STUDIO AIR 2017, SEMSTER 2 TUTOR: FINNIA WARNOCK STUDENT: ALICE SHAN JIANG (783943)
CATALOG PART A 0.0 Biography
P. 4~5
1.0 Design Future
P.6~13
1.1 Case Study 1
P.6~9
1.2 Case Study 2
P.10~13
2.0 Design Computation
P.14~21
2.1 Case Study 1
P.14~17
2.2 Case Study 2
P.18~21
3.0 Composition Vs. Generation
P. 22~29
3.1 Case Study 1
P.22~25
3.2 Case Study 2
P.26~29
4.0 Conclusion
P.30
5.0 Learning Outcomes
P.31
6.0 Appendix
P.32~33
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0.0 BIOGRAPHY Even though I have been exposed to a passionate atmosphere about design since I was young, I started formal academic training until university. Therefore, I may not be the person most advanced in skills, but I have always got the passion about architecture. I believe design continuously acquires nutritions from what designers have experienced, from travelling, reading and critical reflection. Also, I believe one of the most important characteristics which designer should equip is to be “insatiable�. We should never be satisfied about what they have achieved, which hence never stop us to pursue new knowledge and produce better outcomes.
My name is Shan Jiang. I am also
happy to be called Alice, and I am currently a third year architecture student at University of Melbourne. My interest of architecture actually inherits from my parents both of who are interior designers and appreciate architecture a lot. Whereever we see buildings, maybe when we travel or even simply on magazines, we enjoy discussing them, which equipped me with a good understanding of architecture.
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Moving to the third year in the University, I gradually find how digital design plays a more significant role in the design practices. Thus, I am interested to investigate more about digital design and fabrication through the Studio Air.
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01 Second Skin - Keep Personal Space. From Digital Design & Fabrication, 2017
02 Second Skin - Keep Personal Space. From Digital Design & Fabrication, 2017
03 Herring Island Pavilion Place for Keeping Secret. From Design Studio Earth.
01 Southbank Boat House Learning from the Master. From Design Studio Water.
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1.1 CASE STUDY 1
Masdar City Plan, 2006 Foster & Partners
01 In 2006, the Masdar Company launched the plan to build an autonomous sustainable city in the desert of Abu Dhabi, and the Foster & Partner was assigned for this project. (Dezeen) At the time when the plan was published, it unrolled an almost ideal image of the future city. For instance, residential buildings, leisure facilities and business centres are placed in a clustered pattern connected by the electric transport lines, (critics) which I found to share similarities with Alison & Peter Smithson Golden Lane Project. The Masdar city plan was radical at the time not only because of its ambitious target of zero carbon-emission, but also because it didn’t engage with any existing urban patterns, rather it embarked on a daring plan upon an empty site of a barren desert landscape. Passively speaking, it inspires fellow designers with potential strategies for sustainable city, for instance, the solar panels could function both as renewable energy generators and architectural shelters, as well as the idea of “green city�.
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01 Masdar City Centre Rendered Perspective
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Masdar City Residential House Rendered Perspective
03 Masdar City Business Centre Rendered Perspective
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Plan Vs. Reality On the one hand, the Masdar project is a prefigurative design because it was actually resulted from the awareness of the problems in the future when the nation run out of oil (CNN). On the other hand, it is a redirecting design because it establish new system towards sustainability rather than merely slowing down the defuturing process. Both of the characteristics are considered as essential factors to passive future design in Fry’s book. (Fry, p.11~13) Moreover, it is important that the Masdar project has been launched for construction so that we are able to examine whether this radical prefigurative and redirecting design would work in reality. Unfortunately, according to with recent investigation, the completion of Masdar city has been delayed to 2030 due to the strike of financial crisis, and the zero carbon-emission would definitely not be realised anytime soon, as well as other problems occur with the evolvement of third-party investors (CNN). Thus, this project could become another dishonest design which is coated with “sustainability”, but substantially a trivialised and stylised practice (Fry, p.6).
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Therefore, this example consolidates Fry’s criticism towards the deregulated design of purely appearance and perfomance (Fry, p.7). It is practical in a technical aspect, yet it is restricted by the economic and political frame. Apart from the Masdar city, there are numbers of ongoing conceptual architectural designs that are only performance-oriented and fail to expand the future possibility. Learning from the lessons of Masdar project, we need to be more critical about other paper design, yet we shall also embrace brave attempt of redirection.
04 Business Centre Reality in 2010
05 Solar Panel Construction Reality in 2010
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Residential House Reality in 2010
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1.2 CASE STUDY 2
Voussoir Cloud, 2008 Iwamoto Scott,
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01 Voussoir Cloud Pavilion Pattern Details
02 Voussoir Cloud Pavilion Relative to Human Scale
03 Voussoir Cloud Pavilion at Night
As discussed in the Case Study 1.1, an architecture practice that is only “stylised” cannot be considered as an honest sustainable design. Yet current architecture and other design practices tend to “render the invisible more and more of the materiality and operability” and subsequently value more on appearance. Despite this, as Fry demonstrated, “sustain-ability should suggest a more materially grounded objective and agency”. Thus, the following Case Study would give an example of how material performance plays a fundamental role throughout the design practice The Voussoir Cloud Project is fundamentally based on the empirical testing of how the thin wood petal perform in different shapes and how a group of modules operate together in real life. The shape of the wood petal module is inspired by the precedent experience of the “wedge shaped masonry blocks that make up an arch”, and the overall shape of the vault is the subsequent result the operation of the groups of module. (https:// iwamotoscott.com/projects/voussoir-cloud) 01
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Generating Form This form generating process is quite similar to Antoni Gaudi’s “hanging chain” module, both of which explore the system rules through prototyping, and apply these rules to form outcomes. Thus, it can be acknowledged as a critical design which, as Dunnne demonstated, transcribes critical thought via materiality. (Dunne, p.35) Apart from its materiality, the design process also engages systematic logics that is essential for the future parametric design. It means when one module changes its shape, edge numbers or position, the whole composition would be changed completely. To a large extent, this integrated relationship expressed in this modular design is influential on design futuring, and that we need to be aware of each design practice continues design beyond human-initiated act. (Fry, p.3) Although this project is a temporary installation which does not solve any urgent environmental problem, it inspires me of how to produce a genuine design. I start to evaluate some characteristics shared by effective practices from the readings and case studies. Among these characteristics, probably the most practical one is to base the design on exploring the material performance rather than pure appearance, and in other words, to define a system’s rule rather than its outcomes.
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2.1 CASE STUDY 1
Connecting Intelligence Pavillion, 2012, Oliver David Krieg
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New developments in computational design as well as in digital fabrication are currently leading to a rethinking of architectural design, material science, engineering and fabrication. Some argue that there is a gap between computational design and fabrication and that they are separated and detached during the industrialisation. (Kieran, S. & Timberlake J. (2004). Refabricating Architecture. How Manufacturing Methodologies Are Poised to Transform Building Construction, McGraw–Hill, New York.) However, the following Case Study 2.1 shows a practice that performs as a “continuum of design to production� with the continuous aid of computing. (Oxman, p.2)
Computation Generates Forms The Connecting Intelligence project is a material performance oriented project, and thus it started by researching the past and potential development of timber. Then these data were input into computer, and with the help of mediated softwares, the designer was able to generate variable forms based on material performance. In this case, computing not only enhances the design process by doing numerous calculations fast and accurately, but also opens up the possibility of architecture forms which is unconceivable manually. (Oxman, p.4)
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Computation helps Fabrication The digital design process is dynamic with single change of module producing a distinguish outcomes, whereas the fabrication process is solid where the computation tools were precisely programmed and cooperated as non-human constructor team. The prefabricated models by CNC were later assembled by industrial robot. This project shows it is possible to employ computation tools throughout design to production, that is, use programmed digital tools to transcribe research into virtue design, and then to prefabrication, eventually to modular assemblage.
In fact, it points out a potential direction for construction industry, which largely reduce the technical workows of human constructors. Despite this, however, I would argue that computing cannot re-deďŹ ne architecture practice because, as Kaylay demonstrated, computers lack creative and decisionmaking abilities. (Kaylay, p.2) Thus, it can enhance the design process instead of re-deďŹ ning it, and in this case, what becomes crucial is the communicative ability of human designers to computers.
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Fabrication Process Diagram
Intelligence Connecting Pavilion Aerial Perspective
02 Intelligence Connecting Pavilion Perspective
03 Assemblage Diagram
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2.2 CASE STUDY 2
Textile Hybrid M1, Student Project & ICD
01 Texitle Hybrid M1 Under Construction
02 First Layer Finished Assemblage
03 First Layer Finished Assemblage
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The Case Study 2.2 will exemplify how digital materiality provides more possibilities on formation of design. Before starting to look into the project, it needs to be clarify that I understand digital materiality as a process of simulating material behaviour in the virtue world and subsequently create innovative form and enrich the possibility of achievable geometries out of conventional material. This is something that physical prototyping is not capable enough to achieve. (https:// www.scribd.com/document/282123202/Digital-Materiality-in-Architecture)
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Computation Generates Forms
04 Focusing back to the project a performance-oriented project initially assigned to build a canopy with minimal exertion but adequate protection over a historic site of the stone tower designed by Leonardo da Vinci. To achieve the minimal surface, the designers came up with the idea of having a tensile membrane skin system over a highly elastic bone structure, both of which are lightweight and translucent. At this stage, computation of simulating material behavior became critical to the accomplishment and calibration of the design.\ They started with straight rods and slowly deformed it, and then secured its position with tensile membrane surface, and this process were manipulated largely with computation. Since this innovative structural system is entirely self-directing, it should be realised that it is impossible for physical prototyping alone to predict how the system would work in variable iterations.
Meanwhile, with the aid of computation tools, such as Finite Element simulation in SoďŹ stik, designers were able to test varying material parameters and determine the structural composition. As Oxman suggested, the development of digital materiality and performative analysis would advance contemporary tectonic expression, which is the key feature of this project. (Oxman p.6)
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04 Computational Generation of Form
05 Digital Model Perspective
06 Digital Model Perspective
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3.1 Case Study 1
AADRL Behavior Production, 2013AA School of Architecture
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-15, In Peters article ‘Computation Works: The Building of Algorithmic Thought’, he stated two design strategies, one conventional strategy using computers to digitalise the preconceived ideas in designer’s head, whereas the other non-standard strategy employing digital tools to be the driving force of design innovations. He defined the former as “Computation” and the latter as “Computerisation”.(Peters, p.100 I would argue that both of the two methodologies are beneficial for design practices, yet, compared to “Computation”, “Computerisation” can be more advanced in terms of its ability to extend the designers creativity instead of being restricted by human intelligence. At this case, the Case Study 3.1 will be introduced to give a good example of how Computerisation expands the possibilities of achievable design solutions.
01 Digital Model of the Bridging Structure
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Form Generation
02 3D Printing Process
03 Digital Model of Assemblage
04 Visualization of the Assemblage Process
In the experimental research of producing a bridging structure on an extreme topography where human-beings are unable to access, a robot system was precisely programmed to take the responsibility of both designers and constructors. In fact, human designers would roughly predesign the form of the structure, but the robot builders have the ability to optimise it according to the feedback of structural performance during the construction process. This is what Peters defined as the “algorithmic thinking”, which means human designer only plays an interpretive role to generate the coding systematically, speculating the design outcomes without exactly visualising it.(Peters, p.10) This actually makes the digital tool to be the final decision maker of design. At this point, some may question will computers take place of human designers. I would argue no because computers lack the ability of autonomous creativity. Undoubtedly, from this case study, we can admitted that the robotic system made better decision in design process based on its ability of processing enormous data and providing a most efficient solution. At the same time, it can also access and build somewhere humans cannot. However, it should be aware that all these robotic behaviours were based on algorithms defined by human designers. In the current age of widely using digital tools in design practices, we shall not worry about computers overwhelming or restricting human designers once we manage the tool of computerisation. Indeed, as Wilson and Frank emphasised, it is subjective to overstate the ability of algorithms and computation. (Wilson, p.12)
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3.2 Case Study 2
Khan Shatyr Entertainment Centre, 2006~2010, Foster + Partners
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The first case study I analysed in Part A is the Masdar City Plan project by Foster & Partners, i think it could produce a nice echo with the start by finishing Part A with an another project of them called Khan Shatyr Entertain Centre (KSE Centre) in Kazakhstan, which is also a good example showing the design process from “composition” to “generation”. 01 KSE Centre In Sunset
02 Tripod Structure in the Centre
03 Tunnel Pathway inside the Centre
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Form Generation
The project was actually started by a conventional “composition” strategy which suggests arrange different existing architectural components to achieve certain intentional spatial or aesthetic qualities. In this case of the KSE Centre, it can be indicated from the original report that the designers had already preconceived a form of tent to resonate the traditional nomadic building form, and also to landmark which would be the new highest peak on the city’s axis. (http:// www. fosterandpartners.com/projects/khan-shatyr-entertainment-centre/) Thus, from the primary sketches, we can only see how different functional units would be arranged within this tent-shaped unity. It is actually during the second stage after the primary draft design that the design team shifted from “composition” to “computational generation”. Specifically speaking, due to the complexity of constructing such a large-scaled tensile structure, a form-finding algorithm was applied in the digital modelling stage to eventually define the building form. (Peters, p.10) Also, according to the engineering group, it is said that the “digital thermal modelling and 3D CFD (computational fluid dynamics analysis)” enabled them to make adequate numbers of tests and optimal improvements before physically building it. (BUROHAPPOLD. pdf) T herefore, from this case study, we can demonstrate that it is more beneficial to combine the two strategies of “composition” and “computational generation”. It is because sketches can express comprehensive information efficiently and quickly, whereas computers can resolve complex calculations and visualise the outcomes easily, and designers should take advantage of both.
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4.0 Conclusion Through readings, lectures and the 6 precedent studies in Part A, I critically discuss the topic of ‘sustainability in future design’, ‘how computation affects design’ and ‘composition Vs. generation design strategy’ respectively. Although they are three separated topics, I find that there is actually a progressive relationship among them. And in these three topics, I consistently explore the field of “Material Perfomance”, which will potentially be the main topic I would like to focus in Part B and future project. In the first topic, it has been emphasised that sustainability would be the central theme that designers should focus in future project. It is critical to achieve true sustainability because of three reasons: firstly, there is a small chance to propose a solution to essentially change currently situation; secondly, even there is, it can be restricted by culture, economy and thus hard to execute; thirdly, there is a large amount of dishonest design which conceals the essence of sustainability. What we can do, therefore, in a practical sense, is to speculate and eventually redirect human needs through architecture that takes advantage of essential qualities of structure and material. The second topic discuss how computation has effectively influence today’s design practices. The point I want to emphasis again is that even though computational tools has brought great convenience and more possibilities, they cannot redefine design process because human designers still play the most crucial roles as decision-makers and creators. Thus, it is critical to equip ourselves with the ability to communicate and manage with computation. Last but not least, the third topic compares two design strategies, one arranges existing architectural forms (i.e. Composition), and the other generates forms through defining a systematic rules (i.e.Generation). We should probably focus more on the Generation strategy to produce more iterations and design possibilities throughout this class.
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1. Develop a personal interest in material performance, and set up the potential direction for the next project. 2. Being able to critically analyze a project in terms of its advantage in strategies, instead of merely focusing on its aesthetic appearance. 3. Acquire an improvement in algorithmic thinking as well as ability to generate various outcomes in grasshopper and rhino. 4. Being able to differentiate computation and computerisation. 5. Critically evaluate the role of computation in design and avoid being restricted by digital softwares
5.0 Learning Outcomes
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6.0 Appendix
Algorithm Sketch
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Reference [1] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.1 [2] Masdar City Plan, Dezeen,<https://www.dezeen.com/2009/08/28/masdar-city-centreby-lava/ > [3] CNN, “An eco oasis rising up in the Abu Dhabi? Photographing the ‘City of Possibilities’” < http://edition.cnn.com/2016/08/25/arts/city-of-possibilities-etienne-malapert/index.html> [4]Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.11~13 [5]Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.6 [6]Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.7 [7] IwamotoScott Architecture, “Voussoir Cloud”, <https://iwamotoscott.com/projects/ voussoir-cloud> [8] Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) p35 [9] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.3 [10] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.2 [11] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.4 [12] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p.2 [13] Digital Materiality in Architecture, < https://www.scribd.com/document/282123202/ Digital-Materiality-in-Architecture> [14] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.4 [15] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p.10 [16] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p.10 [17] Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), p.12 [18] Foster + Partners, < http://www.fosterandpartners.com/projects/khan-shatyr-entertainment-centre/> [19] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p.10 [20] Burohappold Engineering<http://www.burohappold.com/wp-content/uploads/2017/07/Khan-Shatyr-Entertainment-Centre.pdf>
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PART B:
Criteria Design
B1.0 Research Field
P. 36~37
B2.0 Case Study 1 B2.1 Matrix of Algorithm Sketch B2.2 Successful Outcomes
P.38~39 P.40~41 P.42~43
B3.0 Case Study 2 B3.1 Reverse Engineering
P.44~45 P.46~47
B4.0 Technique Deveopment B4.1 Successful Outcomes
P.48~49 P.50~51
B5.0 Technique Prototype
P.52~53
B6.0 Technique Proposal
P.54
B7.0 Learning Ovjectives
P.55
B8.0 Appendix
P.56~57
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B1.0 Research Field
Biomimicry & Material Performance Introduction Linking back to the precedent studies and learning outcomes of Part A, the deficiencies of many projects are engaging little with essential qualities of structure and material. I would like to use these deficiencies to innovate my own design. To do this, the strategy I take is, first of all, to research on a number of structural systems to inform myself of the features of different systems, what effects can they typically achieve, what material they usually applied and so on. With the knowledge of several structural systems, I would then try to generate them in the digital modelling process by using grasshopper where I would be able to manipulate the formation of certain structure and give it a numbers of geometries and patterns as outcomes. After this process, I would have a better knowledge of how certain structure works, and only at this point, I start to look at the brief and think about what structure is appropriate in this scenario and how to incorporate the structural qualities into my own design. Lastly, I would move to prototype, and at this stage, I would look more closely at the materiality and consider what material is suitable for creating the structure I proposed and can it bring any new aspects to improve the design. At this point, it can be indicated that structural and material performance is two driving force in my design. I base my design initially upon structural performance, and instead of preconceiving a shape or geometry by looking at the brief at the first stage, I generate forms out of what the structure system can give me and consciously select appropriate outcomes to fit the brief. After that, I let the materiality to push forward my design. All of these would be elaborated throughout Part B.
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01 ICD/ITKE Pavilion, 2011, Univeristy of Stuttgart
Bearing in mind of the Part B strategy and all those questions mentioned previously. I start my research of structure and material. I found biomimicry is an interesting topic to start because it mimics the natural system with the awareness of its long-lasting sustainable existence, efficient formation and responsive operations. Materiality is another topic I would like to focus on during the prototype process to add an practical aspect to my design. At this point, I found the precedent study of ICD/ITKE Pavillion 2011 under both of the two topics.
The ICD Pavilion attempts to integrate the perfomative capacity of the plate skeleton morphology of the sand dollar, a sub-species of the sea urchin (Echinoidea) [1]. In this case study, I found the structure is lightweight but have a high load bearing capacity, which is not invented from nowhere but borrowed from nature, and this has been proved to work in the natural world and therefore it is convincing. Also, the pattern of the hexagon module has a functional purpose. The apertures on
each hexagon enable light to come in, strengthen the load bearing ability as well as reduce material consumption. I found it innovative because it fills the gap between function and decoration., and it should be noticed that I am not attempting to only mimic the natural pattern, rather, what I am interest in is the operative principle behind it, and I think it should be reflected in my own project to make it an honest sustainable design.
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B2.0 Case Study 1
Voussoir Cloud, 2008 Iwamoto Scott, In the list of the algorithms definition from LMS, I selected this one because I have already looked at it in Part A as one of my case study and thus I have a better knowledge of the project and I am interested in how it is generated by digital modelling. The main structure of the Voussoir Cloud consists of five tesselated vaults, which is generated by using Kangaroo Physics in grasshopper. The major advantage of such tesselated structure is that it allows a large span in the space with a light weight material. At the same time, this project employs a modular system which, on the one hand, features the structure envelop with a fractal pattern, and on the other hand, allows light emission inside the space as well as reduces the material consumption for construction. This is exactky what I mentioned before as â&#x20AC;&#x153;a decorative pattern serving a functional purposeâ&#x20AC;?. Indeed, this modular system is really
appropriate for such a lightweight structure since it largely reduces the sense of heaviness in a visual aspect, and make the space underneath look more generous. Besides ,in my point of view, this vault structure is more suitable for constructing a interior structure to form a space underneath with a canopy on top. Although we can see a lot of examples to flip it to make a tent-like structure, such as Kahn Shatyr Entertainment Centre, I think it is probably not the best choice for an interior space because the tent structure need a large vertical space to span. Also, the vaults help to give a more flexible spatial quality for the underneath space. Therefore, it will be the major form that I base on in the first Matrix of algorithm sketches.
01 Buro Happold Hanging Chain Model & Finte Partical Analysis
02 Photograph of Voussoir Cloud
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Species A
- use weaverbird to smooth the
- change unary force (Z=5)
- use merge
unary (wind
original mesh
Species B
- recreate a base geometry with
- random reduce numbers of
- change th
two merged loft surface
anchor points
points
- connect two surface with
- chose randon cell in the top
- change th
columns
and bottom grid to loft
plate to a c
- move all the base plan upwards
- increase the number of anchor
- use lunchb
to create a dome shape
points to close the space
mond shap
- move the base plane to different elevation
Species C
- use weaverbird to stretch it
Species D
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05
ed force of wind &
- use weaverbird to create a truss
- use weaverbird to create circu-
d vector X=Y=1)
structure
lar apertures
he number of anchor
- merged force of wind & unary (wind vector X=Z=1, Y=0)
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-increase the number of populate 2D points to increase the number of vaults
he top and bottom
- use kangaroo unary force to
- use lunchbox to generate dia-
- use lunchbox to generate hexa-
continuous loft surface
deform the top and bottom plate
mond shape pattern
gon shape pattern
box to create dia-
pe openings
-move hexagons outwards and loft to produce little module
- dispatch the lunchbox diamond
- use metaball to create new
- use point charge field to create
panels to reduce the numbers of
geometry
new geometry
openings
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B
Selecting Criteria The selecting criteria here are: 1. Fabricatable I think about how kind of material can be used to produce the form. For example, iteration 01 can probably be construct by membrane or textile, whereas iteration 02 need for rigid material like timber panels. 2. Various spatial quality I did not choose the ones that create a single dome space because I want the experience inside the space to be more interesting and intricate. 3. Light I also choose the ones with reasonable numbers openings because they can create interesting lighting effect.
B2.2 Successful Outcomes 01
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B3.0 Case Study 2
HygroScope: Meteorosensitive Morphol Achim Menges & Steffen Reichert, 201
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This project give a good example of how the structure envelope of the building can be responsive based on the inherent behavior and properties of material. This project is actually a proposal by Achim Menges and his colleagues for future building envelope. They suggest future architecture should explore the benefits of a living structure that responds directly to environmental changes, which should also require no energy consumption or mechanical operation. In other words, the responsive change is achieved by the building envelop itself with the embedded physics of the material. [2]
logy 12
In this case, specifically speaking, they use the principle of “hygroscopicity”.
‘It is a question of surrendering to the wood, then following where it leads by connecting operations to a materiality, instead of imposing a form upon a matter‘ – Gilles Deleuze and Félix Guattari Hygroscopicity refers to an objects ability to absorb moisture from its environment when dry and shed moisture to its environment when wet. [3] Therefore, by utilizing the intrinsic physical characteristics of wood ,the project creates a hygroscopic mechanism that closes when the humidity level increases and opens when the it drops. In my point of view, this project is closely relevant to my design because combines the approaches of biomimicry and material performance. It actually mimics the environmental reponsive performance in nature incorporating with the materiality.
01 Hygroscope back view
02 Hygroscope front view
03 Hygroscope detail of material
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B3.1 Reverse Engineering A vault-like stucture loft single panel and polar array
Use lunchbox to make triangular panels
create top and bottom circles overlapping panels
dispatch the list to generate bending effect for half of the panels
move the middle point outwards along the normal direction, move again to create arc and loft
use voronoi to generate base plate pattern
use polylines to connect the points
boundary surface to loft
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intersect the region of voronoi boundary and the bottom circle to delete unwanted lines
rearrange the list order
Successful Outcomes
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B3 B3.3 Successful Outcomes
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Selecting Criteria The selecting criteria here are: 1. Fabricatable 2. Various spatial quality 3. Light I also choose the ones with reasonable numbers openings because they can create interesting lighting effect. 4. Acoustic performance According to the brief, we need to design an acoustic pod. Therefore, structure need to more or less define an enclosure to trap the sound inside 5. Variation of pattern I want the external appearance to reveal that the central space is more open because it is where people exchange and share ideas, but when moving outwards, it is more enclosed because we want to keep a reasonable level of privacy
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3.3 Successful Outcomes 02
04
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B5 Technique Prototyping Introduction After B4, I start to work in pair with my partner Rosie. We compared our matrixes and found they share little similarites, and we canâ&#x20AC;&#x2122;t decide the most successful geometry to serve as our fundamental structure. However, we found that both of us use a lot of hexagon shapes as a biomimetic pattern. Thus, we decide to focus on the hexagon pattern at this stage, and only do a patch of them which can be fit to our base geometry in the future.
Structure From the precedent studies, we want to continue exploring the idea of â&#x20AC;&#x153;responsive envelopeâ&#x20AC;?. Thus, we design a modular system consists of a framework and intermediate responsive members. The framework would help to form an intermediate layer of air lock where the humidity level can be controlled and thus the responsive members can be adjusted due to the humidity change.
Materiality Considering the acoustic requirements, we decide to use the material of MDF board with perspex for the framework, both of which can trap the sound quite well. At the same time, we want the structure to be and look like lightweight, so we use thin profile of 2mm for both materials Perspex is applied also because we need a transparent material to close the framework but let light in through the apertures. Cable tie is used at this stage because we need the structure to have a certain level of flexibility, making sure the modules can rotate to fit a curved geometry in the future.
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Modular Design We design two types of frameword, the first one consist of independent modules, each having a intermediate layer in its wall, which means it can control the humidity level individually. However, we think it looks two solid and heavy, so we design the second one looking more lightweight. The second one has a continuous intermediate layer so that the humid air can be ducted through the whole structure at the same time. In this case, ideally, if we want blind the apertures, we click the bottom to duct humid air into the air lock layer and the plywood sheet would absorb the moisture and close, which is responsive to the requirements of privacy.
The material choice for the responsive member is really crucial in this prototype. In order to achieve the effect of hygroscopicity, we really need to find a paper thin sheet of unseasoned timber. At the end, we used 1mm plywood sheet because it is the thinnest one we can get from the market, but in the future, we would have more performative material.
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B6.0 Technique Proposal From all the precedent studies and the prototyping, we already define a solid idea of creating a relatively â&#x20AC;&#x153;openâ&#x20AC;? semi-private meeting space with a responsive structure envelope inside the office environments.
pleasing, and again it cannot prevent air leakage between modules. Also, the uniformity of hexagon geometry is a bit boring. So we wil explore more geometries and variations of both module size the aperture size.
However, without the support of the base geometry, this prototype is problematic. For example, the intermediate layer cannot be sealed perfectly when we deform the patch of hexagons to fit it onto a curved surface. The joint of cable tie is not aesthetically
Despite of this, I think this prototype can be fit into any base structure, either curved or flat, and therefore it has great potential and we should develop it more in Part C.
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B7.0 Learning Outcomes
Objective 1. develop the ability to generate a variety of design possibilities After all the research and algorithm sketches of Part B, I have a great improvement in digital modelling skills, and I can manage some grasshopper definition quite well, such as lunchbox, weaverbird and kangaroo. I benefit a lot Most importantly, I develop an interest in exploring different definitions in grasshopper, and if given more time, I will learn more definitions and generate more iterations for the matrixes, but the interest developed would drive me to explore more in my own time. Objective 2. develop skills in various media Moving from the digital modelling to digital fabrication and physically assembly is a challenging process. I move back and forth a lot since sometimes errors occur in the assemblage and we need to change our model, and sometimes we have to make several attempts to find the better result of fabrication outcomes. Objective 3. develop the capacity of design analysis of architecture projects Now I would analyze the architecture in a parametric perspective, thinking about how it can be translated into digital model, and how it can be developed by changing parameters.
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B8.0 Appendix Algorithm Sketch
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Reference [1] Amy Frearson, “ICD/ITKE Research Pavilion at the University of Stuttgart”, <https://www.dezeen. com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/> [2] Stephanie Lin, “Voussoir Cloud / IwamotoScott”, <https://www.flickr.com/photos/stephalin/3139440801> [3] Designboom, “achim menges developes hygroskin and hygroscope: biomimetic meteorosensitive pavilions”, <https://www.designboom.com/architecture/achim-menges-developes-hygroskin-and-hygroscope-biomimetic-meteorosensitive-pavilions-4-14-2014/> [4] Achim Menges, “HygroScope: Meteorosensitive Morphology”, <http://www.achimmenges. net/?p=5083>
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