Design Thesis_Discrete and Prefabrication in Architecture 2020 by WEI JE KUNG

Design Thesis/ Discrete and Prefabrication in Architecture Designer:Wei-Je, Kung/Director:Kai-Chi, Huang Unit10, EA5 Studio, TKUA 52th/JUL.2019-MAY.2020

#Discrete #Prefabrication in Architecture

Design Thesis, TKUA 52th/Unit10, EA5 Studio/Designer:Wei-Je, Kung/Director:Kai-Chi, Huang/JUL.2019-AUG.2020

Contents Preface Abstract

1 Continuous and Discrete

1.1 Comparing with Domino System 1.2 Structuralism Architecture 1.3 Discrete Automation 1.4 Exercise/Robotic Brick-Laying

16 20 21 24

2 Discrete Elements and Stylization

2.1 Pixel/Voxel 2.2 Discrete Elements 2.3 Redefining a Voxel (Digital Material) 2.4 Prototyping 2.5 Project|Scotch 2.6 Project|Scotch 2.0

28 29 33 35 37 40

3 Tile and Architectural Design

3.1 Tile Design 3.2 Discrete Objects 3.3 Type P 3.4 Computation 3.5 Tile to Meta 3.6 Meta to Space 3.7 Reassembly (Discrete parts as a reassembly of Villa Savoye) 3.8 New Points for Discrete Constructions

46 47 50 52 54 55 59 67

4 Fabrication (PREFAB)

4.1 Fabrication Workflow 4.2 Open-ended Finale 4.3 Augmented Reality 4.4 Fabrication Research 4.5 Pre-Assembly/Installation

70 71 77 79 82

Appendices Bibliography Source of the Materials Acknowledgments

97 99 101

Preface The idea is started with a workshop, Digital FUTURES 2019, held in Shanghai. This is the turning point that has completely changed my perception of architecture, which allows me to understand that architectural design is not that illusory. When I was in the workshop, I didn’t know exactly what I was doing and even had countless questions about the course. After the new semester started, the graduation project came immediately. I spent a whole year thinking about what I have learned in Shanghai and began to practice step by step from the theory, computation to fabrication. I gradually understood discrete design and architecture in the age of automation. The thought of design is complex, yet very simple. The theory is full of contradictions at this phase, and that is exactly why it is fascinating. Owing to these experiences and deeper thoughts, I determined I would like to study this topic. The design thesis started from the perspective of architectural history. Learning some basic computer logic and generating rules, groping between design and fabrication, constantly thinking about what and why discrete design. I regard the entire design process as an experiment and an early stage of discrete design. However, the most important thing about the process is to achieve the results of the current design and imagine future construction possibilities.

Wei-Je, Kung Taipei, Taiwan 05.2020 05

Digital FUTURES 2019

Group4 Augmented Timber Assembly

Tutors: Gilles Retsin, Johan Wijesinghe, Kevin Gino R. Saey (UCL) Teaching Assistant: Chunpong So Group Members: Zi Meng, Yidan Zhang, Zitong Ye, Mingmin Shen, Sichen Guo, Heng Lu, Boyan Chen, Shicheng Xiong, Rui Huang, Meichun Cai, Weishun Xu, Ziyun Gao, Chunfeng Lu, Jinze Wu, Weije Kung, Gabriela bello Ugalde, Mia A. Tedjosaputro

From rhinoceros, grasshopper to Unity 3D, hololens, students need less than two days to learn how to operate. In the meantime, Gilles shows the concept of using module generation is interpolated, based on MIT Professor's understanding of pixal research. By adjusting the 'resolution' of components, bricks are based on human hands, while wooden units are based on the upper body of human beings, to build a system that can be built by only one person, from unit to whole, and to repeat and compose a building to realize the ideal of "one man architecture". After hours of teaching, the students were divided into four groups. Each group of nine units was the task of the day. After one or two attempts, the students began to speed up the progress and finished it. 07

Lecture

Pre-assembly 08

Installation_day

Installation_and night 09

The International Undergraduate Competition Awards Digital FUTURES 2019

Professor Guohua Ji presented honorary awards to 14 students who performed well in the international undergraduate competition and encouraged them to continue their research on computational design. The award-winning students are:Qinying TAN(Cardiff University),Yan JAN(Qingdao Institute of Technology),Weje KUNG(Tamkang University),Jianing GAO (Tongji University),Xiaobai JI (Southeast University),Yifan HUANG (Harbin Institute of Technology),Haoyu LIU (South China University of Technology),Zhenyue WANG (Chongqing University),Zilin ZHOU (Nanjing University),Qingfeng YANG (Shanghai Jiaotong University),Xuan LIU (Beijing Jiaotong University),Yaobing WANG (Sichuan University),Xiaofei Hong (Tongji University) and Jia HU (Tongji University).

UABB Urban Interactions

Bi-City Biennale of Urbanism\Architecture (Shenzhen) 2019

Shenzhen-The Three-Dimensional City: Connected Aggregates in the Age of Robotic Urbanism PLP Labs, UCL Design Computation Lab, Kang Yiyun

ways to think about built form. The conventional center core will disappear to enable three-dimensional freedoms. Buildings will no longer project vertically from the ground but connect in aggregates forming networks, bundles and other assemblages. Linking them together, are vehicles that can move on, under and above ground, climbing onto these new constructs to create a truly three-dimensional city. Our contribution to the Biennale includes a large-scale physical model of this new urban possibility envisaged for Shenzhen. The model will comprise a contextual base including topography, as well as a large three-dimensional assemblage of discrete proto- urban elements. Overlaid on this model, a series of digital projections will simulate the infrastructural substrate of the construct, patterns of movement, programmatic use, geographic and social data as well as offering an insight into the inner life of the buildings and urban spaces. szhkbiennale.org.cn

The technologies that define our cities and buildings are related to issues of mobility and largely descend from the 19th Century – lifts, trains, cars. Underpinning these, a 6000 year old technology, the street, is so fundamentally fused to the identity of the city that it is difficult to imagine one without the other. The street is the element that links the city to its ground; it is a social condenser, defines real estate, governs built form, and is the locus par excellence of urban experience. In the near future, robots, powered by cities that are increasingly aware and intelligent, will solve mobility in increasingly automated ways. Lifts, trains, cars will be replaced with single transport protocols. These protocols can free transport from a two-dimensional topology, rendering the street, rail or lift shaft obsolete. What will our cities look like when freed from this legacy infrastructure? What impact will this have on the way we negotiate and experience the city, the form of our buildings, the organization of public realm or the way we conceive real estate? PLP Labs, UCL Design Computation Lab and Dr. Yiyun Kang attempt to answer these questions through a speculative look at Shenzhen in the near future. Doing away with lifts in vertical shafts will open new 11

Abstract Generating architectural form. Structuralism Architecture

FLW Textile Block System

Looking for the future of architecture and the age of automation in the context of architectural structuralism and FLW's cases.

GH WASP GH voxeliser

Form Finding

Exploring the use of algorithms and computation to generate architectural form.

Maison Domino / Usonian Automatic House

Concept

Discrete architecture Define

no specific

Discrete in science is the opposite of con something that is separate; distinct; indiv

Aided

Re-thinking

Space

ARCHITECTURE

Regarding DOMINO system as a dressing-up.

System Structure

A 19th-Century Vision of the Year 2000 Jean-Marc Côté, 1899–1910

VOXELS

About scale

Imagination case study/references

Space design

UCL's Bartlett Research Cluster 4

Tile to meta

Experimental

Thinking about relationship/make process/efficiency.

Unit a,b,c Computation Aggregation with Rules.

Villa Savoye as an exemplar of Le Corbusier's "five points" for new constructions.

Prototyping

Discrete parts as a reassembly of Villa Savoye.

Project|Scotch 2.0 Different ways to discrete.

There are still many things that need to be reviewed in the fabrication details, and it is also to automate by this moment.

Combinations with loop pattern

New perspective of (discrete) architecture

Three sizes of voxel (L,M,S). Room for modification in the ge Next, try to break the hexahed

Bonding system / Hum

The use of control systems, such as computers or robots, and information technologies for handling different processes and machineries in an industry to replace a human being.

Automation

Digital Materials

Discrete control (on/off)

A digital material as a discrete set of components that can be of any sizes and shape, made of various materials and that can fit together in various ways.

Pixel/2D

The smallest addressable element in an all points addressable display device.

Voxel/3D

A voxel represents a value on a regular grid in three-dimensional space.

GIK bricks study

case study/references Soft Discrete Familiars, Quirkd33

ntinuous, vidual.

Discussing how they test the boundary between familiarity and fuzziness.

IGITAL Shapes

S Design

Post-geometrical

Basic geometry (voxel) forms Point-Line-Surface

Infinite voxels Mapping voxel points in the 3D array to cubes is a direct process that allows for fast generation, but it inevitably leads to that distinctive boxy look.

a.Voxels are not just regular hexahedrons. b.A voxel can be a combination of any system.

es, joints, efficiency...etc.

Exercise

robot brick layer

Robot

MANUFACTURE

Automation

Labor Scalability

Not only digital (computer), but physical structure.

Assembly

In architecture scale.

Aggregation Discrete Elements & Materials Study Timber/Concrete/Metal/Plastic(PLA)

Interlocking system Combinatorics (rules)

Fabrication workflow and researches

Project|Scotch

eometric design and the structural system. dron.

Phase results

man scale / From block to part

The guideline shows three key points, architecture, digital, and manufacture. And all line items are the design process. 13

Continuous and Discrete

1.1 Comparing with Domino System 1.2 Structuralism Architecture 1.3 Discrete Automation 1.4 Exercise/Robotic Brick-Laying

What is Discrete? Discrete in science is the opposite of continuous, something that is separate; distinct; individual. Why discrete architecture? This is a reflection on the practice of automation in the field of construction and how it could be more convenient in the future. With the advent of the digital age, the architecture should also embark on this path. Discrete signals are the basis of machine interpretation, and the construction process is originally a discrete method, which is why construction is the beginning of discrete architecture. In simple term, this process could be regarded as the entire design is completed on a production line through automation.

1.1 Comparing with Domino System

Figs 2-3:Construction method/Interior space.

Fig 1:Maison Domino, Le Corbusier.

CONTINUOUS Domino Hause, Le Corbusier, 1914

Villa Savoye, Le Corbusier , 1928

Seattle Central Library, OMA, 2009

Heydar Aliyev Center, Zaha Hadid, 2013

Fig 4:Beam-column system.

Le Corbusier's "five points" for new constructions:concrete slabs/giving freedom to design the interior configuration/stairway providing access to each level on one side of the floor plan/thin, reinforcee concrete columns/free facade. From the diagrams[fig.4], we could see the progress of building technology and architecture design. However, there is something still difficult to get rid of. 16

Figs 6-7:Construction method/Interior space.

Fig 5:Usonian Automatic House, Frank Lloyd Wright.

DISCRETE Ennis house

Freeman house

Storer house

Millard house

Fig 8:Textile blocks.

An opposite project, that in the early 1950s Wright first used the term Usonian Automatic to describe a Usonian style house made of inexpensive concrete blocks[fig.5]. The modular blocks could be assembled in a variety of ways. This system[fig.6] (Textile block)[fig.8] can be derived from various types of units because of the construction method, but due to past technology and cost-effectiveness, most of them ended in failure. 17

Fig 9:Millard House.

Fig 11:Usonian Automatic Traveling Exhibit House, Chicago.

Fig 10:Usonian Automatic Traveling Exhibit House, Dallas.

Fig 12:Usonian Automatic Traveling Exhibit House, Seattle.

In 1936, Wright developed a series of homes he called Usonian. They were designed to control costs. Wright's Usonian houses had no attics, no basements, and little ornamentation. He continued to develop the concept, and in the early 1950s he first used the term Usonian Automatic to describe a Usonian style house made of inexpensive concrete blocks. The modular blocks could be assembled in a variety of ways. Wright hoped that home buyers could save money by building their own Usonian Automatic houses. But assembling the modular parts proved complicated, and most hired contractors to built their Usonian houses. The basic concrete block of the Usonian Automatic system is 12 x 24 inches. The blocks were laid without mortar, with rebar placed both horizontally and vertically in semicircular

joints. After one or two rows of blocks were laid, cement grout was pumped or poured into the joints to bond the structure together. There were many homes designed (projects), but only seven Usonian Automatic homes were built using concrete molded blocks. The concept was designed on a two foot grid floor plan. The walls were built with 1' x 2' blocks and the ceiling blocks were 2' x 2'. Others Usonian homes were built, but constructed of standard concrete blocks and other material.

1.2 Structuralism Architecture

Fig 13:Dutch structuralism architecture.

Fig 14:Centraal Beheer, Herman Hertzberger, 1972.

Fig 15:Burgerweeshuis Amsterdam,Aldo van Eyck, 1959.

In the 1960s the Dutch structuralists criticised the narrowness of the functional principle "Form Follows Function". In historic cities they found solutions for a more relevant form principle: an interpretable, adaptable and expandable architecture. Compared to other directions of structuralism in architecture, the following clarifications are noted: "In the new architectural movement there is often a tendency to call everything Structuralist that resembles a woven texture and has a grid. This would be a superficial way of looking at things. By nature Structuralism is concerned with the configuration of conditioned and polyvalent units of form (spatial, communicational, constructional or other units) at all urban scales. Only when the users have taken possession of the structures through contact, interpretation or filling-in the details,

do the structures achieve their full status. Any architecture that has a tendency to formalism is thus excluded. Flexible form, which has been much discussed, is also rejected as a neutral enclosing system, since it does not offer the appropriate solution for any spatial programme. In the architecture of Herman Hertzberger Structuralist form can be found from the smallest detail up to the most complicated structure[fig.14], whether it is in terms of spatial, facade or environmental design."

1.3 Discrete Automation

Fig 16:Discrete automation in industrial manufacturing.

Fig 17:Discrete automation in architecture.

Fig 18:Villemard, Electric Construction Site, 1910. From the postcard series France in the year 2000, 1899–1910.

We had imagined building construction a hundred years later in the 1900s[fig.18]. What we could confirm is that we are constantly imagining and looking for ways to reduce labor, and now we are beginning to put it into practice. Mechanized construction can not only reduce labor but also achieve precisely setting out. And maybe we could start thinking from the origin, what changes could bring automation to architecture. Take bricklaying as an example[figs.19-20], people built the wall by bricking up every single brick. It is a necessary job, and now we have more tools to make this construction more convenient and have more opportunities. Considering, discrete automation is the destination of discrete architecture.

Figs 19-20:Bricklaying, tiling, and plastering/Construction robotics.

Column

Floor Slab

Stair

Column

Floor Slab

Stair

Fig 21:Discrete parts as a reassembly of domino house.

This is a comparison image about discrete parts as a reassembly of Domino house[fig.21]. We could see the concept under the design would differ from a beam/column/slab in the traditional architectural concept, thus forming an unusual space. For example, the horizontal structure resulting from the development is similar to a "slab", and the vertical structure is similar to a "pillar". However, they all come from the same elements. Taking Wright's precast concrete block as an example, building blocks under the same construction system is now possible to achieve and can further build through robots[fig.22].

Fig 22:Precast concrete block make automated assembly possible.

1.4 Exercise/Robotic Brick-Laying

Fig 23:Grasshopper components.

Fig 24:Computer simulation.

Fig 25:Robotic bricklaying exercise(UR5).

Fig 26:Semi-finished work.

Try robotic bricklaying in the studio[fig.25]. The simple exercise made me better understand the automatic operation of construction.

Fig 27:Robotic bricklaying exercise(UR5).

Discrete Elements and Stylization

2.1 Pixel/Voxel 2.2 Discrete Elements 2.3 Defining a Voxel (Digital Material) 2.4 Prototyping 2.5 Project|Scotch 2.6 Project|Scotch 2.0

What is the minimum unit of architecture? A cement wall, a brick, and a grain of sand could be elements of architecture. However, are these elements gathered in large numbers into structures, or are the structures shattered by these small objects? Under the premise, how do we interpret these constituted objects? We can be sure that we have regarded everything as discontinuous, so these objects could be called discrete elements. Under certain conditions, "discrete" could also be regarded as the inverse of "aggregation". Gathering a large number of identical or similar elements together, it can bring a strong visual effect. And this is the simplest means of creating styles and also the common nature of discrete elements. The construction requires systems. To be implemented, everything must be feasible and reasonable. Before automation, the building elements need to be designed so that humans or machines could distinguish them.

2.1 Pixel/Voxel

Fig 28:2D-pixelated image with different resolution(original,32x,16x,8x,4x,2x,x).

Fig 29:3D-volume pixel(voxel) with different resolution(original,8n,n,1/8n,1/16n).

Fig 30:Pixel:Mega Turrican,Mega Turrican is a 16-bit shooter game, developed by Factor 5 in 1993 and marketed by Data East in 1994.

In digital imaging, a pixel, pel, or picture element is a physical point in a raster image, or the smallest addressable element in an all points addressable display device; so it is the smallest controllable element of a picture represented on the screen[fig.26]. Each pixel is a sample of an original image; more samples typically provide more accurate representations of the original. A voxel represents a value on a regular grid in three-dimensional space[fig.29]. As with pixels in a 2D bitmap, voxels themselves do not typically have their position (coordinates) explicitly encoded with their values. Instead, rendering systems can infer the position of a voxel based upon its position relative to other voxels.

Fig 31:Voxel:Minecraft, Minecraft is a sandbox video game created by Swedish game developer Markus Persson and released by Mojang in 2011. 28

2.2 Discrete Elements

Figs 32-38:Discrete continuous surface/Different shaped elements(Cubic voxel, Sphere voxel, Marching cube, Clay, Cylinder, Lego).

Fig 39:Various discrete methods(wireframe x0 y0 z0, wireframe x45 y45 z45, wireframe x30 y0 z30, cubic voxel edges, cubic voxel silhouette, cubic voxel x60 y0 z30, cubic voxel x45 y30 z15, cubic voxel with frame, cubic voxel, cubic voxel surface, subdivision).

In the surface[fig.32], it is a discrete-continuous surface. We could also imagine what would happen if these elements were replaced[figs.33-38]. Because discrete elements always become an object or any structured form by large scale aggregation, the initial elements would affect the visual perception of the form.

And that would become unique stylizations[fig.39].

Boundingbox

Fig 40:Basic geometries(Boundingbox, Tetrahedron, Hexahedron, Octahedron, Dodecahedron, Icosahedron).

Figs 41-44:Discrete elements design under line, surface(Curves 01, Curves 02, Surface 01, Minimal surface 02).

Figs 45-48:Large scale aggregations.

Figs 49-52:Soft discrete(Duck, Barcelona chair, Organism, Dougong).

Discrete elements could be basic geometry[fig.40], points, lines, surface[figs.41-44], or even some bizarre objects[figs.49-52] (that would become soft discrete). As long as they follow the same rule or system, they could be regarded as discrete designs. At this phase of the study, I mainly tried some conceptual voxel definitions. The experiment reversed the established impression that the voxel was just a hexahedron through some abstract elements, then setting the rules of growth. Aggregation in morphology has always been a very professional subject, so I started to think about how it would be from virtual to reality so that the results of these massive gatherings would come true.

Discrete and aggregate are two opposite methods, but they would form the same result in performance. Returning to architecture, construction is a discrete method, but it is a collective work, which also shows that these two methods are complementary in design.

Fig 53:Discrete method(field).

Fig 54:Gradient.

Similarly, we could generate various discrete (or aggregation) results setting different rules under distinct logics. And also record discrete process[fig.54]. 32

2.3 Defining a Voxel (Digital Material)

Fig 55:Shapes.

Fig 56:Systems.

Fig 57:Defining a voxel.

a.Shape[fig.55](Voxels are not just regular hexahedrons.): A voxel could be any shape. In other words, infinite voxels means a large combination of (similar) objects. b.System[fig.56](A voxel can be a combination of any system.): A voxel is not a single object. Instead, it could be a combination, just like many organs inside the body make up a human. So under the condition, a tetrapod could be a voxel[fig.58].

Fig 58:Voxel:tetrapods.

“We define a digital material as a discrete set of components that can be of any sizes and shape, made of various materials and that can fit together in various ways.” M.I.T., Digital Materials for Digital Fabrication, George A. Popescu. “A Digital material is a building block with relative local positions which in itself provides geometric constraints for assembly. No plans or tools are required as the parts geometrically define the assembly. Digital Materials construct objects which are discrete in their physical materiel organisation. These structures are reversible: they can be re-assembled into other types of structures.” UCL Bartlett, Discrete Assembly and Digital Materials in Architecture, Gilles Retsin Take gik brick as an example[fig.60], it is like Lego under certain rules. It is not limited by the physical properties of the material[fig.61], but can be freely connected and continued. This is a new material called digital material. Fig 59:LEGO patent drawing.

Fig 60:GIK bricks.

Fig 61:GIK bricks with different materials.

2.4 Prototyping

Fig 62-63:The prototype/Discrete and aggregate.

Discrete element

DOMINO Block

NET Tube

Design the simple connected Producing units by 3D printer. spaces in each uinit to make Each unit shows the material them be connected infinitely. properties and they are connected by simple joints.

Timber BoX

Infinity Wire Frame

Under designed proportions, assembling wood planks(Laser cutting) by latch to make a building block.

Linear elements combined to a three-dimensional voxel. The greatest strength of Wire Voxels are could become the lightweight structure.

Basic voxel form 1 3

6 2

(Perspective)

1 3 2

Material (actual) Fabrication

4 1

Concrete Concrete casting

3D printing (PLA filament) Units assembly

MDF (Laser cutting) Timber assembly

Metal Metal bending & welding

By connected spaces

Any texture of design

By laser cutting

Linear texture

Interlocking system

Texture

Fig 64:Discrete elements study, catalogue-prototype modeling.

The prototype could test all directions of the connection[fig.62]. The elements have to be connected to become the digital material, so the connection system is needed. And the textures of the prototype would be expressed through the design or fabrication[fig.64].

The purpose of this series is to try different materials and unit combinations by discretizing the prototype.

Figs 65-68:Large scale aggregation.

These four images were generated by the previous four discrete elements[figs.65-68]. They have their connection systems. Since we assume that they were under the actual fabrication with real materials, they would have their unique textures. Moreover, in a large number of elements, the texture would bring us a very strong visual experience, so we could define the stylization for discrete design.

2.5 Project|Scotch

Fig 69:Basic rule of bonding system.

Fig 70:Structure.

Fig 71:Three scales of tile, Scotch.

Fig 72:Combinations.

Using MDF, a kind of plate-like material to create a system of bonding, so they could connect to each other[fig.72]. 37

1200

600 300

200

Fig 73:Human scale.

200

400

(unit:mm)

Fig 74:Building elements.

Finding the relation between building blocks and human scale[fig.74], so that the resolutions become different scales to construct and meet the demands.

Fig 75:From blocks to part.

From blocks to part[fig.75], there are 5 small size,6 m size and large for 3 with 15 junctions to go on a larger scale. Scotch 1 has lots of room for modification in the geometric design and the structural system as well. While the connections are just “putting” on the surface[fig.76], it is necessary to place the bonds inside. Nevertheless, I still want to try to break the hexahedron.

Fig 76:Exploded.

Fig 77:3,6,5*64.

2.6 Project|Scotch 2.0

Fig 78:Geometric concept.

Fig 79:2D parttern.

a a

Disturbing the basic geometry on the plane to change the form of element[figs.78,80]. And we could witness the progress which increased the variety of combinations[fig.81].

Fig 80:3D geometry.

Fig 81:Combinational areas. 40

Fig 82:Combinations with loop pattern.

Fig 83:Combinations with boundingbox, (■■■■x■■■■x■■■■■).

Fig 84:Different types(Original, Volume, Surface, Linear).

The above diagrams can tell that tiles more than three could form a loop pattern[fig.82]. The following diagrams, you would say they discretize a box or aggregate in the certain boundingbox[fig.83].

The bottom diagrams are different types of shape, including original, volume, surface, and linear type. All of them could be connected by their system[fig.84]. 41

Fig 85:Large scale aggregation.

Tile and Architectural Design

3.1 Tile Design 3.2 Discrete Objects 3.3 Type P 3.4 Computation 3.5 Tile to Meta 3.6 Meta to Space 3.7 Reassembly 3.8 New Points for Discrete Constructions

In the early 19th century, Le Corbusier raised five points for new Architecture as a new argument to the construction. And now, what possibilities could discrete design under automation bring to architecture? After having basic research on discrete design, I began to look for implantations in architectural design. The research in this section starts with the construction part and finds more efficient ways. The research is ranging from little building elements to spaces that could be used by men. Similarly, from a single tile through conditions and calculations (parametric design), computer-aided design(CAD) helps designers to get many results quickly. In response to the aforementioned discrete automation in architecture, through these experiments and research, we could discover more pros and cons to improve the design.

3.1 Tile Design

End point

tan = 0 & tan = 1 (or with any other same slope)

End point

Fig 86:Basic geometric.

Fig 87:Diagram a,b,c.

Fig 88:Rule in the boundings.

Fig 89:Interlocking system.

Right

Left

Top

3.2 Discrete Objects

Fig 90:Some discrete objects(Stool:12 tiles, Recliner:36 tiles, Conference table:64 tiles, Staircase:2+32*n tiles, Rocking horse:20 tiles.

Fig 91:Discrete a colume with b-series(b1*22,b2*7,b3*3).

Fig 92:40_40_160.

Fig 93:In-line assembly.

3.3 Type P

Fig 94:Pedestal(typeS,T,F).

Fig 95:Length can be adjusted on demand.

Fig 96:Type P.

Type P can connect to the connection surface under the system of each tile[fig.94], and it is used to solve the errors encountered. While the surface is connecting to the ground, it could also be used as a pedestal.

Fig 97:Combinations(with type a,b,c and p).

Figs 98-99:Top view/Large scale aggregation(a*48, b1*84, b2*144, b3*72, c*60, p*72). 51

3.4 Computation

tile number = 000

tile number = 001

tile number = 050

tile number = 100

tile number = 150

tile number = 200

tile number = 250

tile number = 300

tile number = 350

tile number = 400

tile number = 450

tile number = 500

tile number = 550

tile number = 600

tile number = 650

tile number = 700

tile number = 750

tile number = 800

tile number = 850

tile number = 900

tile number = 950

tile number = 1000

Fig 100:Tile number from 0 to 1000.

Fig 101:Random of 1000 tiles(seed=1,4,12,15,17,20,24,30,35,63,74,78,87,92).

Figs 102-104:Imagine the space created by gathering a large number of tiles( 53

3.5 Tile to Meta

Linear

Linear truss

Surface

Surface loop

Low density

Random 2D

High density

Loop

Random 3D

Per object

Low density

Fig 105:The catalogue of meta-types.

Systematization of multiple unit assemblies (b2). When it comes to the larger scale generation, it is possible to think about from tile to meta. Because it takes less time for aggregation and more effective for creating spaces. This is the catalogue of meta-types[fig.105], setting up tiles with linear, surface, loop, and random type(2D & 3D pattern filled by unit_b2 pieces with different densities). 54

High density

3.6 Meta to Space

In general, rules and ranges will be given when aggregating. The use of tiles or meta to create rules in the boundingbox and facing demands, are advantages of discrete architectural design. a b1 b2 b3 c total

× × × × ×

87 metas(a total of 1950 tiles) into a bridge.

4 18 6 2 6 36

Fig 106:Boundingboxs, tiles and meta.

Fig 107:Discrete process.

Figs 108-109:Front/Bridge design(discrete). 55

4 different metas, a total of 1590 tiles into a cave.

Ⅰ Ⅰ Ⅱ Ⅲ Ⅳ total

× × × ×

Ⅱ

Ⅲ

10 10 4 2 26

Fig 110:Boundingboxs, tiles and meta.

Fig 111:Discrete process.

Fig 112:Top.

Fig 113:Cave design(discrete). 56

Ⅳ

6 different metas become a group.8 groups, a total of 584 tiles into a shed.

a b1 b2 b3 c total

× × × × ×

3 43 8 15 4 73

Fig 114:Boundingboxs, tiles, metas and a group of meta.

Figs 115-116:Side/Front.

Fig 117:Shed design(discrete). 57

4 different metas, 12 spaces, and a total of 770 tiles into a tower.

a b1 b2 b3 c total

× × × × ×

4 13 17 13 4 73

Fig 118:Boundingboxs, tiles, meta and space.

Figs 119-121:Discrete process/Front/Tower design(discrete). 58

3.7 Reassembly

Fig 122:Villa Savoye as an exemplar of Le Corbusier's "five points" for new constructions.

Fig 123:Three levels of discrete.

Fig 124:Discrete parts as a reassembly of Villa Savoye. 59

Figs 125-127:Reassembly02/Discrete process/Reassembly02 the house by discrete building elements.

800 mm

200 mm

Fig 128:Scalability.

Fig 129:All the elements of discrete Villa Savoye02.

a b1 b2 b3 c total

Fig 130:Reassembly02 final look.

It started with shattering the building into 63 parts[figs.125-127], all of which retained their original functions, such as walls, columns, stairs, ramps, and so on. Therefore, the space almost maintains the original architectural form. In total of 2200 tiles to rebuild it[fig.130]. 61

× 182 × 424 × 384 × 1170 × 40 2200

Fig 131:Discrete process of reassembly03.

Fig 132:Reassembly03 the house by discrete building elements.

From discrete objects to discrete spaces[fig.131]. First, a variety of metas could be set up as spatial prototypes, and then the discrete space is designed, whether it is function, structure, or parts between spaces[fig.132]. (It could be known from the above research that the aggregation and organization of meta are more efficient.) Therefore, the discrete method makes the space design freer and has opportunities to make further space definitions. As could be seen from the section[fig.133], spatial transparency and horizontal relationships have been redefined.

Fig 133:Section model. 62

Original floor plans of Villa Savoye

Discrete process03

Floor plans of reassembly

Fig 134:The comparison of floor plans between original and the reassembly.

Original section

Discrete process03

Section of reassembly

Fig 135:The comparison of section between original and the reassembly. 63

Fig 136:Interior space.

Fig 137:Aerial view.

Fig 138:Interior space.

Fig 139:Bottom view. 66

3.8 New Points for Discrete Constructions

The stylization The discrete architecture is designed by unique discrete elements. The tile design would affect the overall visual perception or create the style because spaces and structures come from a large number of building tiles.

Free transparency Space could be penetrated or closed. The transparency of spaces would depend on the density of the tiles or metas arrangement. The reaction or use of vertical or horizontal space could be changed accordingly.

Free spatial organization Breaking away from traditional construction methods, the space organizations of discrete architecture are more flexible. Due to the characteristics of the discrete design, it could be regarded as the space without columns, walls, or slabs. Besides, ''stairs'' could be redefined through multiple vertical and horizontal relations. Off-site/in-site assembly When achieving automation or mechanization in construction, the production lines for architecture would set up. Tiles or metas would be pre-assembled in the factory, which increases the effectiveness of installation in the building site.

Fig 140:Scalability.

Fig 141:Discrete elements.

While zooming into the construction process, we will find out that all methods are discontinuous, which is the inception of discrete architecture. The discrete element is not limited to the type used in the design thesis rather than different shapes, scales, or materials to meet the demands of various spaces[fig.140]. In other words, as long as the formation is recognizable and systematic which could become a discrete design[fig.141]. Technology is advanced more nowadays,

the discrete design is a solid consideration, and also imperative to move towards automation in the architecture industry. As could be witnessed, after years of pursuing, design is more digital by parameterization and automation in construction is gradually being practiced. Expecting that the design thesis could put forward and discussed the proposal about front-end thinking of discrete architecture.

Fabrication (PREFAB)

4.1 Fabrication Workflow 4.2 Open-ended Finale 4.3 Augmented Reality 4.4 Fabrication Research 4.5 Pre-Assembly/Installation

At this phase, the most important thing is to realize the concepts and ideas. It's an honor to have a small project in the Shell warehouse. In a total of 100 tiles, I built a pavilion to drill the process from design to fabrication. Shell Warehouse is a historic park in Tamsui. The main house was built of red brick. In theory, brick is the primitive discrete element of construction, and the design is also looking for the possibility of new building elements and construction in new ways. The challenge at this stage comes from experimenting and practicing. With this opportunity to complete a small-scale building as an open-ended finale for my design thesis, I hope to bring more imaginations to the future.

4.1 Fabrication Workflow

Factory Assembly

Off-site Assembly (building block) Tile design

Package

Fabrication Tile to meta

Architectural design

Shipping

Structure optimization

Design

In-site Assembly

Building site

Fig 142:Fabrication workflow.

4.2 Open-ended Finale

Fig 143:Site in Tamsui Shell Warehouse.

(12,35,25,20,8)

(11,34,19,20,6)

(10,30,25,30,15)

(8,35,20,25,12)

(12,25,25,30,8)

(7,30,15,35,13)

(4,25,25,36,10)

(9,30,20,31,10)

(12,30,31,20,7)

(9,40,11,30,10)

(3,25,44,25,3)

(15,18,25,32,10)

Fig 144:Study models.

moments in history. These are the only remaining British merchant warehouses in Tamsui and are one of the few industrial ruins and monuments in Taiwan. And back to the project, 100 tiles could generate unlimited combinations[fig.144], pick the most suitable and pleasing as the fabrication model in the site.

Site introduction:The Former Warehouse Of Lapraik Cass & Co (Tamsui Shell Warehouse) contains four large warehouses, three small buildings, oil receptacle sites, and approximately 4,000 square feet of land which had experienced the opening of Tamsui's ports, Japan's colonisation, American military bombing during World War II and other significant 71

Perspective

a*10

b1*36 72

200

180

Top

250

Front

b2*22

b3*30 73

c*2

Fig 145:Top view.

The imaginations could be much crazier. Because of the characteristics of the voxel, spaces could be freely organized[fig.146].

Fig 146:Infinite voxel. 75

Fig 147:From outdoor to indoor.

Fig 148:Inside the house. 76

4.3 Augmented Reality

Fig 149:Augmented reality application with Fologram.

Fig 150:100 tiles with AR.

Fig 151:Infinite voxel with AR. 77

Figs 152-155:Discrete elements in site with AR.

Augmented reality could help the designer to check things before the installation, like scales, textures, or relations between design and site[fig.150]. Discrete design is a design method, and it could become different units because of demands, and make different spaces[figs.152-155]. 78

4.3 Fabrication Research

MDF does not contain knots or rings, making it more uniform than natural woods during cutting and in service[fig.156]. However, MDF is not entirely isotropic, since the fibres are pressed tightly together through the sheet. Typical MDF has a hard, flat, smooth surface that makes it ideal for veneering, as there is no underlying grain to telegraph through the thin veneer as with plywood. Fig 156:Material:MDF(3mm).

Benefits

Drawbacks

•Is an excellent substrate for veneers. •Some varieties are less expensive than many natural woods. •Consistent in strength and size. •Shapes well. •Stable dimensions. (less expansion and contraction than natural wood.) •Takes paint and woodglue well.

•Denser than plywood or chipboard. (the resins are heavy.) •Low grade MDF may swell and break when saturated with water. •May warp or expand in humid environments if not sealed.

Catalogue

Bondingbox

Weight Quantity

(length, width, height (mm)) (grams)

Cutting drawing (laser cut)

Pic.

Area

Cutting time

(square centimeters)

(seconds)

100,300,100

610

2452

790

200,300,100

670

2695

890

300,400,100

890

3489

1030

400,500,100

1070

4355

1195

Joint

Glued lumber 32400 mm

300,300,100

770

Fig 157:Catalogue of fabrication research. 79

3122

940

20*20*900 mm x 36

First set the B1, then assemble the B2,B3 in sequence. A1 X2

C1 X4

A2 X2 C2 X2

B2 X2

B1 X4

B3 X2

B1 D1 X4

D1’ X4

D2 X4

D3 X6

D3’ X12

D4 X8

All parts of b1.

After completing one side, the other side is also the same rule.

C2 2 2 1

Slightly remove the just completed part and insert the A2 to complete the assembly of this step.

5 D1’

D1’

7 D3

Put the slots into the model.

D3’

Check if the elements have been jammed so far!

Assemble six slots.

Perspective / Top view

Fig 158:Assembly drawing_b_1.

type 1.1

type 1.2

type 2.1

type 2.2

a* 2

b1* 2

b3* 3

b2* 4

type 3

type 4

type 5

single parts

a* 1

a* 2

a*5

b1* 2

b1* 1

b2* 2

b2* 4

b3* 2

b1*10 b2*8 b3*1 c*2

Fig 159:Types of meta.

b1 X 2 + b3 X 3

The following diagram[fig.160], two b1 with three b3 become a meta(type1.1), and they would make in-site assembly more efficient. Fig 160:Diagram.

Fig 161:Meta parts. 81

4.4 Pre-Assembly/Assembly

Figs 162-176:Tile(b2) assembly.

Fig 177:Tiles, joints, pedestals.

Figs 178-182:Meta(type 1.1) assembly.

Fig 183:Meta parts.

Fig 184:100tiles&Yami.

Figs 185-186:In-site assembly/Packaging. 88

Figs 187-188:Shipping/In-site installation. 89

Figs 189-190:Details. 90

Figs 191-192:Details. 91

Figs 193-194:Perspectives. 92

Fig 195:Final look.

Fig 196:100tiles in Shell.

Video:youtu.be/4e7yLR7fjks

Appendices Bibliography Warren Elsmore, 2014. Brick city : global icons to make from Lego./ Chen Jin Jhong, 2010. The sign and communication of sculpture./ Bergdoll, Barry, 2017. Frank Lloyd Wright : unpacking the archive./ Hildebrand, Grant, 1991. The Wright space : pattern and meaning in Frank Lloyd Wright's houses./ Wright, Frank Lloyd, 2005. On and by Frank Lloyd Wright : a primer of architectural principles./ Levine, Neil, 1996. The architecture of Frank Lloyd Wright./ McCarter, Robert, 1999. Frank Lloyd wright./ Y M. K. HURD, 1998. Concrete in housing Usonian Automatic : Wright’s concrete masonry./ Jane Burry, Mark Burry, 2016. Prototyping for Architects: Real Building for the Next Generation of Digital Designers./ Gilles Retsin, Manuel Jiménez García, 2016. Discrete Computatonal Methods for Robotc Additve Manufacturing./ Gilles Retsin, 2018. Digitaalne materjal Digital Material./ Gilles Retsin, 2019. Discrete: Reappraising the Digital in Architecture(Architectural Design)./ Jesse Jackson, OCAD University and Luke Stern, Patkau Architects, 2012. SyntheticDigitalEcologies./ Karen M. Furlani and William C. Stone, 1999. Architecture_for_discrete_construction_component_tracking./ Anthony Di Mari, 2014. Conditional Design_An introduction to Elemental Architecture./ Anthony Di Mari, Yoo Nora, 2012. Operative Design_A Catalog of Spatial Verbs./ (issuu.com) MArch Architectural Design, Wonderlab, RC4(Manuel Jiménez García, Gilles Retsin), The Bartlett School of Architecture, UCL, London, UK, 2016. WireVoxels./ (issuu.com) Bartlett M.AD RC4, 2017. RobloX project./ (issuu.com) Meizi Li, Onyee Wong, Donghwi Kim, Supakij Homthong // RC4-Gilles Retsin, Manuel Jimenze Garcia w. Vicente Soler, 2016. BartlettAD-RC4-WireVoxels./ (issuu.com) MArch Architectural Design, Wonderlab, RC4(Manuel Jiménez García, Gilles Retsin), The Bartlett School of Architecture, UCL, London, UK, 2015. CurVoxels | SPATIAL CURVES./ (issuu.com) MArch Architectural Design, RC4(Manuel Jiménez García, Gilles Retsin, Vicente Soler), The Bartlett School of Architecture, UCL, London, UK , 2017. INFINITE VOXELS./ (issuu.com) RC4 GAD The Bartlett School of Architecture, 2014. Spacewires-Filamentrics./ (issuu.com) The Bartlett School of Architecture. Research Cluster 4 (RC4). Group: MetaFor(M). Team: Vasiliki Alamanou, Ahmed Eltoutngi, Miguel Garcia, Virginie Guillaume, 2017. MetaFor(M)./ (issuu.com) RC4 GAD The Bartlett School of Architecture, 2014. Microstrata-pixelstone./ (issuu.com) Research Cluster 4, M.Arch Architectural Design, the Bartlett School of Architecture, University College London, the United Kingdom, 2017. Timblock portfolio./ 97

(issuu.com) Research Cluster 4, MArch Architecture Design, The Bartlett School of Architecture, UCL, 2018. Assembler Assemble./ (issuu.com) Bartlett BPro Research Cluster 6, Directed by: Daniel Widrig, Stefan Bassing, Soomeen Hahm, Students: Chao Zheng, Changchen Wei, Chao-Fu Yeh, Jinliang Wang, 2015. inCrease./ (issuu.com) Bartlett BPro Research Cluster 6, Directed by: Daniel Widrig, Stefan Bassing, Igor Pantic, Soomeen Hahm, Students: Mayank Khemka, Huan Pu, Jianfeng Yin, Xiangyu Ren, 2016. briLock./ (issuu.com) BPro Bartlett RC8 W(A)OnderYard Design Portfolio, 2017. BPro Bartlett RC8 W(A)OnderYard Design Portfolio./ (issuu.com) Directed by:Daniel Widrig, Guan Lee, Soomeen Hahm, Stefan Bassing, Igor Pantic, Adam Holloway, Students:Conglu Fang, Runze Wang, Shan Li, Shilpa Mathew, Yang Liu, 2018. BPro RC 5+6 2016/17_Clay Cuts./ (issuu.com) Bartlett BPro Research Cluster 9 2017-18. Directed by:Soomeen Hahm & Alvaro Lopez Rodriguez, Students: Kaijie Qian, Sheng Li, Xiao Liu, 2018. Bartlett BPro RC9 2017/18_iBrick./ (issuu.com) Anthony Alvidrez, 2019. Anthony Alvidrez Professional Architecture Portfolio./

Source of the Materials Page 6-10. Preface, Source:Digital FUTURES 2019. Page 16. Fig 1:Maison Domino, Le Corbusier. Source:archidialog.com. Page 16. Fig 2:Construction method. Source:shutterstock.com. Page 16. Fig 3:Interior space. Source:paolamarietanblog. Page 17. Fig 5:Usonian Automatic House, Frank Lloyd Wright. Source:franklloydwright.org. Page 17. Fig 6:Construction method. Source:pt.wikiarquitectura.com. Page 17. Fig 7:Interior space. Source:franklloydwright.org. Page 18. Fig 9:Millard House. Source:cn.travel-dd.com. Page 19. Fig 10:Usonian Automatic Traveling Exhibit House. Dallas. Source:franklloydwright.org. Page 19. Fig 11:Usonian Automatic Traveling Exhibit House. Chicago. Source:franklloydwright.org. Page 19. Fig 12:Usonian Automatic Traveling Exhibit House. Seattle. Source:franklloydwright.org. Page 20. Fig 13:Dutch structuralism architecture. Source:getit01.com. Page 20. Fig 14:Centraal Beheer, Herman Hertzberger, 1972. Source:alchetron.com. Page 20. Fig 15:Burgerweeshuis Amsterdam,Aldo van Eyck, 1959. Source:archdaily.com. Page 21. Fig 16:Discrete automation in industrial manufacturing. Source:alamy.com. Page 21. Fig 17:Discrete automation in architecture. Source:e-flux.com. Page 22. Fig 18:Villemard, Electric Construction Site, 1910. Source:e-flux.com. Page 22. Fig 19:Bricklaying, tiling, and plastering. Source:blackberryclinic.co.uk. Page 22. Fig 20:Construction robotics. Source:democratandchronicle.com. Page 24. Fig 25:Robotic bricklaying exercise(UR5). Photography:JCC. Page 28. Fig 30:Pixel:Mega Turrican. Source:en.wikipedia.org. Page 28. Fig 31:Voxel:Minecraft. Source:www.minecraft.net. Page 33. Fig 58:Voxel:tetrapods. Source:imageselect.eu. Page 34. Fig 59:LEGO patent drawing. Source:remodelaholic.com. Page 48. Fig 92:40_40_160. Photography:Ming. Page 71. Fig 143:Site in Tamsui shell warehouse. Photography:Yen. Page 77. Fig 149:Augmented reality application with Fologram. Photography:Ming. Page 79. Fig 156:Material:MDF (3mm). Source:futaihua.en.made-in-china.com. Page 84. Fig 183:Meta parts. Photography:Yen. Page 86. Fig 184:100tiles&Yami. Photography:Yen. Page 88. Fig 185:In-site assembly. Photography:Yen. Page 88. Fig 186:Packaging. Photography:Yen. Page 89. Fig 188:In-site installation. Photography:Ming. Page 90. Fig 189:Details. Photography:Yen. Page 90. Fig 190:Details. Photography:Yen. Page 91. Fig 191:Details. Photography:Yen. Page 91. Fig 192:Details. Photography:Yen. Page 92. Fig 193:Perspectives. Photography:Yen. Page 92. Fig 194:Perspectives. Photography:Yen. Page 93. Fig 195:Final look. Photography:Yen.

100

Acknowledgments

It is a delight to acknowledge those who have supported me last year, without either of which this work would not have been completed. Foremost, I would like to thank my director, Kai-Chi Huang, for your guidance and thoughtful insight, this work would not have been possible without you. And also thank the K7 Team(Unit10, EA5 Studio), JCC, Shih-Han Chen, Nian-Da Wu, you guys are the best teammates forever. I am particularly thankful for the help and advice of Dr.Chen-Cheng, Chen and Dr.Jenny Ling during my first few months of the design. I would also like to thank Dr.Ying-Chang Yu helped me to have a chance achieving my design in Tamsui Shell House, and thank the Shell House for all the assistance and the tolerance. I would like to thank Mr. Ming-Han Lee and Mr. Wei-Ting Chen arranged for me to use machines at the stage of fabrication. I am indebted to those members of TKUA studio of 52th and my directors from EA1-EA5 studio who encouraged me on this journey. I express my warm thanks to Te-Chian Kung, Ricky Chou, Yu-Shane Wu, and my best partner, Chun-Ming Liu for assisting me complete the work, Especially Ming, helped me complete the assembly in the Shell. I would like to thank Te-Yen Hsu, took perfect pictures of my works. You are the most professional photographer. I would like to thank Willy Lin for helping me to proofread the thesis book. I wish to express my gratitude and appreciation for Dr.Gilles Retsin who gave me so much inspirations during the workshop in Shanghai. I would like to thank Mr. Kevin Saey recommend me the UABB in Shenzhen and had a simple communication with me. Finally, I must express my very profound gratitude to my parents and family for their love, support, and encouragement, without whom I would never have enjoyed so many opportunities.

___WeiJe Kung 05.2020

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