Content
Introduction Design Futuring A1 Design Computation A2 Composition/Generation A3 Conclusion A4 Learning Outcomes A5 Appendix -- Algorithmic Sketches B1 Research Field B2 Case Study 1 B3 Case Study 2 B4 Development B5 Prototypes B6 Technique: Proposal B7 Learning Objectives B8 Appendix C1 Design Concept C2 Tectonic Elements & Prototypes C3 Final Detail Model C4 Learning Objectives and Outcomes
Introduction
My name is Alan and I came from Hong Kong. I have completed 2 years of architectural studies and I am here to finish my last. During my studies, I have used Revit most of the time. It is a parametrics design tool I know. My philosophy of architecture is that an architecture should be different in form and functional, unique in the way it expresses itself in those terms.
My second last project in Hong Kong, open building design in residentual block, made by Rhino.
I am also interested in designing according to the site. Thus, I am fascinated by parametric design in how it evolve and adapt to different conditions. Also, parametric design is so interesting is because what I have found in software such as sketchup is that it is easy to start building a model but it gets more time-consuming later on as I wanted to make changes to the model, that I had to delete and remake the parts. Revit, on the other hand, is easy in making changes. I only needed to change the values in the constraints, ie. length of a wall, and the model would rebuild itself. This is one of the reasons why I am interested in parametric design. I am also interested in seeing how parametric design software create organic patterns and can evolve as you change certain values. I am eager to explore its potential.
My final project in the last semester in Hong Kong, the Spiral Tower. Revit was used to create the model.
Design Futuring
Fig 1: Walt Disney Concert Hall, L.A., California, Frank Gehry, 2003
Fig 2: Gehry’s sketches are then put into computer for 3D modelling Fig.3: Achieving accuracy in buildi
Design Futuring has become a big issue in the architectural realm because our human existence carries impact on the environment and which then threatens our own future existence. Parametric design assists our design intelligence so that we can make better design decisions. In increasingly more unsustainable worlds, design intelligence would deliver the means to make crucial judgements about actions that could increase or decrease futuring potential.1
Parametric design helps push design process forward and create architecture that otherwise is impossible In parametric design, it is the parameters of a particular design that are declared, not its shape. By assigning different values to the parameters, different objects or configurations can be created. Equations can be used to describe the relationships between objects, thus defining an associative geometry. That is, the ability to define, determine and reconfigure geometrical relationships is of particular value.2 Parametric design has been pioneered by architects such as Frank O. Gehry who begun to exploit digital technology originally developed for the automotive and airplane industry for architecture. Gehry imported a new way of thinking into architectural design. Walt Disney Concert Hall is an example of using digital technology. Gehry’s technology offered new ways to control architectural form. It revamped the technical workflow of todays architecture industry in the following way. It allows architecture to react to any change in the context, the environment and rules and regulations. Enabled a completely digital workflow from design to manufacturing.
The concept is to create a sense of disharmony as represented by Gehry’s style, deconstructivism. But at the same time it creates an interesting composition of geometries that became the landmark in the site, Los angeles. Gehry initially began experimenting on the geometry using sketch and then later on paper models. The design is then put into computer software to control the precision of the actual form for further design development. To calculate the complex shapes of the curves, Walt Disney Concert Hall was used to CATIA software. This allowed him to determine the structure and shape of each piece of steel that covers them.3 This allows accurate dimensions of individual components and make up the entire building with little error. Then, they are fabricated and assembled accordingly. This is not possible without the help of digital technology. Similar to the Bilbao Effect observed from The Guggenheim Museum Bilbao, it attracted a number of visitors and helped Los Angeles ‘s economic situation, contributing to the economic sustainability of the habitants in the area.
Unbuilt project that experiments and bring revolutionary ideas Another predecent is Eco-Sustainable Housing project by Federico Rossi from 2007 Housing Competition. It focuses on the development of new housing typology in Oman, generated through the accumulation of independent variables into a system of relationships, where the interdependencies generate a variation of possibilities that is able to adapt to local
Fig 5: Thickness of form responds to sun positions
ing construction5
Fig 4: Eco-Sustainable Housing Project, Oman, Federico Rossi, 20074
conditions. The development of inhabitable units will be dependent on environmental variables and eco-sustainable principles to achieve new spatial and performative configurations. This project aims at contributing to the inhabitants a sustainable living environment in an innovative way of thinking how a place for living reacts with the environmental conditions. The housing unit will use a rhomboid framework constrained within two strips to produce a parametric model. Through the control of the width, length, and thickness of the surface it is possible to create a responsive inhabitable unit that increases the wall thickness in high temperatures and deforms the rhomboid framework according to internal pressure and wind velocity.
Fig 6: Achieving cross-ventilation
mixed concrete for the foundation. The proliferation of the units on the site will be driven from a quarry organization. By arraying the units along the contour lines of the topography it is possible to control the quantity of materials that will be cut from the landscape. The space between the units will be used for water collection during heavy rain storms.4
What changes?
Frank Gehry’s Walt Disney Concert Hall changed the way how society and the practice look at architecture should be. That not only architecture should bring spatial interest to the area, despite being criticised for its geometries and waste of materials, architecture can be well integrated with digital technology and made impossible designs possible. The Concert Hall The idea of improving the light conditions and creating changed the way architecture is produced in practice different micro climate areas inside the unit was that an integrated and efficient way combining digital solved with the use of local materials (limestone) and design and fabrication is possible. As a result, the built simple manufacturing techniques. Cutting the stone environment can be more interesting and complex in different sizes that respond to the variation of solar than before. radiation along a surface is possible thanks to complex geometries, such as the arch.4 Eco-Sustainable Housing Project gives revolutionary ideas how a building evolves according to the Whenever we bring something into being we also environment. Buildings are no longer static but they destroy something - the omelette at the cost of the can be smart that adapt to different requirements of egg, the table at the cost of the tree, through to fossil the habitants. fuel generated energy at the cost of the planet’s atmosphere.1 This means that we should make careful Again, all this is made possible with parametric design. decisions so that the cost to the environment is minimized to achieve efficiency. The project also tackles the aspect of minimizing wastage in natural resources and materials, in order to create this effective structure. To create a two bedroom unit only eight cubic meters of limestone are necessary; the waste cut will be used to create
A1 Design Computation
Fig 7: ICD/ITKE Reseach Pavilion, Menges, Achim, 20078
Computing makes design process more efficient Traditionally, architecture has a phenomenon of selfsegregation and no collective intelligence that all parties in the architectural production process are driven by their own vision and goals, be it profit or certain disciplinary knowledge and vision. There is also limited communication between the architectural model and disciplines. Design computation allows the process of making no longer entirely linear. That production becomes part of the design process. Designers can work with structural engineers by allowing communication between them by sharing information on a model in the computer and picture how their buildings get assembled in the construction process to create a 4-dimensional model that includes time, enabling collective intelligence.6 This is meaning that the design process is changed in the way the many disciplines participate in the design process much early on and the architects serves as the overseers of the exchange of information.
Computation re-defines the process of formulating solutions by criteria design Data can be collected from analysing the situation and input into a parametric model and it will generate solutions based on the data. We should explore space by generating solutions that satisfy different criteria by first examining what criteria are there at the first place. . Computation allows us to question the brief.
Tectonics of material, fabrication and efficiency Computation allows the model to be designed with structural considerations and material considerations
Fig 8: Structure and assembly of the Pavilion
and thus strengthening creative collaborative design relationship between the architect and the structural engineer as united in the practice of research by design. The integration of digital materiality and performative analysis enables a potential contemporary tectonic expession.7 ICD/ITKE Research Pavilion demonstrates that the computational generation of form is directly driven and informed by physical behavior and material characteristics. The structure is entirely based on the elastic bending behavior of birch plywood strips. The strips are robotically manufactured as planar elements, and subsequently connected so that elastically bent and tensioned regions alternate along their length. The force that is locally stored in each bent region of the strip, and maintained by the corresponding tensioned region of the neighboring strip, greatly increases the structural capacity of the system. In order to prevent local points of concentrated bending moments, the locations of the connection points between strips needs to change along the structure, resulting in 80 different strip patterns constructed from more than 500 geometrically unique parts. The combination of both the stored energy resulting from the elastic bending during the construction process and the morphological differentiation of the joint locations enables a very lightweight system. The entire structure, with a diameter of more than twelve meters, can be constructed using only 6.5 millimeter thin birch plywood sheets.8 We can see the performance of the pavilion is tested under the tectonics of the materials and then fabricated into realistic project that tested the material’s boundary in its physical nature.
Fig 9: Honeyc
comb Morphologies, London, UK, 20049
Fig 10: Exploration of different forms
Fig 11: Experimenting on different thickness of marterial
Computation expands possible geometries for construction
Computation allows designers to work with complex geometries to construction
The research pavilion aims at stretching the limitations of the birch plywood strips material to create an ultimate form and geometry. Without computation, a structural analysis of the material would not be possible. In the end, this ultimate form and geometry would not be possible to create, the degree of curvature of the plywood. Then, this collection of materials would not have created this pavilion in this particular geometry (form, angle).
The form went through a process of development that was otherwise difficult without the help of computation. Moreover, prototypes were developed to explore cell depth and curvature parametric link. Again, this would be difficult without the use of computation that allows prototyping. That is, architects discovered they have the digital information that could be used in fabrication and construction to directly drive the computer-controlled machinery, making the time-consuming and error-prone production of drawings unnecessary. In addition, the introduction and integration of digital fabrication into the design of buildings enabled architects to almost instantaneously produce scale models of their designs using processes and techniques identical to those used in the industry. Thus a valuable feedback mechanism between conception and production was established.10 This means that computation helped architects to be able to produce complex geometries in a virtual environment and then get them constructed more easily than without computation.
The Honey Morphologies also proves how computation helps designers achieve suitable geometries that they otherwise would not have imagined to be possible. This research was pursued as part of a MA dissertation in Emergent Technologies and Design at the Architectural Association. The central aim of the research is the development of a material system with a high degree of integration between its design and performance. This integration is inherent to natural material systems for they have been developed through evolutionary means which intricately tie together the form, growth, and behavior of the organism. This research explores integration strategies for a particular industrially produced material system for use in architectural applications.9 As indicated in the figures above, the form went through numerous experiments to come up with the final shape that is difficult to imagine, such as, how to achieve the size, angles and thickness of each individual honeycomb to make up the big one, presented with the help of computation.
Performance oriented design is facilitated by computation This research develops a honeycomb system that is able to adapt to diverse performance requirements through the modulation of the system’s inherent geometric and material parameters while remaining within the limits of available production technologies. The performance of the form and material is evaluated and formulated as solutions.
A2 Composition/Generation
Fig 12: Khan Shatyr Entertainment Centre, Kazakhstan, Foster + Partners, 2008
Fig 13: Different form options were generated by responding to structural forces by generative tools.
Compositional approach with computerization in the industry of architecture As pointed out earlier, Frank Gehry’s method of production, that is still compositional, can be seen as the use of computer as a tool, that is he has, already, a form/ geometry in his head and then it is just documented and adjusted on a digital platform. So a criticism to this use of computer is that creativity is limited and computer as a tool has not used to its full potential, albeit its integration in the digital production process.
Generative design in computation in the industry However, computation is different. Instead of modeling an external form, designers articulate an internal generative logic, which then produces, in an automatic fashion, a range of possibilities from which the designer could choose an appropriate formal proposition for further development. The emphasis shifts from the “making of form” to the “finding of form”, which various digitally-based generative techniques seem to bring about intentionally.10 The industry had begun to embrace it on a large scale with positive attitude and have achieved a lot with it. Khan Shatyr Entertainment Centre is a major new civic, cultural and social venue for the people of Astana, Kazakhstan. The building allows for a wide range of activities within a sheltered climatic enclosure that provides a comfortable environment all year round. Temperatures in Astana can drop to -35 degrees Celsius in winter and climb as high as +35 degrees in summer. The cable-net structure is located at the northern end of
the new city axis and rises to 150 metres to form the highest peak on the Astana skyline. The threelayer ETFE envelope is designed to shelter the enclosed accommodation from weather extremes and to allow daylight to wash the interiors. A viewing platform at the top of the structural mast has dramatic views over the city and the Steppes beyond.11 A form-finding algorithm was used by the team to quickly generate design options for the cablenet structure. The algorithm formed part of the parametric model that was used to develop and define the building form. The design team worked closely with the project team from design concept through construction documentation. The team created parametric design tools to generate many different enclosure forms and wrote a computer program to simulate the structural forces of the cable net structure and to generate the different form options.12 This new design process, that is using algorithmic design thinking and tools to create complex building forms and structures that are well integrated with and analysed with other design disciplinary knowledge, such as structural engineering, in making the most efficient buildings, has been fully embraced by many contemporary architectural practice in creating the most efficient buildings.
As revolutionary analytical tools Generation has become a tool to analyse the structure of buildings that are responsive to the requirements of the environment, which is essential
Fig 14: Bao’an International Airport Terminal 3, Shenzhen, Massimiliano Fuksas and Knippers Helbig Advanced Engineering 201213
Fig 15: Types of modules with variation of size and slope of glass panels.
to today’s practice in architecture.
design for architecture.” 12 This means that algorithmic ability of thinking in the industry is still limited. That not all architects have sufficient knowledge in this. This restricts the use the of generative design in the industry. Technology in construction, fabrication is another major issue. Many builders do not possess technology that enables construction of complex algorithmic structures, and sometimes the architect has to deliver a building as fast as possible to gain profit as the whole construction process requires more financing with time, and thus, there is no need for a generative approach as there being not much time to research and explore possible solutions.
Bao’an International Airport Terminal 3’s space structure is covered The size and slope of the glass openings are the two design parameters that were adapted to meet the local requirements of daylight, solar gain, viewing from the inside towards the airfield, as well as the aesthetic intentions of the architect. After generating and evaluating approximately 50 different models for the terminal roof, a very simple linear sequence of panels was chosen as can now be seen on the completed building. In this project, the main challenge for engineering was the generation of the parametric data model, which allowed a new form of communication and collaboration between architects and engineers to develop.13 Without generation tool, the architect would not be able to integrate the information from engineers and come up with a structure that responses well to the requirements (lighting, heating, views and aesthetics) in a timely manner. As compared to the traditional practice, it would be too complex and impossible since there are too many modules to design for. Now, modulations can be made on the openings after simulations and testing and achieve the overall efficiency by adjusting some inputs in the algorithm created by architects and engineers.
Limitations of generative design
Importantly, not all functions are computable, so not all functions are algorithmically describable.14 This means algorithmic thinking in generative design is limited by the inputs, that such as human emotions and political views are not computable as part of the algorithm. There is no “ghost in the machine” in the computational theory of mind. A computer does what is told, driven by the designer, not the other way around. This requires the designer to have trial and errors and playing with inputs and their relationships to achieve the desirable geometry.
Depends on communication between specialists
After studying these precedents, the success of generation design is thus dependent on whether As good as generative design approach may sound, specialists, such as designers and structural engineers, currently in the industry, there are still many limitations have the ability to communicate their data to one presented for generative design. “When architects have another, and then input into the parametric model sufficient understanding of algorithmic concepts, when to be analysed and come up with solutions. Ability to we no longer need to discuss the digital as something collaborate/communicate with one another is the key different, then computation can become a true method of to success, or, to failure.
A3 Conclusion
A4 Learning Outcomes
Futuring and Generative design
What I have learnt:
We have to be sustainable in design and today’s architectural industry has incorporated this idea and to make it possible, they took inspirations from anything such as how nature works or efficiency in structure and material and developed 3D models of their design from the design stage to the construction stage, made possible by the use of computation, and varies possibilities were explored only that is possible with the help of the computer’s generative ability and the designer’s computation thinking.
After learning from lectures and tutorials, my understanding of computation/generative design has grown from absolutely zero to a sufficient level that I know why and how the architectural practice adopt computation in their design process.
The industry is gradually shifting from the more traditional way of thinking and production in practice to a more complex one. There are many advantages and disadvantages in the use of computation in generation we should consider when we use such innovative approach in design.
My approach I definitely have learnt the importance of the generative design approach. It is innovative in the way of exploring solutions in response to forces acting on the project by the site, and the model that it produced can then be fabricated using computer technologies such as a CNC machine and digitally make the project physical. This approach is an integrated approach that can push architecture to the limit and also today’s technology to the limit. All stakeholders in the design process can benefit
If given an opportunity, I would definitely work on my office tower project. Since office tower is flexible in its form and how it reacts to surrounding forces, context and environmental, I could use generation to first explore different forms that are affected by these forces before coming up a concrete solution. Instead of interpreting the brief and thinking of a solution by sketching, now I could use a more automatic process to find how my office would be erected through my inputs and definition of constraints. The outcome would be more integrated, more dynamic and innovative that I would not have think of in the beginning. This is the innovation that I wanted in design.
A.5 Appendix - Algorithmic Sketches
Selected Sketch: -Sea sponges
I selected the sea sponges from my sketchbook for this part. To make things simple, I just drew circles (curves) in rhino and then set curves in grasshopper. Then, I loft them. By changing the radius of the circles, I am able to create form that looks like sea sponges. Then, I tried to make the same thing by using a more complex algorithm. Instead of drawing curves in rhino, I only used set point on rhino for once only. Then, I used move in grasshopper for the geometries that I drew in grasshopper that are set on different planes on different locations. Since the geometries are eclipses and polygons, and the fact that I have count bars for them, I am able to mess around with the radius, segments and fillets for the geometries. The output was automatically different, as illustrated.
What I have learnt is that algorithm, generation, can be convenient to achieve changes in geometries, as contrasted with traditional way that I needed to re-size each curve. Also, exploration of form is also possible. As I just change the count of segments, for example, the form automatically update to be something different. Also, I have noticed that I needed more training that rhino to achieve the same geometries. Because for grasshopper, I needed to have the ability to think in an algorithmic manner. While in rhino, the process of creation is fairly straightforward. I understood the time complexity and time that it requires to train someone in the industry to operate in generative design.
Reference List: 1.
Fry, Tony. 2008. Design Futuring: Sustainability, Ethics and New Practice Oxford: Berg, 2008, pp. 4, 12
2.
ComKolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing. New York; London: Spon Press, 2003, pp. 17
3.
http://www.huffingtonpost.com/adel-zakout/top-10-buildings-parametr_b_838268.html
4.
http://www.evolo.us/architecture/eco-sustainable-housing-parametric-design/
5.
http://archpaper.com/news/articles.asp?id=7571#.VQtTGY6Uc0R
6.
Kieran, Stephen, and James Timberlake. Refabricating Architecture: How Manufacturing Methodologies are Poised to Transform Building Costruction. New York: McGraw-Hill, pp. 13, 15, 23
7.
Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture London; (New York: Routledge 2014), pp. 5-6
8.
http://www.achimmenges.net/?p=4443
9.
http://matsysdesign.com/category/projects/honeycomb-morphologies/
10. ComKolarevic, Branko. Architecture in the Digital Age: Design and Manufacturing. New York; London: Spon Press, 2003, pp. 13, 57 11. http://www.bradypeters.com/khan-shatyr-centre.html 12. Peters, Brady. 2013. Computation Works: The Building of Algorithmic Thought, Architectural Design, 83, 2, pp. 10, 12 13. http://www.knippershelbig.com/sites/default/files/pdf/from_model_thinking_to_process-design_jk_2013.pdf 14. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds. 1999. The MIT Encyclopedia of the Cognitive Sciences. London: MIT Press, pp. 11-12
13
B2 Case Study 1.0 Spanish Pavilion
Fig 1: Aqua Tower, Chicago, USA, Studio Gang Architects, 2009
potential of nature. Evolution has forced organisms to be highly efficient.
Opportunities
Patterning gives freedom to building design in the way that Form follows performance an inspiration is drawn from a particular form in nature but how the design achieves Patterning is a technique used performance is flexible to to achieve two things. First is performance , aligned with the idea executed. In Aqua Tower, although it mimics limestone in of biomimicry, such as structure, nature, the performance is not thermal and acoustics. restricted to how the structure The design of Aqua Tower was inspired by the striated limestone of limestone does the job. outcroppings common in the Great The architect is free to design Lakes area. But this sinuous shape how the pattern of limestone achieves performance. In this is not just a mere formal gesture, case, it is extending the views but it is also a strategy to extend and sun shading. the views and maximize solar shading. And by looking at the plans we see a rational structure, Fabrication concerns true to the Mies legacy in the city. 2 However, it also presents some problems in the realm of We can see how the building fabrication and construction. As mimics natural form of limestone the building is big in scale, how to achieve building performance. the building is assembled can be an issue.
Design implications
The sinuously curved concrete Patterning as a technique to mimic decks on each floor assume different configurations where nature allows maximized floor Biomimicry balconies extend anywhere space and easy to construct to from 2 to 12 feet. Although achieve the effect. If we look at Biomimicry is can be the driving force the architects used computer the typical floor plan, only where behind generative architectural design modeling to create the rippling the peripheral of the building is in the contemporary architecture. 1 contours, the fact that each occurring change. Basically, all This is because building design look floor slab is unique in shape floors are identical. Not only does for inspiration in nature to respond meant calculations had to be this means the use of space is dynamically to changing environmental maximized, the construction of the done separately for each floor. conditions, just like organisms do, pattern is also made easier, as only An edge-form steel plate was since nature optimize by achieving reused to guide the concrete the balconies are changed. highest efficiency with minimal means. pour: The steel form would bend In addition to mimicking complex for a pour and then spring back Fabrication can be made easier appearance, organization of patterned into a straight line, ready to be because of the repeating skins and structures in nature, their components of the whole structure bent again for another curve. 3 behavior is also investigated for as illustrated in P-wall later, where possible new ideas about performance Aligning different floor slabs to the wall is divided into repeating of building skins and structures. The be precise to follow the curved modules and assembled. impulse is to harness the generative Fig 2: Typical floor plan of Aqua Tower
1 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 10 2 See http://www.archdaily.com/42694/aqua-tower-studio-gang-architects/
produces affects and resonance. 4 In the p-wall project, Andrew Kudless used elastic fabric to cast a series of plaster panels, arranged in a large field. This project is based on a cloud points generated from the grayscale values of pixels in a digital image. The points are used to constrain the elastic fabric in the formwork, as it expands under the weight of poured plaster. It tries to resonate with the human body as it sags, expands and stretches in its own relationship with gravity and structure. The resulting supple surface invites visitors to touch it, to sense its smooth undulations. 5 Fig 3: P-wall, Columbus, Ohio, Andrew Kudless, 2006
The sensate affect it creates also attracts audience and they relate themselves to the p-wall project. Patterning ornaments are not just superficial but carries a sensual meaning. It mimics the natural human body in the way the body ages and lose elasticity and forms this pattern. The fabrication involves fabric mould penetrated by rods and then liquid plaster is poured into the mould and left to set. Then, the tiles are assembled to form a wall according to a predetermined order and pattern. Thus, the fabrication process is simple. However, since it is assembled by hands, and it is not done by machines, such as a CNC machine, the accuracy of the location of the points may not be accurate . The process of letting the plaster set also incurs time. It can be a problem to mass produce the tiles to apply to a bigger scale for larger effect. Patterning opens up opportunities for designers to create interesting, efficient structures that achieve both environmental and societal goals.
Fig 4: Algorithmic patterning
Conceptual limitations
form can be difficult due to the number of slabs in this scale, but not impossible. Due to the fact that patterning relies on a system of repetitive elements, the form must evolve by a set of rules, be it Ornament inspired by nature to geometrical or not, that limit the freedom of its form creation. Also, some forms that derive from patterning are just made of create affect geometrical patterns such as triangular grids, that the form is too simple and not surprising, and therefore, not completely The second function of patterning ornaments making use of the potential of parametric design, to create is to create sensate affect to the building. It spectacular effects. is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the architecture. It is capable of generating an unlimited number of resonances. Ornament is necessary and 3 See http://greensource.construction.com/green_building_projects/2010/1001_Aqua-Tower.asp 4 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 8 5 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 18
B2 Case Study 1.0 Spanish Pavilion
Manipulating internal points of different grid species
Image Sampler
Mapped on different surfaces manipulated by graph mapper
Lofting between offsets and grid
Mapped on different surfaces manipulated by graph mapper
Successful iterations a)
Selection Criteria 1. Shading a) allows creating custom size openings to achieve the level of shading needed. b) is successful in creating shading at areas where they are needed as I could just change the image to map on the grid. The pattern of the shaded areas are evenly distributed across the surface.
b)
2. Ventilation b) is capable of allowing ventilation through the openings Sufficient ventilation is distributed across the surface evenly. Custom openings made by a) also allows controlling of the amount of ventilation through. 3. Strong structure d) is a loft between the offset and the grid which it offsets from. The downward manner can be excellent in creating a structure, be it a pavilion, acting as supports. The arching geometry of c) allows a strong structure to be erected.
c)
d)
Speculate
a) could be used to create an interesting facade pattern that also suggests some shading. b) could be used as a suspended structure that spans over an area where it could create shading patterns. c) could be used as a pavilion where the middle part where it is projected upwards creates a space for people. d) could be used as a rain collection device, where the top openings can collect water and channelled down to the ground. Space at ground could also serve as a circulation space.
Different graph mappers
Controlling shape of openings by internal points
Overlay different grid types and create voronoi
Selection Criteria The selection criteria have been revised from B.2 and included some new items.
a)
1. Shading a) allows creating custom size openings to achieve the level of shading needed. The twisting of the lofts also create interesting aesthetics. b) allows shading at places where I want by image mapping. Openings were significantly smaller and thus better shading effect.
b)
2. Controlling pollution a) is also capable of shielding away any visual or audio pollution since the faceted surfaces of the lofts could block and hence reduce the overall pollution emitted from the source. Custom openings made by d) also allows controlling the amount of pollution, smaller opening for greater level of control.
c)
3. Strong structure The arching of c) is allows the creation of a strong structure against vertical loads. Thus may allow spanning over a large area. 4. Flexible pattern to apply on site All these patterns can be adapted to site forces since they have different input parameters. ie, the attractor point may be able to track the sun path, image sampling of areas of the site where there are not enough shading.
Speculate
d)
a) could be used as a component in a pavilion that creates shading or hang along a path for shading for people walking by. b) could be applied to a facade of a building where behind the larger openings can house rooms such as meeting room where the smaller openings can house utility rooms or more private rooms. c) could be an arching bridge over a river where people can walk across on top. Or it can be a furniture which is spongy to lay down. d) could create even more interesting shapes(deformed circles) of openings of a pavilion for shading or aesthetics considerations.
B5 Technique: Prototypes Process Documentation I want to achieve the ability to bend and sense of lightweight by cables and cardboards. The method below explores joints that allow flexing of the frame structure.
Laminate fabrics with the One cell is completed Cut fabrics by tracing the laser cut laser cut frames of card board. piece
Metal cables are laminated in between the cardboards.
Cut fabrics by tracing the laser cut polypropylene.
3 cells overlapped with strips.
Fabric is laminated in between the polypropylene frames.
Their joints are made of pins, simulating bolted joints.
3 cells completed
Cells are overlapped with strips to create a grid.
Here we can see how the layers are overlapped with one another.
3D printed cell in one module. The lofted surface is welded to the frame.
Joints of the modules to allow connection by rods. 3 modules are connected by rods and they are welded. 3D printing allows the creation of dynamic geometry of the openings that is difficult with laser cut method.
Timber frames are connected by lap joints. Thus joints are cut this way for lapping on top of eachother.
The fabric is bolted to the timber frame.
It is supported by a timber , jointed in the same way.
Selection Criteria and Testing
I want to create a shading device by fabrics. The structure is light and flexible and can be suspended by cables.
Light source is in the middle distance from the model.
The model’s ability to shade is tested here. The fabrics effectively reduce the light while the opening allows light in.
Model is moved closer to light source.
Light source is moved close to the model.
This model is successful in creating shading and achieve a strong structure that allows bending and suspension.
Here the model’s ability to bend vertically is tested.
I want to test the shading effect under a different type of connection and material system. This structure is bolted to the ground instead of suspended
In contrast to the previous model, the strips are visible here as compared to the cables which are invisible. Also, the opening is created to twist. The shading effect is more controlled here.
The light source is moved close to the model.
The amount of light getting through the opening is less than the area of the opening due to the twist motion of the fabric and opening.
The model’s ability to flex in the horizontal direction is tested here.
Overall, the model is successful in creating more controlled shading. This model has the ability to flex horizontally by the bolted joints.
3D printed model can create more interesting and dynamic shapes of the openings. Ie, the half moon opening.
However, the mesh of my model has pushed the limited in 3D printing that the machine left some unintended opening of the loft surface that affects the shading effect. Also, the frame also left shading on the ground.
The model’s ability to torque at the joints between 2 rows of cells.
Overall, the model is successful in creating a rigid structure, providing shading, However, it has not produced a flawless model as expected as they are some holes on the loft surface.
Shading in different directions. The frame leaves a bigger influence on the shading.
The model’s ability to flex here is tested. The frame can cope with the motion easily. However, one of the fabric connection has disconnected.
The model’s ability to resist live load is shown. The timber fin is strong to resist the vertical load due to the depth of the frame.
B6 Technique: Proposal
Fig 7. Noise pollution by traffic
Fig 5. Existing bridges at Merri Creek where it joins Yarra River
Fig 6. Sun Path
Fig 8. Existing walkways and cycling paths
Fig 9. South East Asian Crossing Project, IJP Corporation, Landscape Architects
Fig 10. Noise diffusion by cell developed in patterning technique
Fig 11. Noise reflected on the facetted surface.
7 See http://www.e-architect.co.uk/singapore/singapore-bridge
B7 Learning Objectives and Outcomes In the course of Part B, I have learnt to develop many design possibilities by exploring different cases of patterning and combining some grasshopper definitions to further develop the possibilities. I have explored deeply into how data works to create more advanced patterns. Data matching was a whole new concept and language to me in learning grasshopper so I have learnt it in an adequate amount. I learnt by experimenting with
definitions and getting help on grasshopper3d forum. In making the iterations, I always step back and think about how to satisfy the selection criteria of the site so that I could produce something that may be useful for part C. So I have learnt to merge computation design(generative design) with composition design methods. I was partly aware of what I am making and partly open up for possibilities. I think computation is to aid the architect to design but not to become the primary driving force. A balance should strike between.
B8. Appendix - Algorithmic Sketches
I have also learnt to fabricate different prototypes for my investigation of materiality and assembly process. I have investigated into different ways of jointing together the prototypes and relate the materiality as well.
In this sketch, I have used graph mapper to distort the lofted surfaces created by field lines. The field lines are created by merging several fields together and evaluated. I have used extensively the field in my technique exploration and the graph mapper to create shapes that inform my proposal at the end, a bridge system.
Points on a surface are used as inputs for the image sampler and then circles are drawn at these points and the radius according to the image. What is different here is the radius of the circles are further controlled by replacing the radius with 4 numbers, thus enabling a higher degree of control. I have used this to explore my iterations to create different shading areas with an image of my choosing.
C1 Design Concept Feedback from Interim Presentation: Comments were that I were dealing with too many factors at once. I was trying to deal with shading, ventilation, noise pollution, structure, and an interesting pattern. Now, I have narrowed down to only mediating noise as primary goal and providing shading and views to the driver as secondary goals. I lacked some form development and cell diagrams to explain how my design works. I will also incorporate them in this part, sketches and small scale diagrams. Since my challenge mainly is dealing with noise pollution, fabric would be a poor material since noise can get through easily. Metal and wood are much better sound absorbing materials. My final design proposal is a group of cells that populate around the bridges where there is noise problem and address the secondary goals I set above.
Cell Diagrams Noise diffusion is a tactic to minimise the noise level by spreading its intensity through different depths of voids.
Surface with no noise diffusion
Noise diffusing by surface of different depths
My cells open up at the eye level of the drivers who are driving across the bridge to have a less restricted view to the surroundings.
Views at eye level of drivers
Better views with bigger openings
Solar glare can be a problem to drivers. Cells which face the sun decrease in size.
il
Smaller openings to reduce glare
Tr a
Merri Creek
Tr a
il
Sun glare problem to drivers
Areas to pay attention to mediate are the 2 ends of the bridge where beneath are the merri creek trail. My cells will populate this area. Cells open up towards the north and south for views.
Eastern
Areas to protect against noise
Angles requiring glare protection
s w ay W al k
Pe
de sd ria n
Highway
Bigger openings at areas of views
Areas requiring glare protection acc. to traffic direction
Sun glare comes from the north and is the direction where cells close up. Adding the considering that the bridge is different in direction, meaning the bridges are unidirectional and opposite in direction as well. The areas to protect against glare highlighted in the diagram to the left.
Form Development
My cells will populate on a surface that wraps around the bridges and touches the water slightly after experimenting with different forms.
Other ways of wrapping the bridge by incorporating a tilted up surface.
The surface does not touch the water here.
I have explored different ways of wrapping my surface and come up with the most appropriate option.
Wrapping the bridge in a different order than the above.
Originally in Part B, I wanted to create a tunnel like structure that encloses the bridge. However, I want my surface of cells to focus on the areas above the merri creek trail where there is the need of noise mediation. So after sketching a few forms, I have decided to populate my cells on a single surface wrapping around the bridges. Also, single surface is less complicated at being managed in the grasshopper model instead of 2 surfaces.
C2 Tectonic Elements & Prototypes Connection Diagrams
Teeth Joint Bolt Nut Cleat
Nail Lapped Detail
Teeth nailed into Angle Bolt Nut Cleat
Teeth Lapping Joint with nails
Inspired by the connection at the facade of RMIT It is effective in suspending surfaces in different directions.
Steel Bolt and Cleats Joint
Steel tube joint Steel Rods Bolt
Rod inserted through 2 cells surface
Steel plate for welding to rods
Suspension rods connection
Steel Rods and Tube Joint connection
Steel Rods, Tension and suspension connections
Nut Steel Rod
Prototypes Detail 1 Initially, the shape of the openings consist of circles and rectangles. After I have made this prototype, I realised it is very difficult to get paper to bend that way. So I have reduced the rotation angle of these openings.
Large scale teeth joints are experimented.
Small scale teeth joints are also experimented to compare with. Although they function well in the purpose of serving as connection, the smaller scale joints seem to have greater control since it has more number of teeth to connect.
Teeth joints are further reinforced by lapped joints and angle respectively since glue may not be secure enough without proper nailing.
Prototypes Detail 2
Nails were inserted on each individual cells at the edge first and then cleat plates were added on the underside, sandwiching the cell surface in between.
Cleats were laser cut boxboard and the cells were cardcutted. The cleats are positioned at the underside of the cells to minimise visual impact of the cells so that only the bolts are seen on the inside.
Prototypes Detail 3 Holes were cut in advance by the card cutter for the rods to insert through.
The tension rods were 3D printed and additional nuts were added to fasten the cells positions. Cells are solely connected by these rods and nuts.
Prototypes Detail 4
This last connection detail are all 3D printed individually and then connected to one another due to the 3D print dimension limitation in the Fabrication. The formwork was removed.
Steel tube joints with nails are simulated in this detail with the precision of 3D printing.
C3 Final Detail Model Final Presentation
The form of the cells have been further refined to circular openings instead of some being rectangular due to several difficulties in the fabrication process. There are overlapping surfaces for the card cutter which made rectangular, rotated openings cannot be fabricated.
Same goes for 3D printing. The red highlight areas indicated inside surface on the outside. The 3D printing machine cannot read surfaces like this so I have realised rectangular openings are not appropriate. I have further refined my form to be all circular openings for easier fabrication.
Laser cut cells provide a cleaner treatment to my final model. Also, circular openings are easier to fabricated and assembled. This serves as my final design.
This is few of pieces that could be 3D printed with rectangular openings. However, most of my other pieces failed to be fabricated due to the problem mentioned above.
South View
Birds eye view of different cell forms reacting to varies factors - glare, views and noise reduction.
Location Plan
Final Presentation Revised
The comments I got was that the cells have too big openings that would function less efficiently as noise barrier. Another was that the surface which these cells populated on have not covered enough area and protect the merri creek trails on two sides. I have revised by design by closing up the cells and increasing the area of the surface so that it can wrap more area on the bridge. The ends of this surface have also adjusted to shield the trails before touching the river.
West Elevation
North Elevation
Sections
Cells shut to block glare. Two opposite aspects for two opposite directions in traffic
Different depths in cells provide noise diffusion. Wood is noise absorptive.
Views at driver’s eye level
Final Detail Model
Testing shadows
C4 Learning Objectives and Outcomes After the final presentation I have selected the most important crits to address. I have adjusted the form and cells openings to achieve a better noise reduction effect. Now that I compare this design with my previous design in the final presentation, I have realised the form have improved much more. I realised it is important to keep in mind that computation design is to help achieve an efficient means of design. In my case, I should focus more on reducing the noise level and the other objectives such as glare and views as secondary, less important. I am able to manipulate to a deeper degree (data management that I could not have done before this studio and I have learnt even more so during part C where I attempt to apply to the site. I realised that the most difficult part is not coming up with a site specific solution, though it also required a lot of effort and thinking, it was the fabrication that took me most effort. I tried different ways of fabrication the models and escpecially the final detail model is the hardest to fabricate because my design consist of more than 200 indivdual unique cells. I realised it was important to simplify these cells(form) so that I would not run into anymore trouble trying to laser cut them or 3D print them. I have learnt a lot of 3D printing by seeking technical help from the people from the Fab Lab. There are a few rules as to how to effectively 3D print a model. First, the model has to be in the same scale as the model being 3D printed. I was not aware of this. Second, I need to further expand my grasshopper skills to use other plugins such as thicken mesh to help me create a better mesh(without overlapping faces) to 3D print successfully. Parametric design helped me to manage the behavior of my cells to adapt to all those factors. Without parametric modelling, I would not
be able to create this design at all. It would take me enormous amount of time to micro manage each cell. However, grasshopper allowed me to mass manage a bunch of data all at once. This has developed my skills in algorithmic thinking profoundly. Through vigorous exercises in creating so many prototypes throughout this semester has allowed me to understand a lot of how digital design came to physical creation by the machine. I understood some principles about how these machines work and I have now improved my fabrication technique so that I can be more successful in the future. Most importantly I am able to think critically about how to apply my parametric design to a brief(site) and keep it as simple and effective as possible so that I would not encounter so many problems later in the final stage. Translating from what I want to do into parametric modelling software was a big challenge for me in this studio. But in the end it was a fruitful experience.