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
Over time, architecture from an art form
that’s treated by Renaissance architects through
decorative elements, to a space that modernist
architects more concern about its function and
technical aspects. However, architecture is no
longer simply refer to form or functions, it posses
with functional aspects and aesthetic qualities.
As today, we see the growing importance of
design as it shapes the perception of material
world[1], yet its design is outdated as a solution
to the still accelerating defuturing condition of
unsustainability[2]. Therefore an urgency for a
new culture of design and to be specific, new
culture of architecture.
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
A.1 Design Futuring
According to Fry, toward sustainability, not only
the conventional design process and techniques
should be abandoned, but also the ideology and
entire mindset [3]. A shift towards design that use
speculation for critical a provocative purposes
is highly needed, as Dunne & Raby believe,
the skill here is making links between today’s
world and the suggested one [4], designers are
encouraged to dream something impossible to
reflect on present instead of hopping something
possible that only leads them to a destined
future. Here the advanced design process would
allow more possibilities and potentials on the
design, or in other way, the design itself allow
more possibilities and potentials, for example
to influence how we perceive and what we
experience.
CONCEPTUALISATION 9
 Fig. 1

Fig. 2
FIG.2

10 CONCEPTUALISATION

Fig. 3
CASE STUDY A.1.1 CroATiAn PAvilion
The project is a floating Pavilion to present
arts and architecture of Croatia at the Venice
Biennale in 2010. It is designed by a group of 14
leading Croatian architects, who have made the
recent Croatian architecture visible on the global
scene. Unlike working in the usual formats of
their previous speculative projects, designers
decided to work together on a single proposal.
Based on the idea of Mirage which is an
optical phenomenon naturally occur in which
light rays are bent to produce a displaced image
of a distant object or the sky, the structure is
constructed on an existing barge welded from
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.
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. 4
The use of space is therefore ambiguous and
the distinction is blurred, the context of space is
not taken as shelter here, and unlike all pavilion
kind of structures. The structure reveals itself
with different densities of steel mesh, although
it seems to be transparency and easily perceived,
only entering it can fully understand its spatial
organisation. On the other hand, it brings a wire
frame drawing into the reality, it’s more like a
raw armature of space with its own characteristic
before a completed rendering. It inspires not
only design pieces afterwards but introduces a
new way of spatial design that reconnects the
inside space with outside surroundings.
CONCEPTUALISATION 11
 Fig.

12 CONCEPTUALISATION
Fig. 6

5 CASE STUDY A.1.2 MUSéE
The project is designed back in 2001, completed in
2014 after 4 years of construction. As a museum it was
envisioned as a “medium for the transfer of knowledge”
and not as a showroom for products. Undoubtedly the
reflection of modernism had an enormous and long-
lasting impact on the young architects back in 50s, 60s,
while Coop-Himmelb(l)au is one that stands out among
them. Their projects can not be simply defined as
“deconstructivism”, their reflections on the complexity
of architecture expresse their exploration of future, and
architectural language such as “pluralism” and “complex”
- Key word: Cloud.
The structure is floating above the ground supported
by fewer columns, what’s interesting is that the result
of this is the specific features of the building gave
way to functional features of the city, the ground was
greatly contributed to the city life and shapes public
space underneath. This idea of a living room in city grid
introduced a way of improving citizen’s daily life, also
address the issue of crowdedness in the growing.
Fig. 7
DES ConflUEnCES
- Key word: Urban
The building ground of the museum is located on a
peninsula that was artificially extended 100 years ago and
situated in the confluence of the Rhône and Saône rivers.
The building serves as a distinctive beacon and entrance
for the visitors approaching from the South, as well as a
starting point for urban development.
- Key word: Space and logics behind complexity
“The Musée des Confluences understands itself not as
an exclusive “Temple of the Muses” for the educated elite,
but as a public gateway to the knowledge of our time.
It stimulates a direct, active use—not only as a place of
contemplation, but also as a meeting place in the city.”
Coop-Himmelb(l)au believes today’s knowledge
can no longer be divided into separate areas because
of the interwoven of multidisciplinary, such a result is
mapped to the inevitable performance of fracture, fuzzy,
overlapping, cross and other features of architectural
space.
CONCEPTUALISATION 13
14 CONCEPTUALISATION
 A.2 Design Computation

Undoubtedly, the integration between Apparently, computation introduces much

computer and architecture is dominant in this
accent of science and technology, this new
continuity if man-machine relationship has
become a medium that assist design thinking
and making[1]. From initially being medium to
represent digitally which computerisation does,
to design approach which computation does,
however, it is rather important to distinct the
definition of computerisation and computation
and how they have changed the discourse
of architecture in terms of methodology and
thinking.
simpler and more creative opportunities when
user illustrate and edit their design, although
it opened the study of complexity in design,
incorporating various design parameters and
exploring performative design of material
systems, it does not automatically establish
the design as innovative. Computation uses
computers to produce and develop ideas
that can be seen as puzzle making but not
problem solving[2], architects need to select the
optimised one among all to fulfil the task.
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

CONCEPTUALISATION 15
 Fig.

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

design, demonstrates a unique approach toward architecture”
- MAD

16 CONCEPTUALISATION
Fig.

CASE STUDY A.2.1 AbSolUTE TowErS
8
Absolute Towers are one successful practice of MAD
Architects, completed in 2012 at Mississauga, Canada.
ural These two high-rises depart away from traditional
skyscrapers which throughout the process of urbanisation,
have been symbols of wealth and prosperity of the society
and region, and technological bravado, the project
jumped out of the limited framework that often results
in limited stereotype impression, which is normally rigid,
linear structures. Similar to “Turing Torso” located in
Sweden, what makes this project unique is the rounded,
pure looking. Behind this is the simplicity and clarity of
the structural logic, another building is constructed after
the success of the first one, which work in concert with
the power of aesthetics that’s based on the form.
Functionally, the entire building rotates by different
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. 10
The generation of the building when explained
appearance is rather simple, but in terms of the
construction phase and even prior to that, conventional
methods were not as capable as digital methods when
generating forms and testing both natural and social
vectors, in order to understand and explore flexibility and
new possibilities in hereunto in simple and traditional
functions, structures then are no longer separated away
from human life and urban environment.
However, it’s been criticised a major issue which is the
wastage of vertical spaces especially the shift of service
ducts and pipes. Moreover, the idea of the peripheral
communal balcony is not as efficient as it supposed to be,
it might not only be a wasted space but a nuisance to the
occupants.
CONCEPTUALISATION 17
Fig. 11

Fig.

18 CONCEPTUALISATION

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
Leaves”(AAL), designed and built by students of
the Laboratory for Computational Design, as a
spatial installation that’s based on ephemerality
of nature. Began with the study of geometric
growth patterns and geometries related to
natural logics and materials, parametric deign
tools were involved to investigate variation
and adaptability within the systems. Leaves - as
individual components were digitally fabricated
using laser cut acrylic which is strong in tension
that allows bending, acrylic “leaves” were then
pre-assembled into “families” and aggregated
on site. Moreover, in order to evaluate wind and
gravitational forces, physics based modelling
programs were used to generated solutions
under certain circumstances, therefore results in
a floating structure in the existing spaces.
Fig. 13
“At LCD we understand the complexity and
the publics’ curiosity in computational design.
With this in mind we attempt to create work
that utilizes these methodologies while rooting
design in the emotive and ephemeral. By evoking
memories and emotions the experience is far
more important than the image.”
The project “As Autumn Leaves” is remarkable
not just for the unique design, but the way it
regenerated and introduced new possibility
into the decaying traditional culture, their works
inspired generations now days new way to
design and construct architectural forms.
CONCEPTUALISATION 19
20 CONCEPTUALISATION
 A.3 Composition/Generation

The shift from composition to generation in
the design approach of architecture is induced
by the advancement of digital technology, and
since the communication level of the user and
design is based on design components, for
instance drawing, erasing, etc, this change also
parallels the shift from traditional drawing/
sketching to computing. However, there is
much more to do more than representation,
by computing, architects are able to predict
design outcomes during design process with
the model which computer generates, the
simulates performance analysis and knowledge
of materials and construction systems, and by
experimenting solutions before realising them,
increase the effectiveness and suitability of
solutions to complex design problems.
“Architect write programs to customise their
design environments”[1]
With the generative design, algorithm thinking
is introduced, a recipe for getting computers to
do something[2] works in imitation of natural
rules and generate endless variations. It is a form
finding process where creative ideas and forms
interlink in a series of algorithms rather than
form making.
As shown in Lecture 3, the Bird-oid Objects
described a generative design process based
on the behavioural response of the biological
characteristic of birds, by scripting the computer
to keep a certain distance between units under
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

CONCEPTUALISATION 21
 “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

22 CONCEPTUALISATION
 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
of Architecture and Digital Fabrication at
data ETH Zurich in 2008. The Sequential wall is a
performance based design in robotic timber
onal construction, it researched and explored the
architectonic and constructive potential digital
fabrication.
Essentially the task was to integrate the
functional requirements, such as load bearing
and insulating behaviour as well as its
constructive weather protection and thermal
performance, which are the basis for every
design, to an external timber wall.
Because structurally the construction is rather
simple - a 6axis industry robot cuts commercially
available wooden slats to length and stacks them
to walls, physical experiments are explained to
define their arrangement and scope of variation,
therefore requirements were taken as generative
parameters into the design system, abstracted
into design algorithms, which results in a
constructive system whose properties in terms
function and design go beyond the individual
batten module, and there characteristics were
tightly bonded that they became mutually
dependent. Although practically speaking,the
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.
CONCEPTUALISATION 23
 “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

24 CONCEPTUALISATION
 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

CONCEPTUALISATION 25
 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

26 CONCEPTUALISATION
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.

CONCEPTUALISATION 27
28 CONCEPTUALISATION
 A.6 Algorithm Sketches
(for more information refer to “Algorithm Sketch Book”

CONCEPTUALISATION 29
30 CONCEPTUALISATION
CONCEPTUALISATION 31
32 CONCEPTUALISATION
CONCEPTUALISATION 33
34 CONCEPTUALISATION
CONCEPTUALISATION 35
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]
36 CONCEPTUALISATION
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

CONCEPTUALISATION 37
B
38 CRITERIA DESIGN
CRITERIA DESIGN 39
40 CRITERIA DESIGN
 B
Tessellation is the division of a surface into
smaller, repetitive geometrical patterns both
on 2-dimensional surface and 3-dimensionally
volume, without generating gaps or
overlaps. With the emergence of advance
digital technologies now days, tessellation
can easily be optimized and embedded into
complex forms without compromising to
certain concerns. Conventionally, we saw
tessellation most commonly through the
façades as decoration, however, designers
today begin to explore the full potential of this
research field, by integrating tessellation into
the structure, by enhancing its performances
and by empowering the user’s experience.
B.1. Research Field
TESSELATION
The chosen project study is the Voussoir
Cloud as the catenary lines have great
potential for form finding and structural
design, the interest on tessellation, the use
of specific material and porous elements
that brings softness and lightness are all
influential in the next stage of design. The
project is made of 3-dimensional wedged
petals which connect to one another to
form five columns and several vaults above,
extending from the bottom of each column,
the petals become larger until meet another
at the top. In terms of fabrication of this
project, the petals are laser cut thin wood
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}
Variable = number slider
D=-2.5
S=0.2

INCREASE
Number of punctures {N}
Displacement {up/down}
Variable = number slider

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}
Variable = number slider

N=50
WF=30
+WT, +WC

COIN & DIAMOND

Box morph
Height {N}
Variable = number slider

NURBS Crv

FRAGMENTIZATION
Offset {F}
Variable = number slider

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
draws my attention, the way to realise interval
anchor points apparently creates great result.
The shape undulates from the lowest point on
one side to the highest point on the other side,
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
s In relation to the office, surrounding by the mass
y volume and cool colors of concrete and glass, the
g ceiling should bring softness and warmth to delight
the space.
This three-dimensional voronoi skeleton
changes the structural of the model in a
developable way, the less use of material and the
smooth lines work together to introduce a sense
of light weight and softness into the space.
Constructibility
Associate with fabrication concern and the longevity
of the project, both the overall form and individual
module needs to shift from paper architecture to
reality.
Considering constructibility, this model could
be made by pre-fabricated pieces that can easily
produced by laser cutting machine, and the be
assembled on site. Also in case there is a damaged
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
Studio brief - design a ceiling for a meeting
room, has provided both direction and
limitation to my selection when using digital
modelling tools. In the iterations of Case Study
1 & 2, plug-ins such as weaverbird, kangaroo
were really useful for form finding, I tended
to create more complex however buildable
module with relatively lightweight and porous
character, in order to be expandable and fit in
the site.
B.1
Objective 5
The open-ended brief of studio Air allows us
to critically design base on our own studies.
Embrace every new ideas and think it critically
is crucial today, as a group, it is not easy to
discussed, argued and eventually came up
with an idea that meet everyone’s interests,
also its rather tough to find logic behind and
develop it subsequently.
70 CRITERIA DESIGN
Objective 2
Learned from tutorial videos and online
forums for grasshopper, I can produce more
attractive forms using parametric tools in
complex/simple logic, and I’m able to step
back and the final result can be completely
difference just by changing simple thing.
Throughout the iterations, I understood the
logic of scripts and alter them accordingly.
B.2 B.3
Objective 6
Contemporary architectural projects are now
days more or less raised from the advance
digital tools, even the concept, for instance,
by pushing the limitation to extreme,
computation itself can be the premise of
a project, and the architectural intent on
the other hand goes back to influence the
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.
 B.7. Learning Objectives and Outcomes
Objective 3
I extended my knowledge of digital modelling
program such as Rhino, Grasshopper through
the practice of iterations, reverse-engineering
and prototyping undoubtedly, I learned about
the knowledge of various 3D media such as
the laser cutter for physical modelling as well.
These skills provide me more possible solution
for my design.
B.4 B.5
Objective 7
Foundational understanding of computational
geometry, data structures and types of
programming has obviously been developed,
websites for instance, food4rhino and
grasshopper3d are extremely useful when I’m
facing problem and looking for solutions. Also
discussion with classmates can produce even
more creative outcomes sometimes.
Objective 4
Air, is about fluid form, transformable
structure, and atmosphere of surroundings,
it fits in the context, changed by the context,
and sometimes, influences the contexts. Such
air-like architectural practice brings a sense
of dynamic, lightness and freshness into the
space, along the development of parametric
tools, this qualities can be achieve through
form-finding.
B.6
Objective 8
By getting familiar with computational
techniques, I am aware the importance and
potential of this field, using parametric tool is
definitely a short-cut, however, understanding
its pros and cons, knowing what/when/
where to apply are rather essential. Moreover,
although computation introduce a brand new
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

Derived from the midterm presentation,
our idea was inherited from proposal - the
“Wo-Cloud” and has been developed further.
Initially, the previous proposal focused on
the internal feature of the chosen material
- paperback timber veneer, and has been
inspired by several successful projects, for
instances, “DragonSkin”, such connection
like “notch” was used to interrelate the
individual components, though it was
successful in using some aspects of the
timber veneer material property to create a
single integrated surface.
However the we were limited by the
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.
Twisting Test
Simultaneously we still believe that this
material based logic should be incorporated,
this time we started by playing with the
timber panels in a 3-dimensioanl way to
extremely exhaust its potential.
From the above images, we discovered
that twisting the strip can produce diamond
shapes from different angles which can be
tessellated on any surface, also the grain
along the bending direction creates a
naturally flowing pattern. As what we did
in the previous proposal, we now found the
starting point of the micro-scale tectonic, we
went back to the macro-scale formfinding.
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
into single members which is made out of
timber veneer, to present a smooth surface
with geometrical nuance in the office
meeting room.
3. Collision: the form should compose
two contrasting parts or different tectonics
in order to enhance and to vibrate the
atmosphere

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
attached via slot and slice method. In order
to test the requirement of firmness we
designed relatively large joints, we utilized
metal strips to clamp the timber panels
and trim the panels after adjusting the
position, this generation is very flexible and
allows a high level of error tolerance during
installation, results the minimized difference
from digital version to physical performance.
Additional Clips
However we found two main problems,
firstly, because the panel is clamped between
the diamond edges, the timber panel
tectonically cannot cover the metal strips or
joints and gives an undesirable exposure of
structure. Secondly, both the structure and
joints are designed in a rigid sense which
didn’t response to out design criteria very
well. Following problems for instance, the
3D printed joints are too fragile to handle the
heaviness and high stress of the structure,
the additional clips that are required.
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

102 PROJECT PROPOSAL

 The second prototype, with previous
experience, we reduced the size of the
joints that are connecting the structure and
redesigned them with a smooth language.
We also changed metal strip to 2.0mm thick
piano wire as rods to achieve a lighter, more
subtle effect. Moreover, we customized panel
connectors to hold the timber panels so that
the panels could cross above the structure
like an offset and cover the back.
Unrolling issue
0mm
But concurrently the issues were obvious,
the unrolling step from digital model to the
physical laser-cut panels is not so accurate,
we had to increase the number of connectors
to match the punched hole which means we
lost our intention at the first place. In addition,
we realized that the panel connectors are in
fact quite standardized components that
could be easily purchase from the market,
therefore from an economical aspect 3D
print is not necessary.
Exposed connectors
PROJECT PROPOSAL 103
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
104 PROJECT PROPOSAL
 Panels
PROJECT PROPOSAL 105
 Back View

PROTOTYPE III (high density)

106 PROJECT PROPOSAL

 Front View

PROJECT PROPOSAL 107

 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

108 PROJECT PROPOSAL

 The final prototype, we designed and
fabricated the metal clamps in a traditional
mechanical way of jointing, we picked
screws from this three version to fasten,
the development also concerned about
economical effectiveness because the
previous 3D printed clamps are apparently
relatively expensive and unnecessary.
3D Printed Joints (Labelled)
Bending strip
t) - Two stripes on each piano wire
if - Safe but relatively labour-
intensive
al,
And we also used 3d printed joints to
connect structure, we printed them in black
to allow them easily blend in the background,
and in a smooth language in response to the
aesthetic aspect of the whole design. Lastly
to ensure the timber panels in position, we
punch the hole during installation.
Laser Cut Timber Panels
Piano Wire (cut to size)
Clamps
Assembling Installing Timber Panel
- Prefabricated components - Insert timber panels into
- Fast and organized clamps
- Use screws to fasten
PROJECT PROPOSAL 109
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

110 PROJECT PROPOSAL

 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.

PROJECT PROPOSAL 111

FURTHER DEVELOPMENT
OVERALL FORM, SITE, AND GENERAL CONSIDERATIONS

112 PROJECT PROPOSAL


With great pleasure, our project was
selected to be built after the final presentation,
therefore the following finalizations need to
be accomplished very carefully.
1. Overall Form: refer to the “UV value an d
cost” section, comparing the visual effect
and buildability, we reset the value to U50
V10, brought up the whole ceiling to leave
more room for users and to further open up
the space. After visited the construction site,
we realized there is a major issue we have to
deal with - the sprinkle, which goes through
the meeting room at roughly 300mm away
from the ceiling slab. Therefore we adjusted
the design to avoid the sprinkle, without
changing most parts.
2. Details Finalization: from the feedback,
we redesigned nearly everything however
still with the same principle. (refer to section
“Structure and Tectonic Details”)
Column
2. Ordering Materials and Cost: considering
delivery time, we should order material
concurrently with design finalization.
However we found it is actually hard since
at a scale like this we are more likely to buy
materials from retailers instead of wholesalers,
and another problem is due to the complex
of the project, local retailers couldn’t supply
enough materials. So we ordered materials
like carbon fibre rods, Chicago screws from
China (reduced the price also), for timber
veneer, we ordered them from our usual
supplier Ventech. Considering delivery time,
they should be arrived at around the same
time. And for laser cut, we contacted laser cut
company which has the larger cutting table,
and plan to cut the smaller components at
university.
4. Timeframe: we are assigned to finish the
entire installation by the end of June, the
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.
PROJECT PROPOSAL 113
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.

114 PROJECT PROPOSAL

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

PROJECT PROPOSAL 115

 View From Inside

116 PROJECT PROPOSAL

 C.4. Learning Objectives and Outcomes
The design project is about an architecture
that is rather site specific, it responses to the
conditions of the site in relation to specific
clients, such as our client - Hachem, their
clients, and potentially anyone else that could
engage with the design directly or indirectly.
The complexity and the level of detail requires
the use of parametric tool to simulate, to
generate with certain parameters that are
associated with our considerations, such as
materiality, street view and user experience.
Derived from interim presentation, initially
our ideas was quite different according to
individual intention, however the group as a
whole, found the common values and desires
that we could develop further. After endless
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.
When taking it further after final proposal,
with the group, we concerned more about
how to bring the design into the reality,
therefore, the selection of materials is crucial.
Overall, Studio Air has given me a great
opportunity, to analyse and think critically
about contemporary architectural practises,
to develop understandings of computation
and to improve my technical skills, and the
most important, to work as a team and solve
problems as a team. I would like to thank my
Tutor Finn who is always so supportive. And
thanks to my groupmates Chao and Haotian,
working together for nearly the entire
semester plus extra time to build the ceiling
has been a priceless memory.
PROJECT PROPOSAL 117
M O R P H I N G F LU I D I T Y

118 PROJECT PROPOSAL

 Street view

PROJECT PROPOSAL 119