Machining Aesthetics v.2.0 Breaking Boundaries

MACHINING AESTHETICS v.2.0 BREAKING BOUNDARIES 377998 Amanda Ngieng

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Contents

Contents 0.0 Introduction 1.0 Precedent Study 2.0 2.1 2.2 2.3

Understanding Ruled Surfaces Digital Model Explorations Physical Model Explorations Moving Forward

3.0 Designing The Tree House 3.1 Initial Design Proposal 3.1.1 Conceptual development 3.1.2 Form Finding 3.1.3 Competition Entry 3.2 Further Design Development 3.2.1 Bamboo Construction 3.2.2 Designing The Staircase 3.2.3 The Musical Aspect 3.2.4 Interim Presentation 3.2.5 Rethinking Form And Function 3.3 Final Design Proposal 4.0 Design Topic: Breaking Boundaries 5.0 Reflection and Afterword 6.0 6.1 6.2 6.3

Appendix Biography Credit Bibliography

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0.0 Introduction

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0.0 Introduction This journal investigates architecture as a material and craft production. While focusing on the ruled aesthetic, it documents the design process of a unique tree house.

After initial research to understand the potential of the ruled aesthetic and to explore the making of ruled surfaces, the design of the tree house is developed over multiple stages. Beginning from a system of timber panels and cables, it shifts to a material system of interlocking bamboo.

Overall, the project seeks to use digital technologies of today to drive alternative design, fabrication and construction processes. It works towards breaking the boundaries of traditional processes, developing a language of architecture that is rooted in material understanding and digital fabrication techniques.

The tools used within this journal include McNeel Rhinoceros, Grasshopper (gh), laser cutting and 3D printing technologies.

1.0 Precedent Study

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1.0 Precedent Study Phillips Pavilion, Le Corbusier & Iannis Xenakis, 1958.

The Phillips Pavilion was a synthesis of arts – it was a part of an electric poem, consisting of lights and projected images on curved surfaces, as well as an unusual piece of electronic music, composed with noises not usually considered musical such as the squeaking of door hinges.

This section is a study on the form and structure of the Phillips Pavilion, as well as the relationship of its envelope to the ground. It informs us about the unique qualities of the pavilion as we begin our research on the ruled aesthetic.

Photo of pavilion Hagens, W 1958, Expo58 building Philips Pavilion, photograph, Wikipedia, viewed 15 May 2014, <http://en.wikipedia.org/wiki/ Philips_Pavilion>.

Geometry from hyperbolic paraboloids The geometry of the structure was first envisioned as a spatial composition of hyperbolic paraboloids - a mathematical geometry of ruled surface. This three-dimensional form was then sliced off by the horizontal ground plane to form a plan in the shape of a stomach.

Hyperbolic paraboloids sliced by ground plane

1.0 Precedent Study

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Curved, asymmetrical geometry Acoustic effect The curved, asymmetrical geometry of the internal chamber allowed for an even dispersion of sound, an acoustic effect desirable as the pavilion plays music for an audience.

Shifting form The irregular geometry of the pavilion results in a form that appears to shift as it is viewed from different angles, creating fascinating transitions of space as one moves through the pavilion.

Section diagram of sound dispersement

Ground and envelope The pavilion has quite a clear ground and envelope relationship as shown in the diagram (left). It can be said to have both articulated ground and an articulated envelope.

Within the ground and envelope there are multiple layers (see material breakdown, right).

Envelope

Ground

The structure of the pavilion is integrated in the envelope, within its many layers. This results in a selfsupporting structure that does not need columns, allowing for a large interrupted space.

1.0 Precedent Study

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Material breakdown External steel cables An external system of post-tensioning cables was strung over the shell, giving the pavilion its reticulated appearance.

Concrete precast panels Although the shape of the pavilion is very much like a tent, concrete (not fabric) was a necessary material to be used as the skin, as the pavilion had to have a high enough level of acoustic insulation to keep out exterior noise.

Concrete posts and cables Concrete poles that were cast in place act as the main structural frame, over which steel cables are strung. This structural frame was found to be self-supporting and did not require vertical columns, allowing for an open space within.

Concrete base The material of the ground both on the inside and outside of the structure does not change, remaining as concrete throughout. It was purely the contrast of light and darkness that distinguished the inside of the pavilion to the outside.

Water feature The water feature around the pavilion appears to reduce the distinction between the envelope and the ground, as if to indicate that the hyperbolic paraboloids do not stop at the ground level.

Reflections of the building on the water further enhances this notion, and makes the building appear light.

2.0 Understanding Ruled Surfaces

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2.0 Understanding Ruled Surfaces While we had no clear direction of the type of machines we wanted to create, we were particularly interested in the structural envelope and asymmetrical form of the Phillips Pavilion.

As these two characteristics are largely a result of the particular use of geometry - hyperbolic paraboloids, we began the development of our aesthetic by building hyperbolic paraboloids and ruled surfaces to better understand them.

Hyperbolic paraboloids A single wire is used as a frame for making hyperbolic paraboloids out of string.

Wire and knots #1 has many individual knots that are timeconsuming to make.

Wire and knots #2 loops the string around and is only tied at the ends. This tends to result in the string bunching up due to greater tension.

Wire and knots #1

Wire and knots #2

Optimal ruled surface conditions

2.0 Understanding Ruled Surfaces

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Ruled surface Instead of hyperbolic paraboloids, we thought of looking at the broader category of ruled surfaces.

From modelling the Phillips Pavilion, we know that any 4-point surface is a ruled surface consisting of straight lines, regardless of how curved the surface looks. The illusion is so strong that we had to make a physical model to touch.

Curved suface made with straight lines

Ruled surface from 4-point surface

2.1 Digital Model Explorations

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2.1 Digital Model Explorations This section explores the generation of 4-point surfaces using different rule sets.

A continual development of rule set 1 led us to focus on shared edges, which resulted in the writing of a new rule set that generates a closed volume through the sharing of edges of 4-point surfaces.

Each of the Grasshopper definition for the rule sets can be found in Section 6.0: Appendix.

Rule Set #1A 1. Populate a 300x300 box with a certain number of random points.

2. Pick a point 3. Find the 3 closest point 4. Form a surface with the 4 points 5. With each of the 3 points, repeat 1-3, then repeat 4 until surfaces begin to repeat.

Fixed parameters: - Box is populated with 10 points - Starting point of index 0

Seed = 1

The only variable is the change in seed of randomness.

2.1 Digital Model Explorations

Seed = 19

Notes: The rule generation is too random - it is very difficult to control the generation of random points.

A more controlled way to generate points is to use a grid of points, then cull them.

Seed = 27

Seed = 29

Seed = 47

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Rule Set #1B 1. Create a regular 3D grid of points, and cull points from it using a pattern.

2. Pick a point.

3. Find the 3 closest points, excluding points that have already been picked.

4. Make a 4-point surface with the point and the three points from step 3.

5. For each of the three points from step 3, repeat steps 2-4 until all points are used.

Fixed parameters: - 6x6 point grid - Starting point of index 0

T (no culled points)

The only variable parameter is the pattern in which points from the regular 3D grid are culled.

2.1 Digital Model Explorations

TFT

FTF

Notes: As the pattern gets longer, the results become more varied. But perhaps because points that have been picked before were not included in further calculations of closest points, the degree of variations are not much.

TTFF

FFTT

TTFFT

TFTTTFF

FFTTF

FTFFFTT

To create more variations and reduce gaps: - points have to be reused, and/or - instead of only closest points, furthest points are also used.

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Rule Set #1C 1. Create a regular 3D grid of points, and cull points from it using a pattern.

2. Pick a point.

3. Find the 2 closest points and the xth closest point.

4. Make a 4-point surface with the point and the three points from step 3.

5. For each of the three points from step 3, repeat steps 2-4 until all points are used.

Fixed parameters: - 6x6 point grid - Starting point of index 0 - x value (from step 3) = 15

T (no culled points)

The only variable parameter is the pattern in which points from the regular 3D grid are culled.

2.1 Digital Model Explorations

TFT

FTF

Notes: Although points are reused and a further point was used, the results still appear to be quite regular, although there are more intersections and stretched surfaces.

TTFF

FFTT

TTFFT

FFTTF

TFTTTFF

FTFFFTT

To avoid multiple copies of the same geometry: - cull pattern needs to be longer and more irregular, or - use a smaller grid.

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Rule Set #1D 1. Create a regular 3D grid of points, and cull points from it using a pattern.

2. Pick a point.

3. Find the 2 closest points and the xth closest point.

4. Make a 4-point surface with the point and the three points from step 3.

5. For each of the three points from step 3, repeat steps 2-4 until all points are used.

Fixed parameters: - 3x3 point grid - Starting point of index 0 - cull pattern = FTFFFTT x=3

The only variable parameter is the value of x from step 3.

2.1 Digital Model Explorations

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Notes: With fewer surfaces the generated forms start to resemble the Phillips Pavilion a little more, like a building envelope.

As there are much fewer points, the variation of forms become a lot more constrained.

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Rule Set #1E 1. Create a regular 3D grid of points, and cull points from it using a pattern.

2. Pick a point.

3. Find the xth, yth and zth closest point.

4. Make a 4-point surface with the point and the three points from step 3.

5. For each of the three points from step 3, repeat steps 2-4 until all points are used.

x = 20 y=5 z = 10

Fixed parameters: - 3x3 point grid - Starting point of index 0 - cull pattern = FTFFFTT - x = 20, y =5, z = 10 The focus is on surfaces generated at each iteration of the rule set.

2.1 Digital Model Explorations

Iter 1 After splitting up the volume and looking at each iteration, we thought of looking at shared edges.

Iter 2

Iter 3

Iter 4

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Rule Set #1F 1. Create a regular 3D grid of points, and cull points from it using a pattern.

2. Pick a point.

3. Find the xth, yth and zth closest point.

4. Make a 4-point surface with the point and the three points from step 3.

5. For each of the three points from step 3, repeat steps 2-4 until all points are used.

6. Find all pairs of surfaces that share at least one shared edge.

Overall

Fixed parameters: - 3x3 point grid - Starting point of index 0 - Cull pattern = FTFFFTT - x = 20, y =5, z = 10

2.1 Digital Model Explorations

Pair #1

Looking at the shared edges, there is a potential in the generation of volumes through sharing edges. However, it is difficult to control the form using this method of extracting pairs.

Pair #2

This rule set will no longer be developed. A new rule set for the generation of a volume through sharing edges is to be created (pg 32-33).

This new rule set takes only 4 points as input, and aims to serve as a form generator.

Pair #3

Pair #4

Pair #5

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Rule set #2: Breakdown 1. Create a surface through specified points.

2. From each of the specified points, generate 1-2 other points.

5 new points generated from 4 specified points.

3. Move generated points down x amount.

x value is generated using a sine graph.

4. Generate 4-point surfaces from specified points and generated points.

5. Generate 4-point surfaces from generated points only.

6. Generate the last 4-point surface to close the volume.

2.1 Digital Model Explorations

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Rule set #2: Iterations 1. Create a surface through specified points.

Iteration 1

2. From each of the specified points, generate 1-2 other points.

4 new points generated from 4 specified points.

3. Move generated points down x amount.

Iteration 2

x value is generated using a sine graph.

4. Generate 4-point surfaces from specified points and generated points.

5. Generate 4-point surfaces from generated points only.

6. Generate the last 4-point surface to close the volume.

Changing the sine graph alters the shape of the volume.

Iteration 3

2.2 Physical Model Explorations

2.2 Physical Model Explorations This section explores the making of ruled surfaces through physical models.

It starts off at a completely different tangent from section 2.1: Digital Model Explorations, but slowly converges back to the idea of shared edges and volumes.

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Intersection of ruled lines

2.2 Physical Model Explorations

Intersecting ruled surfaces A comb system is designed to make it easier to get the ruled lines into position, and to adjust lengths and tensions of the lines.

Individual notches allow for each elastic thread (ruled line) to be removed independently of the others, allowing for the making of intersecting surfaces.

Each comb slots into the notches cut in the frame. These are meant to be detachable, allowing us to modify the position of the edge of the ruled surface.

However, because the way that the notches have been designed, it does not hold the combs in place, and the combs have to be glued down to hold them in position.

The combs are also quite bulky as compared to the ruled lines.

Additional note: Making the model out of boxboard made it quite flimsy. The model collapsed irreparably before proper photos could be taken.

Comb thread locking detail

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Modifying edge connections

Modifying edge material of surface to bend

2.2 Physical Model Explorations

Modifying edge conditions The edge connections have been redesigned such that instead of hooking the actual edge of the ruled surface onto the edge of the box frame, each corner of the surface is pulled and connected to the box frame. This allows for a more flexible method of twisting the surface.

The material of the edge of the ruled surface has been changed to polypropylene to reduce visual impact, and to explore curved edges.

However, as with the previous model, although the individual strings are relatively easy to tie and adjust, it is quite messy and distracting.

Detail of edge connection

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Detail of spring connection

2.2 Physical Model Explorations

Adjustable edges: Spring We decided to focus on generating ruled surfaces that can adjust automatically as the lengths of the edges are adjusted. This will require the ruled lines to be able to automatically adjust both its length and the spacing between each line.

To do this, we used elastic string to allow for automatic adjustment of lengths, and a spring to space out the ruled lines equally as the edges are adjusted.

This method creates a clean model without any messy knots, however it is difficult to control due to the tension in both edges and lines.

Adjustment of edges

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Adjustable edges: Scissors To create a model that still creates adjustable ruled surfaces, but is easier to control, we attempted to remove tension in the edges of the surface by replacing the spring with a scissor mechanism. (left) This model looks at a way to join the ruled lines to the scissor mechanism. (right) This model devises a method to hold the ruled surfaces in place, while allowing controlled adjustments.

2.2 Physical Model Explorations

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Horizontal adjustments

Vertical adjustments

Breakdown of components

2.2 Physical Model Explorations

This is an attempt to remove tension altogether in the model by replacing the elastic string with telescopic members.

Single surface

Double surface

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Expansion of model

2.2 Physical Model Explorations

The physical model of the scissors adjusts smoothly, and can be extended or shortened easily.

However, we found the scissor mechanism is far too bulky as an edge.

While it can be extended up to three times its length, potentially allowing for a substantial change in the ruled surface, in reality we would only need it to extend to no more than twice its length, for if it were any longer the ruled lines would be too sparse.

Also, being so much bigger and thicker than the ruled lines, it has a much stronger visual impact and draws too much attention.

As a result we decided against using the scissor mechanism.

Detail of scissors mechanism

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Detail of joint Adjustable telescopic edge

2.2 Physical Model Explorations

Adjustable edges: Telescopic Instead of trying to space out the ruled lines equally as edges are extended, we looked instead at fixing the spacing between lines. Only the lengths of the lines are adjustable.

Changing the angle of looking at the problem allowed for a more elegant solution.

Originally designed as a 3-piece telescopic member, it was developed into a 2-piece member that was much stronger.

3-piece telescopic arm One weaker component

2-piece telescopic arm Removes weaker component

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Angle 1

Angle 2

2.2 Physical Model Explorations

When each surface of different shapes are hung in space, they create a form that appears to shift as it is viewed from different angles.

Every adjusted edge results in a subtle shift in the form, barely perceptible depending on the angle it is viewed at.

Angle 2 with adjusted edge

Telescopic arm

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Shared edges using string

2.2 Physical Model Explorations

Shared edges Following Rule Set #2 of the digital model explorations in section 2.1, we shifted our focus onto shared edges.

This model makes use of adjustable knots and temporary fixings to allow for the lengths and positions of the edges to be adjusted.

However, we did not continue with this model as there does not seem to be a feasible method to tie the ruled lines across.

Pull corners of surfaces together to create volume

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Connecting multiple edges To have shared edges, it is necessary to have a joint that can connect multiple ends of edges together. (right) The foam joints allowed for a quick and easy method of joining multiple edges together by pushing the ends of each edge into the foam.

2.2 Physical Model Explorations

Foam joints

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Detail of connection

Iteration #1

Iteration #2

The edge-to-joint connection is too tight, making it impossible to rotate the edge in the manner shown in the diagram.

Not possible to make without breaking apart the joint or edge, which will create weak components.

2.2 Physical Model Explorations

Adjustable joints: Unbuildable We looked at developing a joint that would allow movement of edges around the joint.

Iteration #1-3 are failed designs of such a joint.

Iteration #3 Not possible to make without breaking apart the joint or edge, which will create weak components.

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Ring

Strap

Nut & Bolt

Rotation around an axis

2.2 Physical Model Explorations

Adjustable joints: Ring & strap This joint was created while looking for a method to connect the edge to the joint without creating weak components.

An unexpected but welcomed effect was that the nut and bolt allowed for rotating edges around a second axis, essentially allowing them to be rotated three dimensionally.

Rotation around another axis

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No force on joint

Some force on joint

2.2 Physical Model Explorations

In making the physical model, the joint worked as expected when there was little force on the joint.

However, as elastic string was strung through and the force on the joint increased, the joint started to collapse on itself. Unexpectedly, it was not tension forces on the joint (with edges pulling at it), but compression forces.

Heavy force on joint

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Opening in volume When trying to push down the edges of the model to create different shapes, too much force was used, causing the model to break. The elastic strings themselves were already stretched to their limit, making it impossible for the shape of the model to change much.

Through this broken model, we saw the opportunity to create openings within the volume by bending an edge.

Overstressing edges broke the model

2.2 Physical Model Explorations

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Pulling at broken edge to create opening

Fixed model

Additional strings strung across creates pockets of space

2.2 Physical Model Explorations

Pockets of space When the broken model was fixed, it was reconstructed into a different shape. In this particular shape, we saw the possibility of running additional strings across two edges of the model, resulting in a pocket of space.

These space, with its relatively flat bottom surface, has the potential to act as a useable space.

Potential as useable space

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Ball

Socket

Joints hold in place well

2.2 Physical Model Explorations

Stiff adjustable joints Like the ring and strap joint, this joint too allows for three dimensional movement of edges. However, it is much more solid and does not collapse on itself, thus being better at holding the edges in place.

While it is quite possible to rotate the edge around the joint, there is quite a fair bit of friction within the ball and socket. This makes the joint stiff enough to be able to handle the forces within the elastic strings, resulting in a self-supporting model that no longer needs an external box frame to keep it in shape.

From this model we can see that it will be possible to create any kind of volume as long as the joints are rigid enough.

Self-supporting model

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Summary of key explorations

2.3 Moving Forward

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2.3 Moving Forward What we really wanted to take forward from all these explorations is the way ruled lines can be used to break up the envelope, connecting indoors and outdoors.

Like with the Phillips Pavilion, the ruled lines can be structural, effectively hiding the structure in form.

3.0 Designing the Tree House

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3.0 Designing the Tree House Design Brief The tree house is to be a retreat for a professional city couple.

To us, the tree house has to establish a connection with nature, and compel its users to live and act differently within it. Why live in a tree if not to interact with the tree and nature, and break away from city-living conventions?

3.1 Initial Design Proposal

3.1 Initial Design Proposal 3.1.1 Conceptual development 3.1.2 Form Finding 3.1.3 Competition Entry

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3.1.1 Conceptual Development

3.1.1 Conceptual Development Our concept revolves around interacting with the tree and nature.

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Scenes from film “Bright Star”

3.1.1 Conceptual Development

Lying on a tree A scene from the film â&#x20AC;&#x153;Bright Starâ&#x20AC;? captures the dream-like effect of lying among the leaves of a tree.

This is our continual inspiration throughout the tree house design development process.

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Lying on a tree Instead of lying on a tree, the same effect could be simulated by lying on the roof, up among the leaves of the tree.

Alternatively, the tree house could act as a safe method to climb up and lie on the tree.

Lying on a tree

Lying on a roof

3.1.1 Conceptual Development

Blurring boundaries The tree house could simulate living in the canopy of the tree by breaking up the envelope, perhaps resulting in a similar effect to the â&#x20AC;&#x153;envelopeâ&#x20AC;? of the tree itself.

House as tree canopy

Blurring distinction between indoors and outdoors

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3.1.2 Form Finding

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3.1.2 Form Finding This section pulls on previous explorations in section 2 to search for a form for the tree house.

Fixings at multiple trees

3.1.2 Form Finding

Tree house fixing points First we had to decide on the number of tree hosts we wanted. We could hang the tree house between multiple trees, or just hang it on a single tree.

Fixings at single tree

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Fixings at two trees: ‘Bridge’ design

3.1.2 Form Finding

Suspension of spaces between two trees This idea was inspired by one of our physical models made previously in section 2.2.

An almost literal interpretation of the physical model, it hangs between two host trees.

We have found a possible pair of trees in Carlton Gardens that could act as hosts, however rather that an interaction with the trees and being close to the tree canopies, it is more of a suspension in space.

We felt that there was a disconnect between the tree house and the tree.

Trees in Carlton Gardens

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Spatial explorations

3.1.2 Form Finding

Spatial division with ruled surfaces Taking the initial â&#x20AC;&#x153;bridgeâ&#x20AC;? design, we began twisting the surfaces, exploring the different spatial effects.

As the surfaces become so twisted that it is both the ground and envelope, we get this interactive space whose function is difficult to define. It could be part-ground, part-seating, part-bed.

Multifunctional hyperbolic paraboloid space, acting as both ground and envelope

This curious relationship could be something to incorporate within the tree house, creating an unconventional, interactive space.

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Volume generated by Rule Set 2, then modified accordingly to spatial requirements

Slice ground planes within volume

Create outer circulation pathway

Wrap outer pathways with ruled safety barriers

3.1.2 Form Finding

Volume and general circulation Strangely, after all the work done to generate a volume in section 2.1, when we tried to apply this to the tree house, it ended up regressing back into a deformed cube as that was easier to work with and understand.

Able to climb directly onto the roof

View of pathway between safety barrier and envelope

The ruled safety barriers that wrap around the volume are not made by 4-point surfaces, but by joining lines across two edges.

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Even spacing

Variable spacing

Combination of even and variable spacing

Shifting form when viewed at different angles

3.1.2 Form Finding

Breaking up the facade Turning the 4-point surfaces of the volume into ruled lines made of straight planks of timber resulted in a beautifully twisted form.

We explored making the spacing between ruled lines more irregular, so as to simulate the irregularity of nature.

However, just having variable spacing already made the form quite complex to look at, and we like the elegant look.

As a result, we decided to go with variable spacing, making it denser in more private spaces such as the bed and shower.

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3.1.3 Competition Entry

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3.1.3 Competition Entry All the ideas and explorations from section 3.1.1 and 3.1.2 are pulled together into a single tree house design, which we submitted as our competition entry for ArchTriumphâ&#x20AC;&#x2122;s 2014 Triumph Architectural Treehouse Award (TATA). We were pleased to know that our design got a Mention in the competition.

Competition panel submission

3.1.3 Competition Entry

The Concept “The Cocoon” hangs from a mature English Elm, 11m above the ground. Situated in Carlton Gardens, an urban park located on the edge of Melbourne’s central city area, it is a place where an urban professional couple can detach themselves from the city while still in the city.

Set deep within the leafy park, high up in the canopy of the tree, the sounds of the city are diminished. While the city is still visible, it is seeing it from far away in another dimension; there is a sense of disconnection from reality, a magical retreat among the leaves.

The project explores the potential to produce habitable spaces using intersecting ruled surfaces. These ruled surfaces, made with a mix of timber, plastic and cables, determine the aesthetic of “The Cocoon”, and dictate form as well as structure. No part of the envelope is a flat plane. With only an increase in density of ruled lines for privacy, the envelope is broken up, blurring the boundary between the tree house and the tree.

Combined with ruled surfaces, the move away from conventional walls, doors and ceilings allows for an escape from the typical box room arrangement, while creating unique and intriguing spaces. These unconventional spaces extend to the extensive circulation pathway, designed to nestle comfortably within the tree.

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Site Plan

3.1.3 Competition Entry

Chosen Site Our chosen host tree, an English Elm, is about 26+ meters tall. It is quite a unique tree in that it does not have leaves on the part facing the Royal Exhibition Building.

For this reason we are able to use the tree house as a vantage point to visually connect the sight of the historical Royal Exhibition Building while being surrounded by nature.

Chosen host tree

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Square volume at roughly the right size sets relative location to tree

Push and pull corners to create irregular volume based on spatial requirements of functions

Division of space through intersecting planes

Circulation avoid main branches

3.1.3 Competition Entry

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Form Because the tree does not have branches or leaves running along one side of the tree, it makes it possible to design a circulation pathway that does not clash with branches.

Unlike the volume generated in the earlier section (pg 88-89), this volume is moved to the side of the tree as we found that the tree takes up a lot of space, making weatherproofing difficult.

Overall, the suspension nature of the tree house resulted in a form that is in the shape of a cocoon, thus earning it its name.

Ruled lines break up volume

Ruled safety barrier wraps around and defines form

Tree fixing points #1 & #2 Supports the framing of the main volume, which contains the main sleeping, washing and resting area.

Rigid bracing Prevents the house from leaning against the tree trunk.

Tree fixing point #3 Platform provides bracing to overall structure and supports the lower set of stairs.

Balustrade Steel balustrade acts as bracing for overall structure.

3.1.3 Competition Entry

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Structure and materials 3

4

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Waterproof canvas

2 ETFE membrane: Works as drainage under the roof. In the wall envelope, a double layer of membrane creates insulating air gap.

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Steel net: Supports ETFE membrane and canvas roof.

4 Structural timber: Made from locally available renewable timber.

5 Steel cables wrapped around with waterproof fabric: Provides additional structural support and acts as a safety barrier.

This section is quite unresolved.

Structurally, it feels very weak; the tree house has not been designed to hold its shape. While we have found that the form will be self supporting as long as the joints are rigid enough (pg 66-67), these joints have not been designed, and they are likely to be quite big.

In fact, when I showed this design to a person with no architectural background.

The first reaction was to be impressed (in particular by the renders). The second was: “Can this really stand?”

The material system is also quite undeveloped. Regardless, we like the timber in the tree house. We feel that there is a special quality to timber that cannot be found in concrete or steel or plastics. There is a “warmth” in it; not actual temperature in degree Celsius, but a less explainable effect. For a connection to nature, we think that timber is a must.

Rooftop reading area Up in the canopy, this space simulates lying among the leaves of a tree. A comfortable reading area, it looks over the urban park it is situated in.

Floor Plan Shower/sink/toilet A timber internal partition with ETFE membrane screens the shower/sink/ toilet area from the rest of the tree house, providing sufficient privacy without using a solid wall.

Sleeping bed/hammock A visually light net structure provides a sleeping area that doubles as a reading area.

Under-floor storage The storage is hidden out of the way to maintain the ruled, open aesthetic of the tree house.

Outdoor bath Utilising the height of the tree house from the ground, this open yet private area provides the opportunity to have a relaxing bath outdoors.

Shaded outdoor rest area Tucked away under the floor is a net structure that provides an alternative rest area, a retreat within a retreat.

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5m 5m

3.1.3 Competition Entry

Section A-A The section cut shows all the different platform levels within the main volume.

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5m 5m

3.1.3 Competition Entry

Floor Plan Total area of enclosable space: 13.2m².

The room have been kept small and snug for a sense of intimacy.

The cut of the floor plan is 2400mm above FFL of enclosable space, showing how the roof cover of the enclosable space dips towards the back of the volume, allowing the rooftop area to be seen in plan.

While it may seem that the plan is drawn in perspective, it is not. The walls are just so twisted that it appears as such.

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3.1.3 Competition Entry

Outdoor Activities The tree house provides the opportunity for patrons to reconnect with nature through activities outside the building envelope - be it bathing outdoors beneath the tree canopy or stargazing leisurely on the rooftop verandah.

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3.1.3 Competition Entry

Interior Here we can start to see how the facade is broken up to connect with the outside, and the sort of spaces that ruled lines make when the surface is twisted.

Operable Facade Breaking up the facade with ruled surfaces opens up the interior of the tree house and connects it to its natural environment. An operable facade converts the space from a protected, enclosed area to an open, sheltered area.

109

3.2 Further Design Development

111

3.2 Further Design Development While we have developed an aesthetic utilising ruled lines, our material system is still very much underdeveloped. Structure and construction is still very much unresolved. In this section we seek to develop our material system, which led to a complete rearrangement of form and function.

3.2.1 3.2.2 3.2.3 3.2.4

Bamboo Construction Designing The Staircase The Musical Aspect Form And Function

3.2.1 Bamboo Construction

113

3.2.1 Bamboo Construction To further develop the design we chose to use bamboo as our material. It is a good material, strong and sustainable, and suits our language of ruled lines.

As it works well in both tension and compression, it can work in any part of the tree house, be it floor or wall. This is great as it means that it would be possible to build the entire tree house in a single material, and the envelope would be structural. This would likely keep the tree house in shape.

This section explores the way bamboo can be tied together, in order to better understand our material system.

Extension

Corner #1

3.2.1 Bamboo Construction

End Connections As we are not sure how long bamboo pieces come in, we wanted to make sure that it is possible to extend pieces of bamboo. We found that if the bamboo are cut near the nodes, and a piece of metal rod/dowel is inserted in the bamboo, it will support the bamboo from bending or breaking at the joint.

A rope tied around the bamboo will secure it and prevent it from failing in tension.

Corner #1 is also supported by a metal rod, and results in a clean mitre joint.

Corner #2 does not have a metal rod but still works reasonably well.

Both corners only work if the bamboo are being pulled apart; there is nothing stopping them from collapsing if the ends of the bamboo are pushed together.

Corner #2

115

Knots

Weave

3.2.1 Bamboo Construction

Bamboo Surfaces Here we looked at different ways to tie bamboo together.

The knotting method was quite timeconsuming. It involves passing an embroidery thread through a hole drilled in the bamboo and knotting to keep the string in place.

As we found that the knots were quite unnecessary, we tried again using a weaving method. This time a thinner string is used, and is passed through the drilled hole multiple times, weaving in, out and around the bamboo. No matter how tight it was weaved, the surface can still be twisted quite a large amount.

In the single line construction, the holes at the ends of the bamboo were drilled at different angles in the attempt to create a twisted ruled surface. This method creates a very rigid surface, and is a lot easier to make than the previous two methods.

Single line

117

3.2.2 Designing the Staircase

119

3.2.2 Designing the Staircase As we have chosen to locate the tree house high up in the tree, the staircase up to the tree house is quite a dominant factor.

In the initial design proposal covered in Section 3.1, the structure of the stairs is poor, and is not really tied to the volume of the tree house. The staircase seems to be of a completely different language from the volume.

In this section, we first tried to merge the structure of the tree house with the stairs. Here we only focused on the form and not the material, with undesirable results. This led us to realise that we had to work with our material system, using the material system to determine the form. We then worked out the construction process for the stairs and built a prototype to test the structure.

Curved inwards

Curved outwards

Straight sections

3.2.2 Designing the Staircase

Merging stairs with structure One way to merge the stairs and volume is to â&#x20AC;&#x153;growâ&#x20AC;? the structure of the volume, twisting it so that it becomes a part of the stairs.

Each plank of the structure can be made of a surface of bamboo, and sharp corners could use the same construction method as Corner #1 and Corner #2 (refer to pg 114-115).

However, we found that this method is difficult to control, and that it does not make full use of the potential of bamboo. Here we are trying to first create the form, then forcing the material to conform. Instead, we need to develop our material system, then generate the form from there.

121

Single line connection (pg 117)

Interlocking bamboo

3.2.2 Designing the Staircase

Defining a material system As noted earlier in section 3.2.1 on bamboo construction, there is the potential to make everything out of bamboo.

The single line construction brings forward the possibility of interlocking bamboo to make corners. In this case, the line running through the bamboo become the edges of the surfaces.

Since section 2.2, we have been struggling to make the frame/edges of the ruled surfaces less obvious. It seems that we have finally found our solution by hiding the â&#x20AC;&#x153;frameâ&#x20AC;? inside the ruled lines, so that it is the ruled lines that dominates.

Liking where this is going, we decided to use interlocking bamboo as our material system.

Interlocking bamboo in stairs

123

Inputs

Bracing below steps

Steps do not interlock with bracing

Adjusting Grasshopper definition so that the steps will interlock with bracing

3.2.2 Designing the Staircase

Generative lines The generative lines define the edges of surfaces made by bamboo; in other words, they define the location and shape of the bamboo skewer in the single line connection (pg 117).

Generating main structure on left of stairs, supported by an additional bracing

Generating main structure on right of stairs

125

Adjusting generative lines to alter shape of form

3.2.2 Designing the Staircase

Adjusting parameters We decided to build the prototype at 1:5 scale, so that we are able to use actual bamboo, albeit a much smaller one. As the bamboo does not go longer than 1.2m, the model was adjusted so that each piece does not exceed 1.2m at 1:5 (i.e. 6m in 1:1).

To ensure that the bamboo will interlock correctly, we made sure to check the distance between lines; at this early stage we decided to use bamboo at about 35mm in diameter.

127

Angle rotation of plane of drill controls twisting of ruled surface

Dista

nce o f drill exit

Center line of support through bamboo indicates direction of drill

Angle of drill direction controls general shape of ruled surface

Dista

nce o f drill entry Dista

nce o f drill exit

Dista

nce o f drill entry

3.2.2 Designing the Staircase

Information required for construction Very specific construction data is required to construct the prototype.

This data can be extracted from the digital model. By stripping down the gh definition and finding out what inputs are required, we were able to condense the definition into a cluster. This takes in the minimum number of inputs and gives out a list of data required to build the model.

The cluster ensures that it is easy for us to keep track of the information that we are extracting, and helps us to make the gh definition more readable.

To get the angle of rotation between drills on the same bamboo, all that was required was two vectors specifying the direction of each drill.

129

2 3 4 5 6 7 8 9 10 11 12 13 14

413 412 412 412 411 411 411 411 410 410 410 410 410

21 21 21 21 21 21 21 21 21 21 21 21 21

19 19 19 19 19 19 19 19 19 19 19 19 19

Dist #1 22 22 22 22 22 22 22 22 22 22 23 23 23 23 23

Dist #2 18 18 18 18 18 18 18 18 18 18 17 17 17 17 17

Dist #1 17 17 17 17 17 17 17 17 17 17 17 17 16

Left Dist #2 Angle 23 41 23 41 23 ‐16 23 42 23 42 23 ‐17 23 43 23 43 23 43 23 44 23 44 23 44 24 45

RB ‐ Right Below Index Length 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

413 413 413 413 413 413 413 413 413 413 413 413 413 413 413

SL ‐ Stairs Long Index Length 0 1 2 3 4 5 6 7 8 9 10 11 12

283 262 242 286 265 246 289 269 250 292 273 254 296

22 21 20 19 18 17 16 15 14 12 11 10 9

Top Angle 34 34 34 34 34 35 35 35 35 36 36 36 36 36 37

0 0 0 0 0 0 0 0 0 0 0 0 0

‐192 ‐191 ‐191 ‐191 ‐190 ‐190 ‐190 ‐190 ‐190 ‐190 ‐190 ‐190 ‐190

Angle offset 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dist #1 198 216 234 198 216 234 199 215 231 199 215 231 199 215 231

Intersection #1 SL Right Dist #2 Angle Angle offset 202 ‐25 4 219 ‐24 4 236 ‐23 4 202 ‐23 4 219 ‐22 4 236 ‐21 4 201 ‐21 4 218 ‐20 4 235 ‐19 4 201 ‐19 4 217 ‐18 4 233 ‐17 4 201 ‐17 4 217 ‐16 4 233 ‐15 4

Dist #1 77 77 77 77 77 77 77 77 77 77 77 77 77

Intersection #1 SS Left Dist #2 Angle Angle offset 83 40 0 83 40 0 83 40 0 83 41 0 83 41 0 83 41 0 83 42 0 83 42 0 83 42 0 83 43 0 83 43 0 83 43 0 83 44 0

Angle offset 0 0 0 0 0 0 0 0 0 0 0 0 0

‐194 ‐193 ‐193 ‐193 ‐192 ‐192 ‐192 ‐191 ‐191 ‐191 ‐191 ‐191 ‐190

18 17 16 15 15 14 13 12 11 10 9 8 7

4 4 4 4 4 4 4 4 4 4 4 4 4

‐15 ‐17 ‐18 ‐19 ‐19 ‐20 ‐21 ‐22 ‐22 ‐22 ‐24 ‐25 ‐26

5 5 5 5 5 5 5 5 5 5 5 5 5

‐130 ‐155 ‐145 ‐135 ‐160 ‐151 ‐142 ‐166 ‐156 ‐146 ‐172 ‐163 ‐154

‐128 ‐153 ‐143 ‐133 ‐158 ‐148 ‐138 ‐163 ‐154 ‐145 ‐169 ‐159 ‐149

Dist #1 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17

Dist #2 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23

Dist #1 ‐77 ‐77 ‐77 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78

Data required Intersection #2 SS Right Dist #2 Angle Angle offset Dist #1 ‐83 ‐39 0 ‐17 ‐83 ‐37 0 ‐17 ‐83 ‐35 0 ‐17 ‐82 ‐35 0 ‐18 ‐82 ‐34 0 ‐18 ‐82 ‐33 0 ‐18 ‐82 ‐32 0 ‐18 ‐82 ‐31 0 ‐18 ‐82 ‐30 0 ‐18 ‐82 ‐29 0 ‐18 ‐82 ‐28 0 ‐18 ‐82 ‐27 0 ‐18 ‐82 ‐26 0 ‐18

Bot Angle 36 36 37 37 37 37 37 38 38 38 38 38 39 39 39

‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐20 ‐20

Angle offset 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8

Positive angle offset is in clockwise direction i.e. Spin to mark on right of marking line.

Distance written as a negative number is measured from bottom, i.e. The other end.

LAB ‐ Left Above Bracing Index Length Dist #1 0 503 21 1 504 21 2 504 21 3 505 21 4 506 21 5 507 21 6 509 21 7 510 21 8 512 21 9 514 21 10 516 21 11 518 21 12 520 21 13 522 22 14 525 22

Top Angle 13 13 14 15 16 17 18 19 19 20 21 22 23 23 24

Angle offset 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dist #1 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐18

Dist #2 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐22

Bot Angle 17 17 18 18 19 19 20 20 21 21 22 22 23 23 24

Angle offset 24 24 24 24 24 24 23 23 23 23 23 23 23 22 22

Dist #1 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19

Dist #2 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21

Top Angle 14 14 14 14 13 13 13 13 13 12 12 12 12 12 11

Angle offset 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dist #1 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20

Dist #2 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20 ‐20

Bot Angle ‐7 ‐7 ‐7 ‐7 ‐7 ‐7 ‐7 ‐7 ‐7 ‐7 ‐7 ‐7 ‐6 ‐6 ‐6

Angle offset 25 25 25 25 26 26 26 26 27 27 27 27 28 28 28

Dist #1 20 20 20 20 20 21 21 21 21 21 21 21 21 21 21

Dist #2 20 20 20 20 20 19 19 19 19 19 19 19 19 19 19

Top Angle 5 6 7 7 8 8 9 9 10 10 11 11 12 13 13

Angle offset 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dist #1 363 362 362 361 361 360 360 360 360 360 360 360 360 360 360

Intersection #1 RA Top Dist #2 Angle Angle offset 362 8 7 361 8 7 360 9 7 360 9 7 360 10 7 359 10 7 359 11 7 359 11 7 358 12 7 358 12 7 358 13 7 358 13 7 358 14 7 358 14 7 358 15 7

Dist #1 ‐590 ‐589 ‐588 ‐587 ‐586 ‐586 ‐585 ‐585 ‐584 ‐584 ‐584 ‐584 ‐584 ‐584 ‐584

Intersection #2 LAB Top Dist #2 Angle Angle offset ‐590 10 13 ‐589 10 13 ‐588 11 13 ‐587 11 13 ‐586 12 13 ‐586 12 13 ‐585 12 13 ‐585 13 13 ‐584 13 13 ‐584 14 13 ‐584 14 13 ‐584 15 13 ‐584 15 13 ‐584 16 13 ‐584 16 13

Dist #1 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19

Dist #2 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21

Bot Angle 16 16 16 16 17 17 17 17 17 18 18 18 18 18 19

Angle offset 33 33 33 33 33 33 33 34 34 34 34 34 34 34 34

Dist #1 22 21 21 21 21 21 21 21 21 21 21 21 21 21 21

Dist #2 18 19 19 19 19 19 19 19 19 19 19 19 19 19 19

Top Angle 24 23 22 21 20 19 18 17 16 15 14 12 11 10 9

Angle offset 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dist #1 ‐192 ‐192 ‐192 ‐191 ‐191 ‐191 ‐190 ‐190 ‐190 ‐190 ‐190 ‐190 ‐190 ‐190 ‐190

Intersection #1 LA Bot Dist #2 Angle Angle offset ‐195 20 4 ‐194 19 4 ‐194 18 4 ‐193 17 4 ‐193 16 4 ‐193 15 4 ‐192 15 4 ‐192 14 4 ‐192 13 4 ‐191 12 4 ‐191 11 4 ‐191 10 4 ‐191 9 4 ‐191 8 4 ‐190 7 4

Dist #1 ‐150 ‐140 ‐130 ‐155 ‐145 ‐135 ‐160 ‐151 ‐142 ‐166 ‐156 ‐146 ‐172 ‐163 ‐154

Intersection #2 SL Left Dist #2 Angle Angle offset ‐148 ‐15 5 ‐138 ‐15 5 ‐128 ‐15 5 ‐153 ‐17 5 ‐143 ‐18 5 ‐133 ‐19 5 ‐158 ‐19 5 ‐148 ‐20 5 ‐138 ‐21 5 ‐163 ‐22 5 ‐154 ‐22 5 ‐145 ‐22 5 ‐169 ‐24 5 ‐159 ‐25 5 ‐149 ‐26 5

Dist #1 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐19 ‐20 ‐20

Dist #2 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐21 ‐20 ‐20

Bot Angle 19 18 17 16 15 14 13 13 12 11 10 9 8 7 6

Angle offset 7 7 7 6 6 6 6 6 6 6 6 6 6 6 6

Dist #1 22 22 22 22 22 22 22 22 22 22 23 23 23 23 23

Dist #2 18 18 18 18 18 18 18 18 18 18 17 17 17 17 17

Top Angle 34 34 34 34 34 35 35 35 35 36 36 36 36 36 37

Angle offset 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dist #1 198 216 234 198 216 234 199 215 231 199 215 231 199 215 231

Intersection #1 SL Right Dist #2 Angle Angle offset 202 ‐25 4 219 ‐24 4 236 ‐23 4 202 ‐23 4 219 ‐22 4 236 ‐21 4 201 ‐21 4 218 ‐20 4 235 ‐19 4 201 ‐19 4 217 ‐18 4 233 ‐17 4 201 ‐17 4 217 ‐16 4 233 ‐15 4

Dist #1 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17 ‐17

Dist #2 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23 ‐23

Dist #1 17 17 17 17 17 17 17 17 17 17 17 17 16 16 16

Dist #2 23 23 23 23 23 23 23 23 23 23 23 23 24 24 24

Left Angle 41 41 ‐16 42 42 ‐17 43 43 43 44 44 44 45 46 47

Angle offset 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dist #1 77 77 77 77 77 77 77 77 77 77 77 77 77 77 77

Intersection #1 SS Left Dist #2 Angle Angle offset 83 40 0 83 40 0 83 40 0 83 41 0 83 41 0 83 41 0 83 42 0 83 42 0 83 42 0 83 43 0 83 43 0 83 43 0 83 44 0 83 45 0 83 46 0

Dist #1 ‐77 ‐77 ‐77 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78 ‐78

Intersection #2 SS Right Dist #2 Angle Angle offset ‐83 ‐39 0 ‐83 ‐37 0 ‐83 ‐35 0 ‐82 ‐35 0 ‐82 ‐34 0 ‐82 ‐33 0 ‐82 ‐32 0 ‐82 ‐31 0 ‐82 ‐30 0 ‐82 ‐29 0 ‐82 ‐28 0 ‐82 ‐27 0 ‐82 ‐26 0 ‐82 ‐24 0 ‐82 ‐22 0

Dist #1 ‐17 ‐17 ‐17 ‐18 ‐18 ‐18 ‐18 ‐18 ‐18 ‐18 ‐18 ‐18 ‐18 ‐18 ‐18

Dist #2 ‐23 ‐23 ‐23 ‐22 ‐22 ‐22 ‐22 ‐22 ‐22 ‐22 ‐22 ‐22 ‐22 ‐22 ‐22

Right Angle ‐38 ‐36 ‐34 ‐35 ‐33 ‐31 ‐32 ‐30 ‐28 ‐28 ‐27 ‐26 ‐25 ‐24 ‐23

Angle offset 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dist #1 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41

Intersection #1 SL Left Angle offset Dist #2 Angle 47 40 0 47 40 0 47 40 0 47 41 0 47 41 0 47 41 0 47 42 0 47 42 0 47 42 0 47 43 0 47 43 0 47 43 0 47 44 0 47 45 0 47 46 0

Dist #1 ‐41 ‐41 ‐41 ‐41 ‐42 ‐42 ‐42 ‐42 ‐42 ‐42 ‐42 ‐42 ‐42 ‐42 ‐42

Intersection #2 SL Right Dist #2 Angle Angle offset ‐47 ‐39 0 ‐47 ‐38 0 ‐47 ‐37 0 ‐47 ‐36 0 ‐46 ‐35 0 ‐46 ‐34 0 ‐46 ‐33 0 ‐46 ‐32 0 ‐46 ‐31 0 ‐46 ‐30 0 ‐46 ‐28 0 ‐46 ‐26 0 ‐46 ‐27 0 ‐46 ‐25 0 ‐46 ‐23 0

RA ‐ Right Above Length Index 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

864 856 849 842 834 827 820 814 807 800 794 787 781 774 768

LA ‐ Left Above Index Length 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

1180 1178 1177 1175 1174 1173 1172 1171 1170 1170 1169 1169 1169 1169 1170

LB ‐ Left Below Length Index 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

414 413 413 412 412 412 411 411 411 411 410 410 410 410 410

RB ‐ Right Below Length Index 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

413 413 413 413 413 413 413 413 413 413 413 413 413 413 413

SL ‐ Stairs Long Length Index 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

283 262 242 286 265 246 289 269 250 292 273 254 296 278 259

SS ‐ Stairs Short Length Index 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

221 200 180 224 203 183 227 207 187 230 211 192 234 215 196

3.2.2 Designing the Staircase

Dist #2 19 19 19 19 19 19 19 19 19 19 19 19 19 18 18

Bot Angle 36 36 37 37 37 37 37 38 38 38 38 38 39 39 39

Extracting information

Angle offset 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8

This is the complete list of information that was used to build the physical prototype.

A systematic labelling system is used to label the bamboo. Each surface of ruled lines is allocated their own table. In this case, there were 5 different surfaces of ruled lines, which is reflected in the first 5 tables. The other two table lists the information to build the steps. There are only 14 rows per table as only a section of the stairs is being fabricated; 14 rows would prepare 14 pieces of bamboo. The full structure would require over a hundred rows.

131

Mark angle of drill numerically with direction

Measure and mark drill entries

3.2.2 Designing the Staircase

Construction process After running through the construction process a number of times, we are able to understand the construction process, and can reduce the process to the following stages:

1

1

Mark lengths to be cut

This stage is generally quick. Bamboo are selected based on their diameter, then marked accordingly. At the same time, the pieces are labelled, and laid out neatly in order.

2

2

Mark holes to drill

This is a more time consuming stage. A series of measurements have to be taken in order to mark each single hole.

2a Angle finder This laser cut tool was made in order to be able to measure the angle around the diameter of the bamboo. The idea of the ruler was to be able to easily mark the distance of the hole at the same time, however this was actually impractical. Because the bamboo was of all different sizes, the tool cannot get a proper fit around the bamboo and tend to be loose.

2a

133

3

3

Drill holes at specified angles

This was done using a bench drill press with a table that can tilt. It was possible to measure this angle of tilt in the machine, although there is likely to be a fair amount of parallax error. Due to this parallax error it was impossible to be completely accurate, and so we figured that we need not follow the table of data completely - for instance, even if an angle of 17 degrees is specified, and angle of 2 degrees difference should not make much of a difference.

Later we found that doing this cause the structure to be quite hard to put together; it actually did matter. Parallax error or not, the angle should not be changed to more than half a degree.

4

4

Checking prepared bamboo

When piecing the structure together, we tend to find that some holes that should have been drilled are missing, or was drilled incorrectly.

When the structure gets pieced together and the bamboo starts to interlock, these errors can cause a lot of frustration as they may not be noticed until half the structure has been put together. Thus this stage was created to check that all holes have been drilled correctly, before the bamboo actually starts interlocking.

5

5

Under construction

Here the bamboo are interlocked one surface at a time. We found that a smaller wire had to be used in order to allow for some tolerance. For a drill hole of 2.5mm diameter, we needed to use a wire of 1.25mm diameter. The 2mm wire would not pass through all the holes.

3.2.2 Designing the Staircase

Single wire to connect bamboo

One problem that we noted was that the edge of the steps was too close to the structure. It has already been checked in the digital model to make sure that the steps do not intersect. However, it did not take into account that the bamboo could be a fair bit bigger than specified.

When the pieces are too long, they have to be sanded down. Trying to force it down will break (and have broken) the steps support structure below it.

Although bamboo are relatively flexible, there was little room for these bamboo to bend as the structure was quite tight.

Edge of steps too close to structure

135

Digital

Physical

3.2.2 Designing the Staircase

Completed prototype In the digital model, the bamboo are represented by tubes. In the physical model, the bamboo are not quite so perfect. We were unsure as to what this discrepancy would imply.

However, a comparison of the digital model with the physical prototype shows the accuracy of the fabrication method despite variable parameters such as the varying diameters of bamboo. We think that this is partly due to the flexible nature of bamboo and thin wire, that resulted in quite a forgiving method of construction.

We did not actually expect the structure to be so uncompromising in terms of its form - it HAS to be in a specific form in order for all the holes to line up, and for the wire to pass through. The wire itself does not have to be stiff or straight; in fact, in this case, it could not be completely straight due to little margins of error caused by manual measurements. If a machine could be designed and calibrated to prepare the bamboo, these margins of error could be greatly reduced, making it far easier to put the structure together.

From the prototype, we are able to start seeing some of the effects of the ruled aesthetics, which were quite promising. Shadows cast by bamboo over bamboo creates a dappled effect very much like something that could be found in nature.

137

3.2.3 The Musical Aspect

139

3.2.3 The Musical Aspect With bamboo being well known as a material for musical instruments, we could not resist including a musical aspect within the tree house.

Originally looking to create a â&#x20AC;&#x153;singing structureâ&#x20AC;? cause by wind moving through the bamboo, we found that this is unlikely to work as it requires a very direct stream of air that is difficult to achieve from the wind.

Instead we turned to percussion instruments made of bamboo. Inspired by the Angklung and Slit drum, we sought to integrate these music making concepts into the tree house.

There are many ways to make sounds by hitting bamboo. However, we did not want to just hang things on the structure - it has to be integrated within. To do so we needed to have moving parts within the structure.

With the interlocking nature of the structure, having moving parts seems to be impossible. Before tossing the idea away, we focused on the staircase - how can we make the steps to respond when they are stepped on?

Finding that there are parts within the staircase that are not interlocked within the main structure, we narrowed our focus onto these parts.

Structural tie within step Structural tie between main structure and steps Moveable bamboo

3.2.3 The Musical Aspect

For bamboo to make a sound when stepped on, it has to be raised in a neutral position, which will then hit something when it is stepped on.

The first few ideas were made based on trying to create this suspension, and using a little hammer within to hit the bamboo. The hammer works in a similar method to a lever.

Unfortunately, the hammer has to be of a certain size in order to work, and the internal diameter of the bamboo was insufficient.

Before trying to get the hammer to work, we decided to just focus on have the bamboo suspended first, for without that it would not be possible to do anything else.

Instead of trying to insert a spring over the rod (as in the top image), we thought of using elastic bands.

Over-complicated ideas

141

Section of a step in staircase

3.2.3 The Musical Aspect

Sound on impact The use of elastic bands were quite successful, and to our delight, we did not even need a hammer. For some reason or another the bamboo makes a reasonably loud click when impacting upon the metal rod within it.

Sound made on impact

143

Different lengths make different pitches

3.2.3 The Musical Aspect

Different pitches As the pieces are not structural, there is some freedom in varying the lengths of bamboo to control the pitches that they produce.

A second prototype was made to test out the different pitches. The result was strangely inconsistent. Perhaps because the foot that steps on the step blocks part of the bamboo from vibrating, the pitches sometimes change drastically.

Regardless, it seems to work as expected most of the time.

145

3.2.4 Interim Presentation

147

3.2.4 Interim Presentation Applying our research on interlocking bamboo construction, we applied this material system to the tree house in 3.1.3, while keeping much of the same sort of shape, volume, division of space and circulation.

3.2.4 Interim Presentation

The result of this application of interlocking bamboo was quite fascinating, For some reason or another, it no longer looks like a Cocoon; instead, it now looks like some parody of batman with a cloak, or something with a dress or a skirt. It appears to have quite a feminine and elegant form.

149

Set location and general volume

Division of space through intersecting planes

Platforms to tie structure to tree

Circulation avoid main branches

3.2.4 Interim Presentation

Form The way the form was derived was pretty much the same as the competition entry in section 3.1.3.

System of interlocking bamboo defines form, structure and aesthetics

Ruled lines break up volume

151

Seating/bracing

Shower/sink/toilet

Bed A

Door boundary

1 2

N

0

1

2

3 3

5m

3

3.2.4 Interim Presentation

Plan The seating areas act as additional bracing for the balustrades. There is the attempt to make this seating area a more questionable space, not so much a conventional seating area, but potentially a structure to lean on, etcetera.

In cutting the plan, it appears that some of the dimensions of the room became a little out of proportion, something that is particularly apparent when seeing the scale figures cuddling on the bed in plan.

153

Rooftop reading area

Shower/sink/toilet Floor Plan Sleeping bed

Storage

Seating/bracing

00

0

1

2

3

11

22

5m

33

5m 5m

3.2.4 Interim Presentation

Section As the storage is now under the bed, the bed has been raised a meter off the ground. Combined with the overly large bed, this makes the room feel quite out of proportion.

When cutting the section it becomes obvious that the tree house have slowly morphed back to a more conventional room. Somehow, the application of interlocking bamboo have made the planes straighter and straighter.

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Seating/bracing

Roof balustrade

3.2.4 Interim Presentation

Interlocking bamboo The bamboo was triangulated as much as possible to provide strength to the structure, and to keep it in shape.

The operable facade consists of a foldable door that slides between two pieces of bamboo that act as the rail.

A rod or rope of some sort would be required to keep the door open.

Because the opening is not a square, it is not possible to fully open or close it.

This concept was quite confusing in the modelling process.

Operable facade

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3.2.4 Interim Presentation

The rooftop Looking pretty at first glance, we start to see a number of issues with this rooftop. The rooftop was meant to interact with the canopy of the tree, however this was not reflected in the render; in fact it appears to be a sunbathing spot. This could perhaps be remedied by extending the leaves down onto the roof.

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3.2.5 Rethinking Form and Function

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3.2.5 Rethinking Form And Function In the previous section, we saw that form had regressed back into a more conventional form. It appears to have lost the interactivity that was in the initial design proposal. Despite having tried to merge the tree house volume with the stair structure, the result was unsuccessful.

Because of the way the tree house was modelled digitally, it was difficult to adjust the shape of the tree house. In fact, in order to make major changes to the form, much of the Grasshopper definition has to be rewritten.

Without an easy way to continue, it led us to rethink the form of our tree house.

Did we really make the most out of our material system of interlocking bamboo?

When did the form start to become so conventional? We felt that perhaps the functional aspect of the tree house has limited us, and the way we developed the form was incorrect.

We decided to do a complete redesign of the tree house, although still using the same material system. We decided to change our design process. Instead of determining the general form or the layout of space first, we decided to just start developing the form, beginning from the staircase and building upwards. As a result, our final form was able to move away from the first two designs (Section 3.1.3 and 3.2.4). Following the rule of the material system, it guided us in our design decisions, and it is from this that the form and function was developed.

We started off building the main shape of the stairs structure - a diamondshaped structure with steps as the internal bracing. This we thought was a successful shape from our initial prototype in section 3.2.2.

Since the tree acts as the main support, we needed to have some sort of structure that extends towards the centre of the tree.

Immediately we result in a structure that obviously requires a lot more bracing in order to work.

3.2.5 Rethinking Form and Function

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Bracing A

Bracing was added to create a more coherent structure.

Immediately we can see that Bracing A is creating an interesting form. It looks very much like a seating area towards the top of the structure which then dips downwards. Seeing as some people could actually slide down the bracing, we added a safety barrier at the end perhaps this could be a lookout area?

The structure is currently hung at one point on the edge of the structural platform; there is nothing holding it in place. We needed at least one another structural platform within the structure to tie it together. Why not create a room underneath?

We originally did not even intend to have a room - we thought we might just stick to having a structure that allows interaction with the tree.

However, we do need that additional platform. We also have the odd pathway that leads to nowhere. Now, it can actually lead to somewhere.

We thought we could actually have an operable facade as window at the open face of the room. However, we think this would actually look quite bad if it had a waterproof membrane over it, and if it did not have a membrane, it would not have much of a use.

Hence, we decided to just forget about waterproofing, and have a balustrade there instead. After all, this opening faces towards the inner parts of the tree, and should be reasonably sheltered.

3.2.5 Rethinking Form and Function

165

When the opening to the room was created, additional bracing has to be added in order for the structure to not collapse.

This bracing effectively turns into part of the sheltered area of the room, and acts as a threshold between inside and outside. There is to be no door - we feel that it was unnecessary.

We also decided against having an actual toilet or shower area within the room. However, we do want a bed or similar furniture to relax in, and so we are now posed with the problem of locating a bed in a space that is interrupted by a large tree trunk.

Instead of having the bed on the platform of the room, we thought to have it on the side instead. If we extended the width of the pathway, it could be wide enough to be utilised as a sleeping area. It would also be very nicely sheltered if we made the ruled surface above it denser, and then cover it with a waterproofing membrane.

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With many tight corners, the intersecting rule of the bamboo tends not to be followed properly. The final step in developing this form was to keep adjusting it until all the bamboo interlocks, while ensuring that the space is still useable - for instance, the staircase have to have a certain head height, and the odd pathway down to the room has to be safe, even if it does not look like it would be.

The nature of the suspended staircase and form development process has somehow returned the overall form of the tree house to the shape of a cocoon.

3.3 Final Design Proposal

3.3 Final Design Proposal Having developed the form and function of the tree house in the previous section, this section covers the documentation of the final design project.

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3.3 Final Design Proposal

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Final presentation panels @ A1

3.3 Final Design Proposal

The Concept “The Cocoon” hangs from a mature English Elm, 5.4m above the ground. Situated in Carlton Gardens, an urban park located on the edge of Melbourne’s central city area, it seeks to establish a connection to nature within the city. Purely an experiential tree house, it utilises the city as its amenities, effectively establishing a connection to the city as well.

The project explores the potential to produce habitable spaces by using a system of ruled surfaces consisting of interlocking bamboo. These ruled surfaces determine the aesthetic of “The Cocoon”, and dictate form as well as structure. The dense ruled lines provide privacy while breaking up the envelope, blurring the boundary between the tree house and the tree.

Combined with ruled surfaces, the move away from conventional doors, walls and construction methods allow for an escape from the typical box room arrangement, breaking away from city-living conventions.

The close interaction with the tree and the lack of ordinary safety barriers adds a sense of thrill and danger. Together with the movement of the tree and rustling of leaves, it heightens the senses and compels its users to live and act differently within it.

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Chosen host tree

The site within the city Toilets available 6:30am-6pm Toilets available 24 hours

3.3 Final Design Proposal

City as amenities Without having a toilet within the tree house, we had to find locations of toilets nearby in the city. Within Carlton gardens itself there is already a public toilet area that is open from 6:30am6pm. The toilets that open for 24 hours are a little further away.

Having to walk so far away to get access to a toilet is one of the break away from city-living conventions. It also acts as a reason to get out of the tree house and take a walk. It forces you to climb up and down the stairs, and to walk through the park.

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Generative lines

Stair structure

Stair structure

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Generative Lines The base parameters of the rule set are the generative lines, from which ruled surfaces of interlocking bamboo are generated.

The generative lines are the input lines, and are the lines that are altered in order to change the entire shape of the tree house.

Stair structure

Stair structure

Structure to tree centre

Rooftop

Room below

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From the ruled surfaces generated by the lines, more ruled surfaces are generated as bracing and other additional structure are added to the form.

These surfaces can be said to have generated indirectly from the generative lines.

Pathway and opening to room

Cover and support

Spatial Diagram Seating Rooftop Hidden pathway to room below

Bed Defined only by a change in density of ruled lines.

Room A special and secretive space that is sheltered from the rain.

Steps Includes a musical aspect that can act as a warning.

3.3 Final Design Proposal

N

Rooftop Plan 1:50

Cut at 11.5m above ground level Tallest point of tree house: 10.9m FFL of roof centre platform: 7.6m FFL of room below: 5.4m

Branch to lie on This allows close interaction with tree.

Seating/lounging An area to relax up among the tree canopy.

Pathway to room below The seating area twists and merge into this ambiguous pathway.

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2

Interlocking detail (pg 186)

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5

3.3 Final Design Proposal

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3

Construction sequence 1

Pre-drilled bamboo transported to site

Materials can be packed close together, saving space.

Maximum length of bamboo is 6m.

Stairs are assembled off site.

Temporary supports as required

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Assembly of main stairs structure Main stairs structure completed Second round of assembly over assembled structure Second round of assembly completed Assembly on ground completed

The interlocking system of construction meant that as the structure is assembled, it will naturally be forced into the right shape. This meant that only the sequence in which bamboo is constructed has to be known during the construction process, and no formwork is required.

As the form is completely structural, it is possible to move or tilt the structure for easier assembly, or even climb onto the structure. However, before the form is completely assembled, it may be necessary to provide temporary supports to avoid over-stressing joints of bamboo that have not been fixed.

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Tree fixing detail (pg 187)

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3.3 Final Design Proposal

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Construction sequence 7 8 9 10 11 12

Measure and mark location of tree house fixings Move bamboo onto temporary platform Connect platforms of tree house to tree Install previously assembled structure Connect pre-assembled structure to platforms Assemble the rest of tree house

The main flaw of this method of construction is that it assumes that the structure will be able to slot into place. However, while there should be no main branches to get in the way, there are still smaller branches and leaves. Also, although bamboo is relatively lightweight, it is going to be quite heavy to lift and may pose difficulties when manoeuvring it to the right spot.

12

An alternative method of construction would be to piece the structure directly onto the tree, however this will require a network of safety platforms to keep the construction process smooth.

Waterproofing detail (pg 186)

1

Interlocking detail

From the prototype in section 3.2.2, we can deduce that we do not actually need a straight steel rod as a frame to hold all the bamboo in place. As long as it is not elastic, any other flexible material would do.

1 2

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2

Steel cables are strong and much easier to handle than steel rods. They can also deal with corners in the frame, which steel rods of the same thickness cannot.

Pre-drilled bamboo Steel Cable

Waterproofing detail As the tree house is located right under the tree, it is likely that there will be a build-up of fallen leaves on the roof.

The waterproof roof is clipped onto the bamboo so that it can be removed for maintenance.

1 2

1 2

Clear plastic clip Clear polycarbonate sheet

The density of bamboo at the envelope around the bed area, combine with the shelter from the tree, should provide a sufficient buffer from the weather.

While we think it is important to have a sheltered area (particularly as there are no showers), we prefer to leave the tree house open, and have some interaction with the outdoor elements.

3.3 Final Design Proposal

3

Tree fixing detail

1 2

3

Although the tree is mature and tree growth is relatively slow, there would still be some growth. The steel channel running around the tree are broken into partitions to allow for this.

4 5 6 7

1 2 3 4 5 6 7

Steel channel partitioned to allow for tree growth Leather belt tightened around tree Metal rod welded to steel channel Bamboo node Bolt bamboo to metal rod Hole to pour cement Fill bamboo with resin

In consideration of the welfare of the tree, a leather belt is used as the fixing method rather than conventional bolts. It goes over the welded rods, wraps around the steel channel, and is tightened around the tree. The belt is wide enough to distribute load and avoid tree strangulation.

187

With the tree branch and truck emerging from the platform of the roof, there is the opportunity for close interaction with the tree. One could enjoy climbing up and lying down on the branches. The seating/lounging area provides an alternative way to relax under - or in - the canopy of the tree.

3.3 Final Design Proposal

189

There is no clear barrier separating the pathway from the bed, nor a boundary for the â&#x20AC;&#x153;interiorâ&#x20AC;? of the room. Yet there is very obviously a threshold somewhere as the atmosphere within the room is different.

While the image of the lady is controversial, we think that it shows that the tree house compels people to do whatever they like. The lady would only do this in summer though.

This is by far my personal favourite render. It shows the eagerness to climb towards the top of the tree, moving up towards the sky. The ruled lines provide a sense of safety and privacy while keeping in contact with its surroundings; it creates a mix of enclosure and openness.

3.3 Final Design Proposal

191

4.0 Design Topic

4.0

Design Topic: Breaking Boundaries

193

chalked up by builders onto the floor at 1:1 scale to indicate the locations and types of walls.

Breaking Boundaries Today, plans, sections and elevations have become the norm when describing a building or form. They set out the positions and dimensions of floors and walls, and are the convention for both architectural and construction drawings. The plan, in particular, tends to be the most important in terms of describing the layout of a place. Le Corbusier, one of the most influential architects of the 20th century, once described the plan as architecture’s “generator”; the architect’s intentions are first designed into the plan, from which spatial hierarchies are determined.1 It is perhaps because the ground has to be mostly flat to be functional that the plan becomes such an important method of communication. After all, it naturally turns the ground into a flat canvas, from which the walls can be denoted as lines that will be extruded.

It also makes it relatively straightforward to construct, as the plans are

This reliance on the plan for spatial organisations tends to limit the kinds of spaces that is generated. The floors, walls and ceilings become separate elements that are abutted together, rather than an integrated whole. To push design over these limits, this idea of set boundaries has to be broken, and the plan should not be a generator of space. In the example of the Phillips Pavilion, the original idea by Le Corbusier was to have a plan in the shape of a stomach, which generates an organic form. But Xenakis, who was given the responsibility to design the building, did not use the stomach plan as a generator. Instead, he visualised it as a spatial composition of nine hyperbolic paraboloids, which was then sliced off by the stomach plan.

In this case, the plan becomes a constraint of a rule set; the spatial qualities and parameters were designed and developed first.2 The tree house documented in this journal exemplifies the use of alternative design strategies. Based on a rule set and material system

of interlocking bamboo, the ground and envelope is literally broken up into lines and interlocked together.

With this single rule of construction, the boundaries between ground and envelope are no longer distinct. Held in place through triangulation of different lengths of bamboo, there is no longer a need to have vertical walls or columns as a constraint for structure. Instead, this constraint is changed to match the material properties of bamboo, such as length.

Material constraints, structural requirements, as well as other constraints such as head heights and circulation, drives the overall form of the tree house.

Visualising and adjusting such a complex form would be difficult if drawn two-dimensionally on paper; it would be quite illegible and ridiculously time-consuming.

However, this has been made possible through the use of digital modelling.

Parameters, such as control points, can be adjusted and the digital model updated in real time. In the case of the tree house, lines were drawn in three dimensional space to mark the boundaries that are set out by constraints. These generative lines then act as the base from which the

4.0 Design Topic

interlocking form is generated.

Designing the form as a whole rather than as components of the building is an alternative design strategy that requires alternative construction methods. With the Phillips Pavilion, built in 1958, the technology of the time meant that it required extensive prototyping, research, and quite a fair bit of construction labour before it can be designed and built.

With the technology of today, this process can be sped up significantly.

Information for fabrication can be extracted directly from the digital model and translated into a usable format. This could be in the form of lines for laser cutting, which would link the design directly to the fabrication process. In the case of the tree house, information such as the lengths of bamboo, as well as the positions and angles of holes to be drilled into each bamboo can be extracted. This information can be fed into a machine, or be printed as a spreadsheet to be used in manual cut and drill, as was done in the physical prototype.3 The digitally-driven design and fabrication processes too affect the

construction process. As designs generated from such processes tend to have a lot of unique pieces, the construction process has to be specialised; it is quite complicated to build everything based on conventional construction drawings.

Fortunately, it is possible for the unique pieces of a design to be cut to machine precision. If a good jointing method can be devised, the design can then be put together like a massive puzzle.

With the tree house, the jointing method was derived from its rule set.

Despite all the curvature within the form, the entire form is made up of ruled lines. This includes the lines that run along the edges of each ruled surface; the structural steel wire/cable that runs through and connects the interlocking members is continuous, consisting of number of straight lines joined together. These cables, combined with pre-cut and pre-drilled bamboo, meant that only the sequence in which bamboo is constructed has to be known during the construction process. There is no need to know what the actual form looks like, nor is there a need for any sort of form work to set out the orientation of each bamboo piece.

195

The bamboo pieces merely need to have a labelling system that indicates the sequence in which they are to be put together; as the pieces are put together, the form automatically takes shape, twisting according of the angle of the holes drilled into them. This makes it relatively easy to construct without needing conventional drawings such as plans and sections.

Digital technologies today can be used to drive alternative design, fabrication and construction processes. They can be used as a driver to create new forms and spatial organisations that can be constructed despite their apparent complexity. When utilised correctly, they have great potential to break boundaries in architectural design, both figuratively and literally. ______________________________ Clarke, J 2012, â&#x20AC;&#x2DC;Temporal Modes of Architectural Formationâ&#x20AC;&#x2122;, in S Kanach Xenakis Matters: Contexts, Processes, Applications, Pendragon Press, Hillsdale, N.Y., pp. 143-155.

1,2

3 Refer to Section 3.2.2 pp. 128-137 of this journal for construction process of physical prototype.

5.0 Reflection

197

5.0 Reflection This project encapsulates the notion that design is not a linear process. Much as we would have liked to pick one idea and just march forwards with it, that was not possible. Without a clue as to the outcome that we want to achieve, our explorations in section 2 were broad, often leading to dead ends. While most of our research did not seem to directly apply to the final design proposal, without that research, it is most likely that we would not able to achieve the final result.

As with any design project, it is important to know when to stop designing. However, that does not mean that the design is perfect. There are always many ways that the design can be taken further:

• It would be fantastic if we could design a machine that is able to prepare the bamboo for construction – even if it

cannot drill holes in the bamboo, it may be possible for it to measure and mark the bamboo. With this, we will be able to make more prototypes, which can help in refining the construction process, or testing out the structural integrity of the tree house.

• Structural analyses from Karamba may also be useful in driving the design process, particularly as the ruled lines

in our designs dictate both form and structure. What if some pieces were made thinner or thicker according to their structural function?

• The tree should be modelled much more accurately as it is so integrated within the design. A friend told me that he would be extremely nervous building something like the tree house with the tree modelled so roughly.

• We have tried to merge the boundaries of floor, wall and ceiling. In doing so I think we have forgotten that these

components do have different functions. The boundaries between them can be blurred, but they should still have different functional aspects. For instance, walls tend to have openings for view or light.

Regardless, I think that through this design process, we were able to see how a material system and rule set can develop a design. Section 3.2.5 was particularly fascinating to me as form and function simply fell into place as the tree house was developed. The relationship between the digital and the physical (pg 137) was also quite intriguing.

Breaking boundaries – feels great.

6.0 Appendix

6.0

199

Appendix

This section contains selected Grasshopper scripts that was used in the journal.

Rule Set #1A More information on pg 20-21.

This definition obviously has a lot of repeated information; this applies to the other rule sets as well.

To make it easier to use repeated definitions, clusters have been used in the other rule sets.

6.0 Appendix

Rule Set #1B More information on pg 22-23.

201

Rule Set #1C/D More information on pg 24-27.

Rule set 1C and 1D are identical apart from the parameters. Parameters used in this example are for rule set 1D.

6.0 Appendix

203

Rule Set #1E More information on pg 28-29. The expanded cluster is on the next page.

Cluster for Rule Set #1E

6.0 Appendix

205

Rule Set #1F More information on pg 30-31.

This is only a portion of the full definition. This first part of the definition is identical to rule set 1E, and this is a continuation of that definition to extract pairs of surfaces.

Having had a bit of python background, I took this opportunity to learn how to use python in conjunction with grasshopper.

6.0 Appendix

Rule Set #2 More information on pg 32-33.

207

Timber panelling Used in pg 90-91 and section 3.1.4 for the competition entry.

Ruled lines This is the most basic definition to draw lines from generative lines. It takes two input curves, divides them, then joins the points from each line to create a ruled surface.

6.0 Appendix

Expanded cluster

209

Extracting information Mentioned in pg 129, this cluster was used to extract information required to construct the physical model.

The drill point entry and exit are different from the end points of the ruled lines. These depend on the diameter of bamboo and angle of the drill. Because the bamboo and their cable connections are floating in space in the digital model, it was surprising complicated to extract the information we needed. For instance, the angle of the drill through the bamboo had to be measured along the plane that cuts straight through the length of the bamboo, and each orientation of the bamboo is different.

Raw output of data

In the rush to write this script, the script is unfortunately terribly difficult to read. Thankfully, the cluster worked for the first set of curves, and magically worked for all the other sets of curves as well without giving me errors.

After extracting this information, I was most unsure that I have extracted it correctly, and was extremely relieved when the physical prototype was built correctly.

Adding on an existing model The model in section 3.2.4 was actually created in two steps by two people.

The bottom half (in yellow) is an older part of the model, made by Element.

The top half (in gray) was made by me.

By using baked curves of the older model as input, this was possible.

However, with the bottom part being static, it meant that limited changes can be made to the dimensions of the top part, which was most annoying.

6.0 Appendix

211

The definition is quite big, with every surface of ruled lines being linked to another.

Without hiding most of the lines in grasshopper, the definition would be impossible to work with.

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5 1

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1 2 3 4 5

Clusters collected in corner for easy access Inputs of generative lines Collection of outputs to navigate the document Extending curves to allow interlocking Turning lines into pipes to preview

Everything else: Making ruled lines

6.0 Appendix

Final Design Proposal This is the full definition for Section 3.3.3: Final design proposal.

The entire definition was written in one whole, so as to allow changes to the model as it is being developed.

Normally I like to have all my sliders in one corner, so that I can adjust the model without having to go though the entire definition. However this definition was just too large to be able to do this. Instead, I have collected the outputs in one area so that I can use it to navigate the document.

Previewing the lines as pipes is usually disabled as it slows down the program significantly.

A number of clusters were used to write the definition. The expanded clusters are on the next page.

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Final Design Proposal: Clusters These are the clusters used in the definition for Section 3.3.3: Final design proposal. The full definition can be found on the previous page.

Dispatch: This cluster was used 9 times. It takes a generative line and divides them according to a set number of points.

The Division value is mostly fixed as most generative lines requires the same division in order to interlock successfully.

Ln 2pt: Used 4 times. It grabs 4 lists of points (from Dispatch cluster) and turns them into lines. While the lines could have easily been made simply by using the Grasshopperâ&#x20AC;&#x2122;s Ln component, this cluster is used to group chosen curves and offset curves. Output Crv Chosen refers to the ruled lines chosen to be baked, while Output Crv Offset are the lines in between these curves - these gives the position where other ruled lines can intersect.

Eval Ln 2pt: Used 4 times. It is similar to the last definition, except that it connects a list of points (from Dispatch cluster) to points evaluated from a list of curves (from Ln 2pt cluster).

Mid: Used 13 times. This grabs a list of points and outputs all the points in between.

Extend Pts: While this was a popular cluster in earlier definitions, this cluster was not used in the final. It works well in conjunction with Mid cluster as Mid outputs one less point than its input, but it ended up not being necessary because of Ln 2pt and Evaluate Ln 2pt clusters.

Remove: Used 8 times. Removes some points from the start and end of a list of points.

Pt dist: Used multiple times as required. It checks the distance between curves to check if they are interlocking correctly.

6.1 Biography

217

6.1 Biography Amanda was born and raised in Singapore for the first 15 years of her life, before moving to Australia in 2008. She completed Bachelor of Environments (Architecture major) with first class honours at the University of Melbourne in 2013, and is currently in her first year of Masters of Architecture.

BEnvs Studio Air: Change

She was first introduced to parametric design at Ex-lab: Bend Workshop 2012, and have immediately taken a liking to the workflow. Since then her interests have been in digital design and fabrication, and her Masters course have been geared to support this.

6.2 Credit

219

6.2 Credit This section credits the work included in this book to the appropriate member/s of the team.

Credit also goes to my tutors Paul Loh and David Leggett, whose guidance have been invaluable; and to my dad, who taught me how to use tools and assisted me in getting materials.

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Additional information: Credit for layout of all panels and the journal goes to Amanda Ngieng.

Kevin Sutanto joined the group in Week 2 and left in Week 8 of Semester 1, 2014.

X Amanda Ngieng X Element Bingquan Zhang X Kevin Sutanto

6.3 Bibliography

223

6.3 Bibliography Clarke, J. 2012, ‘Temporal Modes of Architectural Formation’, in S Kanach Xenakis Matters: Contexts, Processes, Applications, Pendragon Press, Hillsdale, N.Y., pp.

143-155.

Hensel, M. & Hensel, D. S. 2010, ‘Extended Thresholds I: Nomadism, Settlements and the Defiance of Figure-Ground’, Archit Design, vol. 80, pp.

14–19.

SHoP Architects & Sharples, C. 2008, ‘Material Practice’, in B Kolarevic & K Klinger (eds), Manufacturing Material Effects: Rethinking Design and Making in Architecture, Routledge, London, pp. 37-46.