Jiang shan 783943 part c

A compendium of algorithmic design approaches and thinking Proposal for an Acoustic Pod in office

ALICE SHAN JIANG (783943)

STUDIO AIR 2017, SEMSTER 2 TUTOR: FINNIA WARNOCK

Studio Air - 2017 Semester 2

CATALOG PART A

PART B: Criteria Desig

0.0 Biography

P. 4~5

1.0 Research Field

1.0 Design Future

P.6~13

2.0 Case Study 1

1.1 Case Study 1

P.6~9

2.1 Matrix of Algorithm Sk

1.2 Case Study 2

P.10~13

2.2 Successful Outcomes

2.0 Design Computation

P.14~21

2.1 Case Study 1

P.14~17

2.2 Case Study 2

P.18~21

4.0 Technique Deveopment

3.0 Composition Vs. Gen- P. 22~29

4.1 Successful Outcomes

eration

3.0 Case Study 2 3.1 Reverse Engineering

5.0 Technique Prototype

3.1 Case Study 1

P.22~25

6.0 Technique Proposal

3.2 Case Study 2

P.26~29

7.0 Learning Ovjectives

4.0 Conclusion

P.30

8.0 Appendix

5.0 Learning Outcomes

P.30

6.0 Appendix

P.31

gn

PART C P.32~33

1.0 Design Concept

P. 53~54

P.34~35

1.1 Matrix

P.55~56

ketch

P.36~37

1.2 Site Analysis

P.57~58

s

P.38~39

s

2.0 Prototype

P.59~66

P.40~41

2.1 Pattern Prototype 1 P.59~60

P.42~43

2.2 Pattern Prototype 2 P.61~62

P.44~45

2.3 Pattern Prototype 3 P.63~64

P.46~47

2.4 Material Research P. 65~66

P.48~49

3.0 Final Proposal

P.67~70

P.50

3.1 Final Prototype

P.71~74

P.51

3.2 Effect Test

P.75~78

P.52

3.3 Assemblage Detail P.79~82 3.4 Render

P.83~90

4.0 Conclusion

P.91~92

5.0 Appendix

P.93~94

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EDITOR BIOGRAPHY

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.

Main Editor: Alice Shan Jiang Cooperated with: Rosie Liaoyu Zhou Date of Publication: 2017.11.01 Photograph: Alice&Rosie

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.

Even though I have been exposed

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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.

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

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Second Skin - Keep Personal Space. From Digital Design & Fabrication, 2017

Herring Island Pavilion Place for Keeping Secret.

From Design Studio Earth.

04 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

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01 Masdar City Centre Rendered Perspective

02 Masdar City Residential House Rendered Perspective

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Masdar City Business Centre Rendered Perspective

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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.[1] 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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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 [2]. 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. [3] 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 04

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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 [4]. Thus, this project could become another dishonest design which is coated with “sustainability”, but substantially a trivialised and stylised practice[5]. Therefore, this example consolidates Fry’s criticism towards the deregulated design of purely appearance and perfomance [6]. 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 performanceoriented 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

06 Residential House Reality in 2010

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1.2 CASE STUDY 2

Voussoir Cloud, 2008 Iwamoto Scott,

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01

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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.

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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.

[7]

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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. [8] 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 humaninitiated act. [9] 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 ap

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pearance, and in other words, to define a system’s rule rather than its outcomes.

01 Voussoir Cloud Pavilion Pattern Details

02 Voussoir Cloud Pavilion Relative to Human Scale

03 Voussoir Cloud Pavilion at Night

04 Diagrams of modular & joint details

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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 [9]. 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. [10]

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. [11]

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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 workflows of human constructors. Despite this, however, I would argue that computing cannot re-define architecture practice because, as Kaylay demonstrated, computers lack creative and decisionmaking abilities. [12] Thus, it can enhance the design process instead of re-defining it, and in this case, what becomes crucial is the communicative ability of human designers to computers.

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Fabrication Process Diagram

Assemblage Diagram

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Intelligence Connecting Pavilion Perspective

Intelligence Connecting Pavilion Aerial Perspective

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2.2 CASE STUDY 2

Textile Hybrid M1, Student Project & ICD 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. [13]

01 Texitle Hybrid M1 Under Construction

02 First Layer Finished Assemblage

03 First Layer Finished Assemblage

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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 selfdirecting,

it should be realised that it is impossible for physical prototyping alone to predict how the system would work in variable iterations.

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”.[14] 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.[15] 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.

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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. [16]

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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-entertainmentcentre/) 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. [17]

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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. [16] 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.

5.0 Learning Outcomes 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

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6.0 Appendix Algorithm Sketch

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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 forma

tion 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

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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.

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 Studio Air - 2017 Semester 2

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 “a decorative pattern serving a functional purpose”. Indeed, this modular system is really as “a decorative pattern serving a functional purpose”.

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.

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.

Besides ,in my point of view, this

01 Buro Happold Hanging Chain Model & Finte Partical Analysis

02 Photograph of Voussoir Cloud

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01

02

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B2.1 Matrix of Form Exploration 01

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03

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

06

-increase the number of popu-

(wind vector X=Z=1, Y=0)

late 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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B2.2 Successful Outcomes

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.

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01

02

03

04

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B3.0 Case Study 2

HygroScope: Meteorosensitive Morphol Achim Menges & Steffen Reichert, 201

‘It is a question of surrendering to lowing where it leads by connect materiality, instead of imposing a ter‘ – Gilles Deleuze

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02

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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.

logy 12

o the wood, then folting operations to a a form upon a mat-

e and Félix Guattari

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] In this case, specifically speaking, they use the principle of “hygroscopicity”.

01 Hygroscope back view

02 Hygroscope front view

03 Hygroscope detail of material

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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.

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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

B3.1 Reverse Engineering

Successful Outcomes

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B3.2 Matrix of Form Exploration

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B3.3 Successful Outcomes 01

Selecting Criteria

The selecting criteria here are: 1. Fabricatable 2. Various spatial quality 03

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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02

04

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B4.0 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 can’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 “responsive envelope�. 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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B5.0 Technique Proposal From all the precedent studies and the prototyping, we already define a solid idea of creating a relatively “open� 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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B6.0 Learning Outcomes

Objectives 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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B7.0 Reference Algorithm Sketch

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C1.0 Design Concept Feedback Response From the Part B presentation, we receive the critics that, on the one hand, we have clear precendents of “hygroscope�and show a good departure from the precendent, on the other hand, the overal geometry needs to be defined with more variation, and the modular prototype should be the main focus of the part C. We starts Part C by exploring the overall form of the acoustic pod with consideration of the brief and site more specifically. To create geometric variation, we applied voronoi apart from hexagons, and also tried to use attractive point to create different dimention of each cell and different apperture of cell openings. The attractive point is carefully positioned to make the apperture bigger and the height of cell smaller when it reaches closer to the bottom so that the overall structure looks like floating. In this case, we are aiming to create a dynamic structure with great variation, which also helps to address the design approach of biomimicry since patterns in nature are all identical and vary a lot.

How to Address the Brief

In terms of the brief, we are asked to design an acoustic pod in an office environment. However, in our point of view, it is important of the structure to be not only an acoustic barrier but also to cut visual contact with the exterior. To address that, we basically camp up with the idea to pump humid air into volumn of the structure surface so that the apertures would close for both sound and visual contact.

In this case, our proposal is to create a moisture responsive structure, in other words, a live structure, which essentially addresses the deisgn approach of biomimcry and is the most innovative highlight of the whole project.

Also, we explore different materials which would be expanded more in details in this chapter.

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C1.1 Matrix of Form Exploring

01

02

Species A

- points along boundaries & in the centre as anchor points to creat a dome shape with a central column

Species B

- points along the back boundaries as anchor points to create a shell shape

Species C

- change the unary force and anchors to get a dome fit better into the space - z=0.5, x=y=0

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03

- reduce anchor points to create openings - add an unary force in the Y-axis - y= - 0.5

- keep the anchor points - add an unary force along Y-axis - y= 0.5

- reduce anchor points to create openings - increase the unary force along Z-axis - z= 1.5

- add the central points as anchors as well to create a central column

- change the unary force - z=y=0.5, x=0

- add the central points as anchors as well to create a central column

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C1.2 Site Analysis

Looking at the site we found that the office is divide into two patch of working space by the central aisle. We realise it is an moderated space and it won’t be a good idea to bring a heavy, solid structure into this interior office environment. Thus, we want to follow the original pattern of circulation and try not to interrupt the existing office environment by making the acoustic pod as light-weighted as possible.

01 Circulation Analysis

02 Spatial Analysis

03 Acoustic Analysis

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We designed the acoustic pod to be functional by making the acoustic effect happening mainly on the sides facing the two working area. Meanwhile openings are placed on the original path of circulation, facing the doorway and the central aisle.

Also, we leave enough space for people to walk around the structure when they are not allowed to pass through the structure.

Step 1: Create a octagonal grid which covers the entire site area as the base to run the kagaroo physics. This grid provides hundreds of points which can be defined as anchor points later.

Step 2: Based on the form exploration, we select the most successful outcome. It creates a vault shape with a void conceals the structral column. It defines the circulation with openings facing the main entrance and the cnetral aisle while creating the acoustic protection on the sides facing the main worrking areas.

Step 3: To create better acoustic performance by embracing the design approach of biomimicry, we applied a voronoi pattern on the mesh surface. It also reates more interesting visual effect.

Step 4: The pattern is further developed and the development will be explained in details in the next chapter of prototype.

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C2.1 Pattern Prototype 1

Introduction In order to enable the “hygroscopic” effect, we need to design a surface pattern not only for visual attraction, but also producing a sealed, hermetic space in which the humidity level can be well controlled. In other words, the surface needs to act as an “air-lock”.

Initially, we thought of making a double layered sealed system where air and moisture can be ventilated only inside. At this poitn, the ICD/ITKE Pavilion 2011 provides us a good example to learn from since it is self-interlocked double layer system, which perfectly meets our requirements. Apart from that, it also gives an interesting rugged surface pattern. Therefore, we decide to reverse engineer this model as the first step.

Throughout a more detailed research, we found that the ICD Pavilion took advantage of finger joints, so we also test it out in the prototype process.

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Joint Ideally, we expecting the finger joint can connect two panels without making any gap, which is essential for the producing a perfectly sealed layter where air carrying moisture can flow without contact with the exterior and this subsequently allows hygroscopic system to work. However, the finger joint turned out to work not really well. On the one hand, the thickness of the panel is not accounted into consideration while been lasercutted which added the perimeter of the bottom plate and thus they fail to join together. On the other hand, the joint is too small and fragile that it often breaks.

Materiality In consider of the critics received in Part B, we decided to move away from high end manufactured product like MDF board, and tested natural timber, and in this case,we used 1.7mm plywood.

We made etched lines hoping we can fold the timber panels to join them seamlessly. However, this method of etching panels simply does not work. It cracked a lot every time we fold the panels, which is probably because the plywood sheet is relatively crisp and easy to be broken when the etched lines go perpendicular to the timber grain. In fact, we also tried other timber, and found out that etching and folding is probably more suitable for paper or plastic material, not nature timber with natural grains.

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C2.2 Pattern Prototype 2 Cells are glued together.

perspex layer: to create an closed space for rising humidity.

finger joints: connect the each side of one cell moisture channel: allow moisture going between cells inside this structure. Also the edge of this channel allow timber venner to be glued on.

01

perspex layer

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Outcomes It triggers a huge problem for our physical model. Cells are bending towards different directions. The differences of each cell made the defects intolerable.

Development Reflected on our previous model, we added varieties to our rigid hexagon pattern by having voronoi patter rather than hexagons.

Although it is visually more interesting, the fabrication fails several times. Thus, we decided to go back to the original hexagonal shape, but we developed it by having curved panels.

There are some gaps between cells, due to our digital model has slightly curved panels. This defect appears to be more clear after we change from our seamless hexagon cells.

We also tried to apply sealent to prevent moisture penetrating between cells.

Lower part of the structure is covered by whole timber panel and the upper part is cutted out for timber flower installation.

Finger joints are not as efficient as we thought, and they take longer time to assebly, due to our cells are quite complicated.

01 Assemblage D

02 Joint Details

03 Overal shape

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C2.3 Pattern Prototype 3

installing timber petals in the advanced

01

02

63

We create a tenon joint for the timber s our cells. Timber steps are for attaching

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d shape from prototype 2

step to plug into the vertical panel of timber petals.

Development Improved from prototype 2, we are pleased with the shape of the cell and try to insert timber petals inside the cell.

But in this prototype, the timber steps and tenon joints are not working perfectly in the physical model makng process. Because our model scale is 1:5, which makes the distance between the inner perspex and the edge of the vertical panel really close, the timber steps are too large to fit in and the tenon joints' assemblying is hard to adjust by hand.

We also want to test out the appearance when we have some cells installed with petals and some left empty. But we quickly found out these empty cells are not visually pleasing, the void in the center is to large for our initial intention to provide privacy.

01 Assemblage Diagram

02 Joint Details

03 Overal shape

03

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C2.4 Material Research

01

02

03

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Principles Timber meeting with water deforms greatly when it is cut perpendicular to its grain and it will not change much when it is cut along its grain.

[1] We are using this property of timber to fabricate our petals which is designed to be responsive to humidity and changing the view.

01 Blackwood

02 Blackheart Sessafras

03 Mytrle

Therefore we found three different species of timber and both of them are unbacked, which will deform properly. We cut them perpendicular towards their grains and spray water to test out which species has the greatest capacity of bending.

After this water deformation testing, we are settled on blackwood due to its great bending ability when encounter

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C3.0 Final Proposal

This model is produced by 3D printing, generally demonstrate the way each different cell is positioned on the whole congregation.

Each cell is glued together along their vertical edge in real construction.

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01

02

03

04

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Outcomes

Inspired by ICD ITKE 2011 Pavilion, we used voronoi and boundary box to get various connected single cell on our overall shape decided through site.

This final proposal is carried out to coop with the past problems we encountered in our prototyping stage such as the panel is curved which we are unable to fabricate.

According to this design, every cell is an isolated sytem by itself and should be equiped with humidity adjustment component.

Every cell is designed different which have great visual interest and they are also dealing with views from each side and privacy level considering the faced office environment.

The lower part of the voronoi pattern is constructed by timber sticks instead of cells, which is intended to make the structure look lighter in a indoor space. These timber stick patttern will not disrupt the level of privacy provided due to they are located around marginal area.

Each entrance also has different size, cooping with different noise level and privacy needs towards different office area.

It intends to block the noise out from the most active area.

Also trying to keep the origianl circulation path in this office.

05

01 Front View

02 Right View

03 Back View

04 Cell Details

05 Perspective View

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C3.1 Final Prototype

This is a demonstration of how our single cells are fabriacated. Inside these cells, timber petals are performing greatly as view-blocker at this point and provided different view through different angle.

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Outcomes

These cells are constructed at 1:5.

They are quite thick and contain different layers which allows them to have a good noise blocking effect and has a considerable quite space inside this structure.

It also provide a good level of visual privacy through the open and close of timber petals through humidity change. These timber petals also create a good light and shadow effect.

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C3.2 Hygroscope Effect

When the timber petals are dry, they are almost straight and block most of the view.

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After spraying mo they are bending way open the cell Viewer can see th

oisture on them, heavily and in this l's center space. hrough the cell.

This is the view people inside this structure can see.

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This photo shows how the light would penetrate through cell after spraying water

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C3.3 Assemblage Details

timber petals are all guled onto the cell and set

glue outer layer of the cell together

glue the whole cell together

a finished cell

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basic shape of outer layer set

glue the outer perspex on

After the cell is constructed together, we apply sealent along the connection points to seal up the cell and form a closed space for moisture change.

In the real construction, there will be a humidity adjustment compoment inside the cell to control opening and closing of the timber petals.

sealent and sealent gun

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glue laser cutted luan plywood connecting panels of cells together

glue perspex cover on the inner layer

basic shape of cell formed

glue inner layer and the connecting panel together to form the bottom part of a cell

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glue inner layer of the cell together

basic shape of inner layer set

glue little attachments inside the connection panel which is for the timber petal to be set on.

glue timber petals onto these attachments.

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C3.4 Render Image Board

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C4.0 Conclusion Learning Outcomes

Learning Objectives

This air project is really helpful for me in terms of computer skills and fabrication skills. I feel really confident to use these skills even better in the future.

We have choosed a considerably hard area (at least for me) biomimicry. I have never imaged I can produce something that is really responsive using natural rules. It has surprised me that this project is gradually progressing throught this semester. In some way it gives me the courage to challenge some interesting but hard topic in the future.

The other really interesting experience is looking for the material.

Due to our material has its certain requirement and divergent from popular product on the market.

We went through a lot of research article and different product provider. At some point, we even had no hope to actually found our material. I think this experience is really encouraging me and it is something I had never imagined in an educational environment.

I think our project at this stage still have some problems associated with the massive fabrication and production process due to each piece is unique, and engineering issue related to the humidity changing component. We will definitely progress more if we test out more prototype idea along this path.

Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies.

After we settled with our final design concept, it is really clear that we make our design choice in terms of the degree of digital buildability. The brief is interpretted according to our familiar grasshopper commands and grasshopper constructablity. I realized that digital technologies are largely interpreting design brief and directioning our design outcome. I think it is a good thing interms of buildability in real life.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration.

We really benefit from making slight changes for our algorithm. It gives us opportunity to visualize various design patterns and shapes including those we had not imaged before in a considerable short time.

Especially when we design our overall shape using kangaroo, we explore a variety of shapes using the site area as a base mesh and different anchor points.

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It is really impressive to actually see the diffferent outcomes and make selections from them. I feel more confident and have more control over the design instead of purely having it in mind.

Objective 3. developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication.

This subject opens the door of digital design and digital fabrication for me. I feel I am quite confident to continoue exploring digital design and fabrication in my lateral study and work. It is also helpful to see how others' digital and physical models work to coop with the same problems. I think I learnt a lot from others' methods and my past mistakes.

Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere.

I really appreciate the process of making physical model. Even if the digital model looks realistic and workable, we can only understand and come across real-life construction problems when making the physical model. Initally we purely

use the fablab material, and realized that proper architectural material can make the prototypes look better. And the experience of looking for the proper material is challenging and enlightening.

We also tested out different joints and connections, and applied sealant to our model to create the moisture-lock cell. We kept changing our model to coop with the problems we encountered in reallife model making.

I see this process a mistakes fixing stage which makes the model better and easier to construct.

After we starting to make physical models, we realized our model is actually quite time-consuming to assembly and they will not stay at the right location unless we build the whole.

We actually to understand more of our design and think about the area we are easily neglecting during digital design.

Objective 5. developing “the ability to make a case for proposals� by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

We gradually building up our design proposal through this semester, and I quite appreciate this experience of building up a proper

design proposal. Grasshopper as a tool of digital design enables us to come out with a decent design model. Following the method of biomimicry and few precedents, we gradually build up a proper design proposal.

This process is hard but enlightening. The most interesting part is we can hardly see the settled picture of our final design. Even if the design we propose now is still changable and not perfect. We can still spend time to reach a better quality.

I learnt a lot from this process and feel confident to use those experiences to propose decent cases.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects.

I used to focus more on the conceptual analysis of a design due to the limited digital capability.

Now I feel I can tell the differences between the a good design intent and a good technique solution.

We acquaire the capability of analysing the way others' projects being constructed. We believe it is super helpful for us to look at and learn from others' design through a new perspective.

understandings of computational geometry, data structures and types of programming.

With this semester’s learning of Grasshopper, we understand the way basic grasshopper computerization work, the way computer language can be manipulated, and are able to construct some of the complex geometry. We are also more comfortable to develop our digital programming technique and learn new softwares.

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

We realized that for developing overall shape grasshopper is really helpful. But when we reach the stage of detailing and fabrication, there are some errors and the physical model is hard to get as perfect as the digital file due to the material thickness.

We also felt that grasshopper is not as easy as rhino for the detailing maybe due to limited skills. However, it is really a problem if the detailings are located on pieces that are different from each other.

Objective 7. develop foundational

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C5.0 Appendix - Reference PART A [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-centre-by-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-EntertainmentCentre.pdf>

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PART B [1] Amy Frearson, “ICD/ITKE Research Pavilion at the University of Stuttgart”, <https://www.dezeen.com/2011/10/31/icditkeresearch-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-meteorosensitivepavilions-4-14-2014/> [4] Achim Menges, “HygroScope: Meteorosensitive Morphology”, <http://www.achimmenges.net/?p=5083>

PART C [1] Achim Menges & Steffen Reichert, 'Performative Wood: physically programming the responsive architecture of the Hygroscope and Hygroskin Projects', Architectural Design (2015), p.72-73

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