Edges
ARRANGEMENT II
Emphasising Central Split Shear Split

Central Spiral
92 PROJECT PROPOSAL
ARRANGEMENT III
Softening Along Edge Against

Edges Edge
Lighting system is also considered in Arrangement III: Learned from previous

this case due the functional aspect of the arrangement, this type of lighting has both
project, to serve the meeting room where the characteristic of fragmentation that
requires enough light. Generally speaking, continues the design language, and the
lighting needs to either be able to illuminate, sense of fluidity which we aim to deliver. This
or to create an atmosphere, in this case the arrangement is used in rendered image.
lighting incorporate into the whole design.
We plan to launch the lighting for the central
In order to achieve the effect, we consider
area and to be consistent with the design
LED stripe as one of the option, with two
language.
mode to adjust intensity. However, this needs
to be further discussed with the firm(see
Arrangement 1: As the starting point, we page 114).
smoothed the edges of two sides, fragmented
the new “edges” according to the directions
of the structure.
Arrangement II: Derived from arrangement I,

the new “edges” are now enclosed, and form
a loop with offsetted smaller loops.
PROJECT PROPOSAL 93
Front V`iew
94 PROJECT PROPOSAL
C.2. Tectonic Elements & Prototypes
Talking about the story of prototyping, essentially we tried to balance the sense of
presence of both panels and supporting structure, the model experimented different means
of fabrication optimization in conjunction to design finalization.
PROJECT PROPOSAL 95
PROTOTYPE I
Structure
96 PROJECT PROPOSAL
Panels
PROJECT PROPOSAL 97
PROTOTYPE I
Overall Slotting & Slicing Edged Joint

Composition Panels
Slotting & Clipping Adjustable
98 PROJECT PROPOSAL
The first prototype, the panels are However we found two main problems,
attached via slot and slice method. In order firstly, because the panel is clamped between
to test the requirement of firmness we the diamond edges, the timber panel
designed relatively large joints, we utilized tectonically cannot cover the metal strips or
metal strips to clamp the timber panels joints and gives an undesirable exposure of
and trim the panels after adjusting the structure. Secondly, both the structure and
position, this generation is very flexible and joints are designed in a rigid sense which
allows a high level of error tolerance during didn’t response to out design criteria very
installation, results the minimized difference well. Following problems for instance, the
from digital version to physical performance. 3D printed joints are too fragile to handle the
heaviness and high stress of the structure,
the additional clips that are required.
Additional Clips
High Stress Region
PROJECT PROPOSAL 99
PROTOTYPE II
Back View
100 PROJECT PROPOSAL
Front View
PROJECT PROPOSAL 101
PROTOTYPE II
Overall Slot & Anchor Smooth Joint

Composition
Pla Standard Connection
Metallic Connection
Piano Wire 2.0
Panel Connectors

The second prototype, with previous But concurrently the issues were obvious,
experience, we reduced the size of the the unrolling step from digital model to the
joints that are connecting the structure and physical laser-cut panels is not so accurate,
redesigned them with a smooth language. we had to increase the number of connectors
We also changed metal strip to 2.0mm thick to match the punched hole which means we
piano wire as rods to achieve a lighter, more lost our intention at the first place. In addition,
subtle effect. Moreover, we customized panel we realized that the panel connectors are in
connectors to hold the timber panels so that fact quite standardized components that
the panels could cross above the structure could be easily purchase from the market,
like an offset and cover the back. therefore from an economical aspect 3D
print is not necessary.
Unrolling issue
Exposed connectors
0mm

C.3. Final Detail Model
PROTOTYPE III (low density)
For the final prototype we modelled two section based on different areas
of the ceiling. The Low-density was chosen from the bottom part while the
High-density was chosen from the upper part.
Structure
Panels
Back View
PROTOTYPE III (high density)

Front View

Paper Clips
Aluminium Strip + Rivet
Aluminium Strip + Bolt
Aluminium strip (hand cut

- Laser cutter could involve
develop further
- Various choices of materia
brass, copper, etc.
- Customized shape

The final prototype, we designed and And we also used 3d printed joints to
fabricated the metal clamps in a traditional connect structure, we printed them in black
mechanical way of jointing, we picked to allow them easily blend in the background,
screws from this three version to fasten, and in a smooth language in response to the
the development also concerned about aesthetic aspect of the whole design. Lastly
economical effectiveness because the to ensure the timber panels in position, we
previous 3D printed clamps are apparently punch the hole during installation.
relatively expensive and unnecessary.
Laser Cut Timber Panels
3D Printed Joints (Labelled) Piano Wire (cut to size)
Clamps
Bending strip
t) - Two stripes on each piano wire Assembling Installing Timber Panel
if - Safe but relatively labour- - Prefabricated components - Insert timber panels into
intensive - Fast and organized clamps
al, - Use screws to fasten

UV VALUE AND PRICE
U25, V6 U35, V8 U60, V12

Timber Veneer Area: 37m2 Timber Veneer Area: 49m2 Timber Veneer Area: 83m2
Cost: $1,961 Cost: $2,614 Cost: $4,366
Joints No.: 178 Pcs Joints No.: 320 Pcs Joints No.: 792 Pcs
Cost: $1,424 (black plastic) Cost: $ 2,560 (black plastic) Cost: $6,336 (black plastic)
/ $1,780 (metallic plastic) / $ 3,200 (metallic plastic) / $7,920 (metallic plastic)
Rod Length: 182m Rod Length: 253m Rod Length: 419m
Rod Cost: $646 Rod Cost: $896 Rod Cost: $1,486
Total Cost: $4,031 Total Cost: $6,071 Total Cost: $12,189

Aiming to bring architecture from paper
to real life, three key elements to be taken into
account- cost, time and labour. Calculated
by adding the retail/wholesale prices
which are provided by “Ventech” for timber
veneer, “Albion Alloys” for piano wire, and
“Shapeways” for 3D printed joints. We came
up with three options, apparently with the
lowest cost, the ceiling lacks certain aspects
of the overall form, and with the highest UV
value, the ceiling requires to be built highly
labour-intensive. Therefore, considering
visual effect, budget and completion time,
the second iteration - U35 V8 is the optimized
option at this stage.

FURTHER DEVELOPMENT
OVERALL FORM, SITE, AND GENERAL CONSIDERATIONS

Column
With great pleasure, our project was 2. Ordering Materials and Cost: considering
selected to be built after the final presentation, delivery time, we should order material
therefore the following finalizations need to concurrently with design finalization.
be accomplished very carefully. However we found it is actually hard since
at a scale like this we are more likely to buy
1. Overall Form: refer to the “UV value an d materials from retailers instead of wholesalers,
cost” section, comparing the visual effect and another problem is due to the complex
and buildability, we reset the value to U50 of the project, local retailers couldn’t supply
V10, brought up the whole ceiling to leave enough materials. So we ordered materials
more room for users and to further open up like carbon fibre rods, Chicago screws from
the space. After visited the construction site, China (reduced the price also), for timber
we realized there is a major issue we have to veneer, we ordered them from our usual
deal with - the sprinkle, which goes through supplier Ventech. Considering delivery time,
the meeting room at roughly 300mm away they should be arrived at around the same
from the ceiling slab. Therefore we adjusted time. And for laser cut, we contacted laser cut
the design to avoid the sprinkle, without company which has the larger cutting table,
changing most parts. and plan to cut the smaller components at
university.
2. Details Finalization: from the feedback,
we redesigned nearly everything however 4. Timeframe: we are assigned to finish the
still with the same principle. (refer to section entire installation by the end of June, the
“Structure and Tectonic Details”) process of assembling is relatively easy and
fast, however the preparation was a lot
more time consuming than we expected.
Fortunately upon the time of submission we
nearly confirmed everything.

STRUCTURE AND TECTONIC DETAILS
12mm 15mm 50mm
Overall Shape
Detailed Section
As discussed in the previous LIGHTING

section, we met with Finn to finalize the light
in the meeting room, he suggested a simple
diamond geometry to go along with the
Manufacture
basic of the design, we also agreed with the
simpleness of the new shape. Moreover, in
order to make the bending of the light tube
possible and also bring enough lights into
the room, a radius of 15mm neon light tube
is chosen with two intensity for specific uses.

Diagrams of clamps:
Joints
Axonometric
Piano Wire 2.5mm
Carbon Fibre 3mm

Section
Carbon Fibre 1mm
1. Structure: 3mm carbon fibre rod was

chosen, due to the consistency of color and
the light weight of the rods. The rods are
capable to be bend at a desirable level, and
Front can resist enough compression and tension
in this case.
2. Joints: the new joints could blend in the
structure better, and also more subtle,
emphasis the design language.
3. Clamps: the clamps were redesigned in a
unique form, and chicago screw which has
the same finish on both sides took place of
the previous screws. However, we couldn’t
find the one with the right length, so we
decided to add washers on both sides. We
imported chicago screws and carbon fibre
rods from china, and plan to laser cut clamps
in brass, washers in polypropylene locally.
Back View

View From Inside

C.4. Learning Objectives and Outcomes
The design project is about an architecture When taking it further after final proposal,
that is rather site specific, it responses to the with the group, we concerned more about
conditions of the site in relation to specific how to bring the design into the reality,
clients, such as our client - Hachem, their therefore, the selection of materials is crucial.
clients, and potentially anyone else that could Overall, Studio Air has given me a great
engage with the design directly or indirectly. opportunity, to analyse and think critically
The complexity and the level of detail requires about contemporary architectural practises,
the use of parametric tool to simulate, to to develop understandings of computation
generate with certain parameters that are and to improve my technical skills, and the
associated with our considerations, such as most important, to work as a team and solve
materiality, street view and user experience. problems as a team. I would like to thank my
Derived from interim presentation, initially Tutor Finn who is always so supportive. And
our ideas was quite different according to thanks to my groupmates Chao and Haotian,
individual intention, however the group as a working together for nearly the entire
whole, found the common values and desires semester plus extra time to build the ceiling
that we could develop further. After endless has been a priceless memory.
tests of materiality, we have not only found
the right one but exhausted its potential,
and through this process my model making
skills were significantly improved. Moreover,
I found the communication with Finn and
his feedback is rather important, this enable
us to think critically and fix the issues of the
project, also to prevent potential problems
from happening.

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STUDIO AIR

2016, SEMESTER 1, FINNIAN WARNOCK

A.1 Design Futuring 9

A.2 Design Computation 15

A.5 Learning Outcome 27

A.6 Algorithmic Sketch 28

PART B CRITICAL DESIGN

B.1 Research Field 41

B.2 Case Study 1.0 42

B.3 Case Study 2.0 50

B.4 Technique: Development 56

B.5 Technique: Prototypes 61

B.6 Technique: Proposal 66

B.7 Learning Objectives 70

B.8 Algorithmic Sketch 72

PART C DETAILED DESIGN

C.1. Design Concept 82

C.2.Tectonic Elements and Prototypes 94

C.3.Final Detail Model 104

C.4. Learning Objectives and Outcomes 116

- “Computation work in architecture made design possible(not simple) to everyone”

- “However documentation is losing individuality and being stylised”

- “Not saying this is negative, I’m talking about an inevitable trend”

SECTION OF STUDLEY PARK BOATHOUSE

CASE STUDY A.1.1 CroATiAn PAvilion

5 CASE STUDY A.1.2 MUSéE DES ConflUEnCES

Undoubtedly, the integration between Apparently, computation introduces much

“MAD’s research concerning the integration of digital media into architectu

CASE STUDY A.2.1 AbSolUTE TowErS

12 CASE STUDY A.2.2 “AS AUTUMn lEAvES”

Architecture, beyond just the visual aesthetic

Within three weeks, my knowledge of

1. Dezeen.(2012) ”Absolute Towers Twisted Skyscrapers By MAD”.<http://www.dezeen.com/2012/12/12/

2. Tallbuildings.ru. (2016).”«MAD» Architects”. <http://tallbuildings.ru/en/sumasshedshie-arhitektory> [

3. ArchDaily. (2012). Absolute Towers / MAD Architects”. <http://www.archdaily.com/306566/absolute-

5. Dhub.org. (2016) As Autumn Leaves | D*Hub”. <http://www.dhub.org/as-autumn-leaves/> [ accessed

6. Egs.edu. (2016). Patrik Schumacher - The European Graduate School”. <http://www.egs.edu/faculty/

8. rok-office.com.(2016).”ROK - Rippmann Oesterle Knauss Gmbh | Projects | The Sequential

9. ArchDaily.(2010) “Croatian Pavilion At The Venice Biennale”. <http://www.archdaily.com/74469/

10. Coop Himmelb(l)au(2016) “Musée Des Confluences”..<http://www.coop-himmelblau.at/

Initial model Anchor points

Derived from this project, firstly as what they have

D=-2 D=-1.5 D=-1

N=8 N=10 N=16

All columns Wall Interval

COIN & DIAMOND

Box morph Box morph Box morph

F=-1 F=0.3 F=1

Visually Attractive Light & Shadow Effect

This three-dimensional voronoi skeleton Considering constructibility, this model could

Fig.2 Fig.3 Fig.4

The Morning Line is a loop-like project that

Creating Truncated Tetrahedron

XY Polygon Extrude Cap Explode Scale Trim

Creating Overall Structure

SPECIES Evaluate Deluny Mesh WbFrame D

SPECIES Rotate 15 Scale D=10 D

Type[T]=1 T=2 T=3 T=4 T=5

D=7 D=10 D=13 Unfold Unfold Unfold

D=20 D=40 D=40 WC=0.6 WC=3 D=40