CONTENTS REFERENCES - PAGE 1 PRECEDENTS - PAGE 2 CONCEPTUAL DESIGN - PAGE 3 MODEL STEP BY STEP - PAGE 5 MODEL SHORT-LIST - PAGE 6 EXPLORATIONS - PAGE 7 LIVE SIMULATION - PAGE 9 MATERIAL SIMULATIONS - PAGE 11 PAVILION DESIGN - PAGE 13 FINAL DESIGN CONCEPT - PAGE 15
GROUP 13 // REFERENCES INSPIRATION // FRIE OTTO // RULED MODELS // HYPERBOLIC PARABOLOIDS Ruled surfaces are defined by straight lines so we found it easy to apply them to our intial wire and masking tape models and incorporate them into a design. A hyperbolic paraboloid is a 3D surface with hyperbolic and parabolic cross- sections. We were inspired by Felix Candela’s thin concrete structures and used his paraboloids as a framework to come up with a more flexible dynamic structure. Soap films (closed boundary + uniform stress). Soap films are structures with minimal surface area. They inspired us to explore the idea of the hyperbolic paraboloid in order to have a more linear structure. We applied tension and pulled the vertexes, thus the paraboloids converted into straight lines, creating rigid edges. The tension allows us to apply lightweight materials. The result was a cable structure, which relies on tension and cannot support compression. The boundaries of the structure are defined by non-closed triangles, no three segments lay on the same plane. The lines connect to each other defining a polygon, which serves as the boundaries of a tensile structure.
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Frei Otto // Soap Film Experiment //1
Frei Otto // Soap Film Experiment //2
Ruled models // by research bodies
Ruled models // by research bodies
Hyperbolic Paraboloids //
Hyperbolic Paraboloids //
GROUP 13 // PRECEDENTS INSPIRATION // FREI OTTO // FELIX CANDELA // SHAJAY BHOOSHAN The Music Pavilion by Frei Otto is an example of a textile lightweight roof. It is one of the first tents having two-up and two-down fxed points. This idea was taken and further developed in our design by adding a third point-up and a third-point down allowing the body of the object to stand on its own and bear a weight pushing the structure downward. Felix Candela’s works are known for being innovative in their uniquely thin cross sections, true to form and elegance. Candela’s Manantiales’ structure is a hyperbolic paraboloid, which has V-shaped beams, strengthening the base and free thin edges. We kept the V-shaped beams and converted the paraboloids into straight lines by increasing the tension.
Frei Otto // Music Pavilion at the Federal Garden Exhibition, 1955, Kassel, Germany. Photo © Atelier Frei Otto Warmbronn
Frei Otto with Ove Arup & partners & Ted Happold /Roof for the Multihalle in Mannheim, 1970–1975 Mannheim, Germany.
Felix Candela // Cassinello. In memoriam (1910-1997)
Felix Candela // Restaurant of the Hotel Casino de la Selva, Cuernavaca, Mexico
Design_John Klein & Shajay Bhooshan // Bangalore Railway. Research Framework_Autodesk Idea Studio Resident
Shajay Bhooshan // Pleated Shell Structures 1
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GROUP 13 // CONCEPTUAL DESIGN EXPLORATION // RULED SURFACE MODELING To understand the make-up of ruled surfaces more, we decided to create a set of three structures based on its principles. Using the work of our precedent explorations as a basis we created three wire structures that would allow for a continuous ruled surface. The biology of these models consists of a 2mm wire frame joined with masking are made of 8mm strips of masking tape. These masking tape strips rely on tween two wire edges. To decide which models would pass on the next step of one and three were able to hold 4kg and 6kg. Model two did not perform well equidistant legs, the offset equilateral base on model one seemed to cope with
tape to keep the frame continuous. The ruled braces the tension created from spanning the distance becomputer modeling we tested their strength, models; during the strength test we think mainly due to its the load better.
ONE // RULED SURFACE MODELING
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ONE // ONE
ONE // TWO
ONE // THREE
ONE // FOUR
ONE // FIVE
ONE // SIX
TWO & THREE // RULED SURFACE MODELING
TWO // ONE
TWO // TWO
TWO // THREE
TWO // FOUR
TWO // FIVE
THREE // ONE
THREE // TWO
THREE // THREE
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GROUP 13 // MODEL STEP BY STEP FURTHER EXPLORATION // RULED SURFACE MODELING We worked with the hyperbolic paraboloid through the definition of it’s vertices and geometrical manipulation of then. We realized that the vertices formed two triangles, and the relations within this triangles and from one to another defined the overall shape. Thus, the shape could be parameterized through this points. Key parameters: Angles between the vertex on the triangle plane: we started with a equilateral triangle but found more resistance in an isosceles triangle. Relation between the planes on which each triangle lays: If the plane on which the top triangle lays is not parallel to the one that the lower one is (the ground plane) a condition of movement is established, which we found interesting (the shape would be “pointing� a given direction in the elevation). A very important decision in the design approach was to reach dynamic spaces, imprinting a sense of movement, instead of regular shapes that seemed more bound to themselves.
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3 points on the ground plane determine the touchdown points of the shape. If those points are laid in an equilateral, isosceles or irregular pattern will result in different surfaces.
Another triangle is imagined in a plane above the first one. At the first moment, we just changed the height difference between the planes, but incorporated also changes of the angles within the triangle and between both triangles.
Connecting the midpoints of the upper triangle to the vertices of the lower one establishes the external edges of the shape, those are the directrices on which the ruled surface is based.
When the outer edges are swept by a moving line (directrix - generator relation) a surface is established. From this point, we worked by moving the points, relaxing the surface and iterating between physical and digital models.
GROUP 13 // MODEL SHORT-LIST FURTHER EXPLORATION // RULED SURFACE MODELING
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GROUP 13 // EXPLORATIONS CATALOGUE // BASE PLAIN ONE
MODELLED ACCURATELY TO PLAN
UNLEVEL UPPER PLANE
REMOVE CONSTRAINT// VERTEX
REMOVE PARALLEL CONSTRAINTS//VERTEX(S)
DO NOT PERFORM ONE ORIGINAL FUNCTION
ROTATE UPPER EDGES IN (Z) PLANE
OFFSET SHIFT BASE IN (Z) PLANE
CENTRALIZE BASE VERTEX’S
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GROUP 13 // EXPLORATIONS CATALOGUE // BASE PLAIN TWO
MODELLED ACCURATELY TO PLAN
UNLEVEL UPPER PLANE
REMOVE CONSTRAINT// VERTEX
REMOVE PARALLEL CONSTRAINTS//VERTEX(S)
DO NOT PERFORM ONE ORIGINAL FUNCTION
ROTATE UPPER EDGES IN (Z) PLANE
OFFSET SHIFT BASE IN (Z) PLANE
CENTRALIZE BASE VERTEX’S
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GROUP 13 // EXPLORATIONS LIVE SIMULATION // BOX When deciding which of the Maya model simulations to further explore we had to first turn them into n clothes and set constraints at the base and upper vertices. This allowed us to envisage how the forms would perform in reality to later be created in the live simulation box. From our catalogue we selected a set of four models that we thought worked best in various parameter conditions but also had an aesthetic quality and buildability was also a factor when dividing which forms to shortlist into the live simulation stage. The live simulation stage consisted of 3 main elements, a 1200mm x 600mm x 650mm box. The box consists of many holes on its upper and base plane to allow for the models to be replicated via their vertex’s being strung through the holes.
LIVE SIMULATION // SHORTLISTED DIGITAL MODELS ONE
THREE
TWO
FOUR
The models above are the four that have been shortlisted to this stage, they all share a similar reaction to the parameter conditions applied in the previous catalogue. We hoped when choosing them they would perform as they have in Maya when applied to the live box. We have used a lycra material to model them as it performed the best as a virtual material when we tested the n cloth on the models.
ONE //
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TWO //
THREE //
FOUR //
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GROUP 13 // EXPLORATIONS MATERIALITY SIMULATION // MAYA & BOX OPERATION
SHAPE 1
SHAPE 2
(Starting parameters in Maya) -Stretch Resistance 20.0 -Rigidity 0.00
Relaxes a small amount,
No obvious changes
-Stretch Resistance 0.00 -Rigidity 0.00
Shape falls in completely in itself as no constraints act on it
Shape falls in completely in itself as no constraints act on it
REF 1
REF 4
-Stretch Resistance 0.1 -Rigidity 0.00
Middle drops down
Middle drops, hole remains same size
-Stretch Resistance 2.00 -Rigidity 0.50
Relaxes a small amount
Drops again but still curved
REF 2
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REF 5
-Stretch Resistance 0.8 -Rigidity 0.00 -Shear resistance 0.1
Soft selects, increase fallout radius and pull up middle section more. Compression resistance =0, relaxes to look like real world shape
Shape bends in. Compression resistance=0
Stretch Resistance 0.8 -Rigidity 0.00 -Shear resistance 10.0
Shape twists along lines of connecting vertices
Arches still formed
-Stretch Resistance 0.00 -Rigidity 0.02
Some relaxation. If rigidity is more than 0.2 then the shape does not change at all
REF 6
REF 3 Some relaxation
REF 1
REF 2
REF 3
REF 4
REF 5
REF 6
GROUP 13 // EXPLORATIONS MATERIALITY SIMULATION // MAYA & BOX SHAPE 3
SHAPE 4
BOX NOTES
No obvious changes
Not much change – middle dropped a small amount
Shape falls in completely in itself as no constraints act on it
Real world, shape hangs down and disperses on floor
Curves collapse inwards more
N/A
Relaxes a small amount
N/A
Relaxes a small amount
Shape edges soften but curves still quite pronounced
N/A
Shape bends in a small amount
Softens curves but still not straight lines
Box shape has straight lines with small curves compared to greater curves in Maya model
Some relaxation
Some relaxation
No obvious changes
Shape falls in completely in itself as no constraints act on it REF 7 Shape collapses sideways REF 8
Relaxes a small amount REF 9
REF 7
REF 8
N/A
REF 9
CONCLUSION // When the shape is relaxed in Maya, the rigidity must be <0.2 in order to see real world similarities. Stretch resistance must all be kept <2.0. If both rigidity and stretch resistance are acting on the shape there is little relaxation. The curves are more prominent in Maya whereas in the box, connecting points tended to be straighter. It was hard to calibrate the real world and Maya fabrics to act in an identical manner, however similar shapes could be made. 12
GROUP 13 // PAVILION DESIGN APPLICATION // CONCEPT DESIGN After manipulating the shapes in the catalogue, 2 shapes were chosen based on buildablity and aesthetic. We wanted to integrate the pavilion onto the Cardiff museum whilst still maintaining easy access into the building and along the road. We initially thought about having a elastic mesh which could be climbed across having been inspired by the Brazilian pavilion at the Milan Expo. It was important that the shapes weren’t altered too much and could easily be remodelled in Maya. Starting with X we thought about having a mid level viewing area, which could be accessed by the legs of the shape. We then decided that the viewing area and structure would be made using a grid system having looked at Frei Otto’s Munich Olympic stadium and the British pavilion at the Milan Expo. We then decided to use the Y as the viewing area, suspended between X. However, we wanted to maintain a single piece of material so we realised that the cut out piece of material in X, could be used to create Y, whilst remaining the contact points. This allowed us to create a pavilion form a single plane in Maya and then also a single piece of fabric in the box. Because we used X and Y, this shape could be remodelled in as little as 10 steps (X in 4 steps and Y in 6) with only 1 additional step for each one in comparison to the starting shape. Y is modelled upside down for the pavilion, X also has two extra cuts in it. The viewing pavilions would be made of a clear material similar to that of Frei Otto’s Stadium so that the users would be suspended in mid air. The secondary structure would be made of the same construction method but with a opaque material to provide cover for the people entering the museum. Users would enter the suspended shape through the legs of X, with holes cut into the fabric to enter viewing gallery. From here they will be able to see the city and look below through the transparent surface.
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GROUP 13 // PAVILION DESIGN APPLICATION // SITE & DESIGN As the site was outside the museum it was important to maintain access into the building and the route across the space. We also wanted an opportunity for the users to be able to access a higher level in order to be able to see views of Cardiff. The main structure would also provide protection from the elements for the users coming in and out of the museum as well as the public who sit on the steps. The upper viewing gallery would be exposed to the sky and have a clear plastic floor in order to give the user a sense of hanging in midair. The transparency of the floor would also allow the user to see the makeup of the structure, including the wire cables. This would give the user an a better understanding of the construction.
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