STUDIO AIR 2017, SEMESTER 1, TUTOR FINNIAN WARNOCK KWAN CHIN CHING 713458
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CONTENTS INTRODUCTION
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A. CONCEPTUALISATION A.1 DESIGN FUTURING A.2 COMPUTATION A.3 COMPOSITION/ GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX REFERENCE
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B. CRITERIA DESIGN B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 TECHNIQUE: DEVELOPMENT B.5 TECHNIQUE: PROTOTYPES B.6 TECHNIQUE: PROPOSAL B.7 LEARNING OBJECTIVES & OUTCOME B.8 APPENDIX REFERENCE
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C. DETAILED DESIGN C.1 DESIGN CONCEPT C.2 TECTONIC ELEMENTS & PROTOTYPES C.3 FINAL DETAIL MODEL C.4 LEARNING OBJECTIVES AND OUTCOME
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INTRODUCTION 5
Fig.1 Cathy Kwan (Image by author, 2016)
I am Cathy Kwan who is in my third year majoring in architecture. I would not say I am really passionate about all different parts of architecture but I am more interested and focus in designing of a building. For me architecture is an art piece that helps and involves in improving people’s living conditions and standard. A good architecture can create a mood and guide the way people move or action through its design in a subtle way. I believe design plays an important role in not just architecture but the future and this is the part I want to participate in. I am also interested in interior design and furniture design because for me all of these elements work closely together to create the desired atmosphere. For me I always want to keep things subtle but interesting.
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Fig.2 Sleep Pod (Image by author, 2016)
Sleep Pod is a project that design a pod for sleeping at school under the exploration of the principle of panel and fold, aiming to create a portable pod that gives a sense of security. Rhino is used throughout the whole process to build and test the sleeping pod from two dimensional idea to three dimensional form. The design is then produced using laser cut. This is my first design project that mainly depending on computerisation technique. Auto CAD and Sketch Up are other digital program that I use to help me in experimenting with different forms. Especially Auto CAD is intensively used to produce plans and sections for each design. I think digital architecture really help to improve one’s working efficiency and the quality of work. Digital tools help to control and produce design drawings accurately. Communicating ideas become much easier.
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A CONCEPTUALISATION
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A.1 DESIGN FUTURING Fig.3 STIK Pavilion pattern (AD Editorial Team, 2015)
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PLUG- IN CITY Our human centeredness and treating the nature as infinite resources increase the rate of defeaturing (Fry, 2008). People just hope for a better future because it takes courage and action to dream. Architecture design is no longer about appearance, it is a solution to defuturing. I believe design should not just fulfil and satisfy the current situation but also act as open-ended search for new possibilities towards a preferable future. To achieve this goal, we need to change our values, attitudes and behaviour (Dunne & Raby, 2013). It is a long process to get a step closesr to the preferable future. Before that awarness should be raised to alllow poeple have discussion on the problem that we are facing. Speculative design is therefore required as a tool to bring up the concern, notice the mistake we made and redirect us towards the right path (Dunne & Raby, 2013). Plug- In City is a project designed by Peter Cook from ARchigram in 1964. It was based on the use of Metal Cabin Housing as basic component that place removable house elements into a megastructure (Merin, 2013). The scale and shape of the city could change easily according to the population and required services, which sets the architecture and city free from terrain concern (“Center for Experimental Practice�, 2010). This project is not built but it was thought as radical design at that time. This is about the process but not the final form. In today’s point of view temporary architecture maybe known as unsustainable but it provides people a different method to manage and construct a city. This project catalyst people to discuss the preferable city they want, encourage us to investigate what happens if the whole urban environment can be restructured.
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Fig.4 Detail of connection between Metal Cabin Housing (“ Centre for Experimental Practice”, 2010)
Fig.5 Section of Plug-In City (“Plug- In City”, 2013)
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STIK PAVILION After redirection design intelligence is required to come up with a sustainable solution towards such direction (Fry, 2008). The Digital Fabrication Lab Research Pavilion is a project done by professor Yusuke and students in the studio called Advanced Design Studies in 2015 from Japan. Instead of using normal materials, waribashi, a recycled material produced as by-product of the industrial production of chopstick is used for this construction. By understanding the characteristic of waribashi, a stable and complex structure can be obtained with the use of 3D printer (AD Editorial Team, 2015). This design is a response to the concern of defuturing. Recycle material is used instead and able to build complex yet stable structure without the use of nails and joints, which is different from normal construction. It produces a new method to construct and gives an alternative method in building. To conclude, we need to have innovative designs that stimulate the possibilities of solution. While designing, crucial judgement should be made on actions to indicate the right decision for increasing futuring potential (Fry, 2008). Thus, we can discover suitable alternatives that concern and balance all different aspect such as nature, culture and economy (Dunne & Raby, 2013). As this process repeat and repeat we get a step closer to the future world we desire.
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Fig.6 STIK Pavilion by studio team (AD Editorial Team, 2015)
Fig.7 Pavilion Close Up (AD Editorial Team, 2015)
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A.2 DESIGN COMPUTATION Fig.8 Top View (Temporaray Pavilion in London, 2013 )
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SERPENTINE GALLERY PAVILION The importance of computing keeps increasing in architectural design process nowadays. Apart from being useful tool for plans and sections, computing now also involves in the formation of designs, changing the use of computer from computation to computerization. Computing creates a uniform language that helps designers to express and communicate their ideas numerically and graphically to other participants like engineers and clients. By imputing rules and numbers, it can present a system or design accurately with shorter use of time (Kalay, 2004). Especially when handling complex problem, computer can minimize the errors in a large extent hence facilitate the design process. In advance of technology, computation expands the possibilities of designing, enlarge and support the range of conceivable and achievable geometries. For example, the Serpentine Gallery pavilion by Toyo Ito used computation to set the geometry of the form of the cubic box (“Serpentine Gallery pavilion,” 2013). By applying algorithm as constrain, a desired ‘random’ geometric form is created. These scriptable geometric pieces are then treated as structural element or eliminated as openings. Apart from providing aesthetic to the pavilion, the incorporation of algorithm also minimized possible mistakes and uncertainties in the design process.
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Fig.9 Serpentine Gallery Pavilion (Temporaray Pavilion in London, 2013 )
Fig.10 Interior (Temporaray Pavilion in London, 2013 )
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ONTARIO’S CELEBRATION ZONE PAVILION Computation also re-define the way of design thinking (Oxman & Oxman, 2014). It can act more than a tool to represent ideas and participate in the creation of the design process. The Ontario’s Celebration Zone Pavilion by Hariri Pontarini Architects successfully demonstrate the use of digital design in form finding and structural analysis in response to environmental context. It is a temporary pavilion for an open exhibition area. In the design process, Non-Uniform Rational B-Splines and integrated parametric modeller (Issa, 2010) are used to calculate and create a form that satisfy aesthetic, demands of code and the wind loading of such large-scale structure (“IFAI,” 2016). Inflation pressure and compression load are the main concern of this inflatable structure, an accurate model is created to predict the deflection of structure when subjected to different possible conditions (“Ontario’s Celebration Zone Pavilion,” 2015). With the use of computation, the design of structure can be optimized quickly, improve the aesthetic quality while maintaining confidence in their structural performance. Since the from of design also invloves engineering calculation, this strengthen the collabration between arhcitects and engineers. To conclude, computation not only improve the quality of work and help communicating ideas, it also evolves as a medium that supports a continuous logic of design thinking and making, providing another effective method to reach a desired solution and allow archietcts engage more in the construction process.
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Fig.11 Ontario’s Celebration Zone Pavilion (“Ontario’s Celebration Zone Pavilion”, 2013 )
Fig.12 Pavilion Interior (“Ontario’s Celebration Zone Pavilion”, 2013 )
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A.3 COMPOSITION / GENERATION Fig.13 Subdivided column front view (Hansmeyer, 2010 )
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SUBDIVIDED COLUMS
Generative design is becoming the new focus of architecture design. It is an integrative process that consider the environment, facilitate greater complexity with the use of algorithms. We are shifting into an era where architects use software to one where they create software (Peter, 2013). The advance in technology has now enable architects script their own rules, overcome the human-limitation of handling complex design process, making the process of both design and fabrication intuitive and flexible. The subdivide columns by Michael Hansmeyer employed computational design to generate a series of unique pattern that developed into independently design structure. This project involved the conception and design of a new column order based on subdivision process. The Doric column was continuously subdivided in accordance to different local parameter settings (Hansmeyer, 2010). The process can be run with different parameters to generate endless variations. Complex columns were formed with a simple generative process. He created his own rules and logic where designers are designing the process of producing a column through the use of algorithms, rather than designing a column directly.
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Fig.14 Subdivied columns (Hansmeyer, 2010 )
Fig.15 Ornaments of a column (Hansmeyer, 2010 )
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TAICHUNG METROPOLITAN OPERA HOUSE The Metropolitan Opera House by Toyo Ito is an unconventional design that abandon the stereotype of the using ceilings, walls and columns for space separation. It is inspired by the idea of caves, the combination of walls and ceilings into surfaces forms different sound caves that horizontally and vertically connect to each other (Markus, 2017). The spatial complexity is based on a few simple geometric rules. With the underlying of geometric grid to accommodate the spatial and volumetric needs, a membrane is expanded and twisted three dimensionally to create continuous space in both direction (“Taichung Metropolitan Opera House�, 2013). By changing the parameters in the algorithms, variations can be obtained. This computation based minimal surfacae form finding method helps to create desired form efficiently and accurately. By setting finite set of simple rules, algorithms can produce a series of variations within the given boundaries and constrains. This method increase the efficiency to figure out the most desired outcome undoubtedly but it can also limit the possibilities of designing. Algorithm is a finite set of rules (Robert & Frank, 1999) that eliminates the possibilities of other feasible solutions that cannot fully meet the given constrains. Therefore, generative design should be viewed as a useful supporting design tools but not the only solution to a problem.
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Fig.16 Taichung Metropolitan Opera House (Stott, 2016 )
Fig.17 Formation of caves (Moyosugi, 2011 )
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A.4 CONCLUSION Design is the process of problem-solving to improve not just human lives but also the environment. The final goal should beyond the satisfaction of current situation and involves in designing the preferable future. Through the evolution in technologies the application of computer changes from computerization to computation, designers can even create their own software to customize their digital design environment for designing. With the use of algorithms, this new design method helps architects to increase their capability to deal with complex problems, increases the efficiency of design process. Designers are no longer only involves in the parametric design but also participate in the performative design. My intended design approach is mainly focus on sectioning and geometry. Sectioning allows the creation of a three-dimensional structure with two-dimensional segments. There can be no extra connection pieces required, which is different from the normal way of construction, it allows the structure be built easily and reduce material use. The patterns created also give a motion to the design. Geometry brings fluidity into the structure with the use of different materials to form surface. It changes the idea of architecture being symmetrical and square shape, which stimulates and provides new possible outcomes for a problem.
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Fig.18 Sleep pod pattern (Image by author)
Computation increases the flexibility in design to adapt changes. I understand that with the use of computation it can help us to reach a desired goal easier with all the given constrains. It can also provide inspirations through the generation of unexpected result. I would like to use this new knowledge of algorithm in grasshopper to form the folding pattern of my sleep pod in Digital Design and Fabrication. It is designed based on the idea of pannel and fold. With the use of algorithm I can optimize the folding pattern without own calculation and even change the pattern size according to the curvature easily, which may improve the functionality of the pod.
A.5 LEARNING OUTCOMES 29
A.6 APPENDIX
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ALGORITHMIC SKETCHES These structures are created using an attract point as guide to arrange the size and density of spheres throughout three curves. Once this algorithm is set, different parameter is applied to obtain variations. This idea is similar to the formation of subdivided columns and Taichung Metropolitan Opera House with a much simplified algorithm. The same algorithm applied with loft can create a form with minimal surface. Instead of sphere, other geometry such as cone is also used to give a different effect.
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TEXT REFERENCE AD Editorial Team. (2015). The Best Student Work Worldwide. Retrieved from http://www.archdaily. com/771146/the-best-student-work-worldwide-archdaily-readers-show-us-their-studio-projects Centre for Experimental Practice. (2010). Plug-In City Study. Retrieved from http://archigram.westminster.ac.uk/project.php?id=56 Clement, K. (2015). STIK Pavilion. Retrieved from http:// archinect.com/intotheloop/project/stik-pavilion. Dunne, A., Raby, F. (2013) Speculative Everything: Design, Fiction, and Social Dreaming. MIT Press Fry, T. (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16 Hansmeyer, H. (2010). Subdivided Columns- Design. Retrieved from http://www.michaelhansmeyer.com/projects/columns_info2.html?screenSize=1&color=1#undefined IFAI International Achievement Awards: Ontario’s Celebration Zone. (2016). Retrieved from http://iaa.ifai.com/projects/ontarios-celebration-zone/ Issa, R. ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp. 1 - 42 Kalay, Y.E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press, pp. 5-25 Markus, E. (2017). Striking curves: Taichung Opera House in Taiwan. Retrieved from http://www. detail-online.com/blog-article/striking-curves-taichung-opera-house-in-taiwan-29477/ Merin, G. (2013). AD Classics: The Plug-in City/ Peter Cook, Archigram. Retrieved from http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram Ontario’s Celebration Zone Pavilion. (2015). Retrieved from http://www. thorntontomasetti.com/projects/ontario_celebration_zone_pavilion/ Oxman, R., Oxman, R. (2014). Theories of the Digital in Architecture. London, New York: Routledge, pp. 1–10 Peter, B. (2013). Computation Works: The Building of Algorithmic Thought’. Architecture Design, 83 (2), pp. 08-15 Robert, A., Frank, C. (1999). The MIT Encyclopedia of the Cognitive Science, Definition of ‘Algorithmic’ in Wilson. London: MIT Press. Serpentine Gallery Pavilion 2002/ Toyo Ito + Cecil Balmond + Arup. (2013, March). Retrieved from http://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup Taichung Metropolitan Opera House (2013). Retrieved from http://www.arcspace. com/features/toyo-ito--associates/taichung-metropolitan-opera-house/
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IMAGE REFERENCE AD Editorial Team. (2015). The Best Student Work Worldwide. Retrieved from http://www.archdaily. com/771146/the-best-student-work-worldwide-archdaily-readers-show-us-their-studio-projects. Centre for Experimental Practice. (2010). Plug-In City Study. Retrieved from http://archigram.westminster.ac.uk/project.php?id=56. Clement, K. (2015). STIK Pavilion. Retrieved from http:// archinect.com/intotheloop/project/stik-pavilion. Hansmeyer, H. Subdivided Columns- Images (2010). Retrieved from http://www. michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1 Moyosugi, S. (2011). Taichung Metropolitan Opera House in Taiwan. Retrieved from http://www.detail.de/artikel/taichung-metropolitan-opera-house-intaiwan-4493/ Ontario’s Celebration Zone Pavilion. (2015). Retrieved from http://www. thorntontomasetti.com/projects/ontario_celebration_zone_pavilion/ Plug-in City: Maximum Pressure Area, project (Section). (2013). Retrieved from https://www.moma.org/collection/works/797?locale=en. Stott, R. (2016). Toyo Ito’s Taichung Metropolitan Opera House Photographed by Lucas K Doolan. Retrieved from http://www.archdaily.com/796428/toyo-itostaichung-metropolitan-opera-house-photographed-by-lucas-k-doolan Temporarly Pavilion in London. (2013). Retrieved from http://www.detailonline.com/inspiration/temporary-pavilion-in-london-106495.html
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B CRITERIA DESIGN
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B.1 RESEARCH FIELD
Fig.19 Timber Pattern of One Main(“dECOi”, 2016) 37
ICD/ ITKE RESEARCH PAVILION 2010 Strip and sectioning are preferred as my research field because I find the combination of positive and negative space to give a sense of movement or fluidity is interesting. It is also highly adaptive and gives a sense of lightness in design. Unlike other designs treating digital design process, mechanical and materials as separate components, the ICD/ ITKE Research Pavilion 2010 performs a different approach to computational design. The physical form of the pavilion is determined by both internal and external pressure acting on the material (“ICD/ ITKE”, 2010).
Fig.20 Joint Detail (“ICD/ ITKE”, 2010)
Fig.21 Curve Development (“ICD/ ITKE”, 2010)
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The generation of form is directly driven and informed by the elastic bending behavior of birch plywood strips, which are digitally fabricated as planar element and subsequently connected to create elastically bent and tension regions. In order to prevent the concentration of bending moments, the locations of connection points are changed along the structure.
Fig.22 Overall Shape (“ICD/ ITKE”, 2010)
Fig.23 ICD/ ITKE Research Pavilion (“ICD/ ITKE”, 2010)
Thus, 80 different strip patterns are constructed from more than 500 geometrically unique parts (“ICD/ ITKE”, 2010). Without the help of digital fabrication, such a large number of components with various measurement cannot be produced rapidly. This bending-active structural frame saves material in the supporting framework and the use of bending pre-stress of the structural elements and their coupling allows an extremely lightweight yet stable structure (“Research Pavilion”, 2010).
Using this approach can help to gain the best performance of the material because it starts from the material itself. By understanding the characteristic of the material, it can provide us different opportunities and forming unexpected outcome. In this project, sectioning is used to form strips which reduce the use of material and increase the sense of lightness. New construction method can also be investigated, too.
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ONE MAIN One Main by dECOi design is derived by their prior sculpture which propose the milling of all elements of the interior from sustainable plywood using CNC machine to crave. This project comprises the floor and ceiling, both articulated as continuous surface that inflected by the location of function. It aims to replace typical industrial components (such as vents and door handle) with milled timber and offer a streamlined protocol for delivery of a highly-crafted interior. This method allows architects fully contribute and customize all elements of a building since industrial components became standard. Only essentials like sprinklers, lights and glass remain the same, other element of the interior was realized via the unitary fabrication logic and prefabricated (“dECOi”, 2016).
The interior architecture is designed within a fully CAD-CAM environment for plastic control of the spatial and detail definition. They even devised automated algorithms for generating actual milling files and apply them to furniture like desk, benches and shelves. The stages pass from design to fabrication seamlessly. Since machining files can be provided to the fabricator, it can achieve a curvilinearity expression accurately with high tolerance (“dECOi”, 2016). This project assumes radical environmental agenda with the use of sustainable and carbon-absorbing forested spruce plywood, then translated into refined elements via dexterous low-energy digital tooling. There are no plans or sections just 3D instructional files. Wastage was about 10% which pulped and recycled ("One Main”). The design method allows architect to engage with every detail of a building and provides alternatives to replace regular items like steel-made industrial components. Digital fabrication can lower the error in fabrication hence reduce wastage. Sectioning can change the shape and inflection easily according to the function and requirement, which means it is highly adaptive. It also gives aesthetic to the interior with fluidity.
Fig.24 Making Process (“dECOi”, 2016)
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Fig.25 One Main (“dECOi”, 2016) 41
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B.2 CASE STUDY 1.0 43
Fig.26 Seroussi Pavilion, (Biothing, 2010)
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S E R O U S S I
P A V I L I O N
B ioth i ng, Pa r i s, 2 0 07
This pavilion is formed by self-modifying patterns of vector based on electricmagnetic field (EMF). A series of curves are formed by the logics of attraction and repulsion and then they are lifted up to create volume to the form. Different types of vector field are explored in this matrix and extrusion are also tested under fabrication concern.
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ITERATION 01
ITERATION 02
R = 0.05 CD = 24 FL = 100
R = 0.05 CD = 56 FL = 150
S=2 D=5 R=2
S=2 D=5 R=4
LC = 1 CD = 24 FL = 100
LC = 2 CD = 24 FL = 100
ITERATIO
SPE CI E S 01 POINT CHARGE
Radius (R) Circel Division (CD) FLine (FL)
R=2 CD = 56 FL = 150
02 SPIN FORCE
Strength (S) Divide (D) Radius (R)/ FLine (FL)
S=2 D=5 R = 4, FL =
03 LINE CHARGE
LIine Charge Number (LC) Radius (R) FLine (FL)
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LC = 3 CD = 2 FL = 10
ON 03
6 0
2 5 = 400
3 24 00
ITERATION 04
ITERATION 05
ITERATION 06
R = 0.05 CD = 24 FL = 100
R = 0.05 CD = 56 FL = 150
R=2 CD = 56 FL = 150
S=2 D=1 R=3
S=6 D=1 R=3
S = 10 D=1 R=3
LC = 1 CD = 24 FL = 100
LC = 2 CD = 24 FL = 100
LC = 3 CD = 24 FL = 100
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ITERATIO
ITERATION 01
ITERATION 02
R = 0.05 CUD = 5
R=3 CUD = 5
Direction Graph Mapper (GM)
X Bezier
Y Bezier
Z Bezie
Direction Graph Mapper (GM)
X Parabola
Y Parabola
Z Parabo
SPE CI E S 04 SWEEP
Radius (R) Curve Division (CUD)
R=3 CUD = 1
05 EXTRUDE
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ITERATION 04
ITERATION 05
ITERATION 06
15
R = 0.05 CUD = 5
R=3 CUD = 5
R=3 CUD = 15
er
X Bezier
Y Bezier
Z Bezier
X Parabola
Y Parabola
Z Parabola
ON 03
ola
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SUCCESSFUL OUTCOMES
S P A T I A L
Q U A L I T Y
The arrangement of components can gives certain effect and atmosphere to the surrounding, The density of curve of this iteration gives a nice balance and create a semi-transparent effect while look through. It also blur out the boundary between interior and extertior.
DESIRED
EXPRESSION
Movement is something occur frequently in our daily lives like talking and walking. It would be interesting if the design can also respond and act as a form of movement. This iteration also gives a sense of fluidity and it looks ligthweight.
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FA B R I C AT I O N CO N C E R N The fabrication of components should be considered while designing. Thin line is relatively hard to produce using laser cut. The extruded version gives stronger volume to the form and it can be produce easily by cutting materials to required strips.
M AT E R I A L P E R F O R M A N C E In order to give a sense of floating and lightweight design thin material should be used. This iteration fits the criteria because it is built with layers. It forms dome shape and the centre point pushed down. Using thin material with some strength can achieve this interesting curvature.
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B.3 CASE STUDY 2.0 53
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Fig.27 Pavilion Interior (Digital Crafting, 2011)
ICD/ ITKE RESEARCH PAVILION 2010
Un ive r sit y of Stugga r t , 2 0 07 The ICD/ITKE research pavilion 2010 is developed by studying the bend-ability of plywood strips. Based on the material test of plywood an optimum shape of the pavilion can be obtained without reaching the deflection point of plywood. The reverse engineering of this pavilion starts by forming arcs on divied curves and change the shpae of the arcs to form desired shape. Patterns and vector field are further developed in the matrix section.
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REVERSE ENGINEERING PROCESS
Three circles are use to defined the shape of the pavilion. Central points are added to make sure all division starting points are the same.
After dividing three curves to points, curves are jointed using three points arc to form branches.
CRV
SEAM PT
DIVIDE
By using dispatch with pattern true and false two set of arcs can be obtained for further development.
BANG
PROJECT
UNIT X CRV CP
DIVIDE
CRV
ARC
SEAM PT
PROJECT
TRUE FALSE
UNIT X CRV CP
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DISPATC
CH
Arcs are divided to segments and connect to graph mapper which can control the curvature of an arc.
Variation can be obtained by adjusting the graph mapper of each set of arc.
Loft two set of arc separately to form the timber strips of the pavilion.
DIVIDE 50
INTCRV RANGE
GM (PERLIN) 10
MOVE AXB
LOFT
UNIT Z
DIVIDE 50
INTCRV RANGE
GM (PERLIN) 10
MOVE AXB
UNIT Z
DIVIDE 50
INTCRV RANGE
GM (PERLIN)
MOVE AXB
LOFT
UNIT Z
10
DIVIDE 50
INTCRV RANGE
GM (PERLIN) 10
MOVE AXB
UNIT Z
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SIMILARITIES/ DIFFERENCES
By separating curves into two individual set different curvatures and angles can be created. This makes the strip pattern looks similar to the pavilion.
Due to the unification of division starting point of each curve, every arc is perpendicular to the curves, this prevents the inner part from twisting together.
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At first I tried to evalu greater variations of th At the end I used to change the shape
uate each curve he curves but it graph mapper of two sets of
Using graph mapper to change the curvature of arcs results in different ending level of two set of arcs. While for the pavilion all strips end on the same base curve.
to get failed. instead curves.
My reverse engineering from is a simplified version therefore there are no change in shape of each strip and no connection point is created.
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B.4 TECHNIQUE: DEVELOPMENT 61
ITERATION 01
ITERATION 02
ITERATION 03
ITERA
Bezier
Gaussian
Perlin
PC D,S = 2
PC, SF D,S = 3
PC, SF D = 2, S = 1
Type Division (Di)/ Radius (R) Depth (De)
Space Truss Di = 5 De = 5
Diagrid Di = 10
Staggered Grid Di = 13
Skew
Type Division (Di)/ Radius (R) Random Split (RS)/ Truncation (T)
Space Truss Di = 10 De = 5
Diagrid Di = 30
Staggered Grid Di = 30 RS = 0.62
Skew D
SPE CI E S 01 GRAPH MAPPER
Graph Type
Sqa
02 ELECTRIC FEILD Point Charge (PC) Spin Force (SF) Line Charge (LC)
Field Decay (D), Strength (S) Graph Mapper
D
03 LUNCH BOX
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ITERATION 06
ITERATION 07
ITERATION 08
Gaussian
Perlin
Square Root
PC, SF, LC D,S = 3
PC D,S = 2 Bezier, Unit Z = 10
PC, SF D,S = 3 Bezier, Unit Z = 10
PC, SF, LC D,S = 3 Bezier, Unit Z = -6
wed Quad Di = 8
Triangle Panel Di = 6
Hexagon Cell Di = 10
Plato Dodec R=4
Plato Octa R=5
wed Quad Di = 30
Triangle Panel
Hexagon Cell
Plato Dodec
Plato Octa
R=8
R = 10 T = 0.15
ATION 04
aure Root
PC, SF D,S = 3
ITERATION 05
Arc Change Bezier
U-Di = 6, V-Di = 18
Di = 20
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ITERATION 01
ITERATION 02
ITERATION 03
ITERA
Do = 21, Sp = 86 Th = 0.6
Do = 21, Sp = 86 Th = 0.88
Do = 21, Sp = 86 Th = 0.9
Do = T
Voronoi 2D
Offset F = 0.75
WF Ds = 32
Sf = 2
Sf = 8
Sf = 10
Pt = 100
Pt = 100 Z = 0.5
Pt = 100 Y = 0.5
SPE CI E S 04 METAL BALL
Domain (Do)/ Step (Sp) Threfold (Th) Vector (V)/ Accuracy (A)
05 VORONOI WB Frame (WF) WB Thicken (WT) WB Triangles (WTR) WB Catmull Clark (WC)
Type Factor (F), Distance (Ds) Smooth Naked Edges (SNE)/ Level (L)
06 SHIFT
Shift (Sf) Unit Z (Z)/ Unit Y (Y)
07 VECTOR 2 POINT
Populate 3D (Pt) Unit Z (Z)/ Unit Y (Y)
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W D
ITERATION 05
ITERATION 06
ITERATION 07
ITERATION 08
Th = 1.9 V=5
Th = 1.7 V=9
Do = 21, Sp = 86 Th = 0.8 A=2
Do = 21, Sp = 86 Th = 0.8 A=6
WF, WT Ds = 1
WF. WT Ds = 3
WF, WT Ds = 5
WF, WTR Ds =1 L=1
PC, SF, LC Ds = 1 SNE = 2
Sf = 10 Z=3
Sf = 10 Y=3
ATION 04
= 21, Sp = 86 Th = 1.2
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SUCCESSFUL OUTCOMES
S P A T I A L
Q U A L I T Y
This iteration gives interesting pattern over the form. The openings allow this iteration create volume without using one single surface. Those holes can maintain a certain transparency to the form as it blurs out the boundary between interior and exterior.
DESIRED
EXPRESSION
Using spin force can create a sense of movement to a immobile object and this iteration gives a rotating effect. It would be nice if the project design can incorporate a sense of movement and respond to the site.
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A R R A N G E M E N T This iteration are formed by using metal ball. The arrangement of metal ball depends on the distribution and distance of points. Therefore the arrangement can be changed easily according to the site requirement. This iteration also looks so lightweight and floating in air.
M AT E R I A L P E R F O R M A N C E This iteration is really simple but it fits the criteria of bringing movement and creating volume to the form. Large openings also keep the transparency of the form. All curves can be extruded to form strips.
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B.5 TECHNIQUE: PROTOTYPE 69
SITE ANALYSIS
Glass Facade & Lightings
7m
x 28, about 280 people
Mainly Adult Party, Dancing, Dinning, Social Activities Solid Wall x 2 Glass Facade x 2 PROJECT
51
Ceiling Installation
Ballroom, W Hotel,
70
m 13
CONSTRAIN -
All the joints and connections attachment should focus on only maximum two plane (ceiling and solid wall).
-
Connections attach to glass should be avoid due to safety issue and blocking of natural sunlight.
-
Connection should be hidden from the bottom.
-
Only bottom part and side of the installation can be viewed.
²
POSSIBILITIES -
Tall ceiling height allows grater variation of form in height.
-
The installation is not a load bearing structure hence the outcome can be very lightweight and weak.
, CBD, Melbourne
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Fig. 28 CATENARY INSTALLATION (Dillon J. Gogarty & Ting Zhang, Pullman, WA, 2016)
MAIN THEME
MOVEMENT
Dancing, conversation, music, there are many types of movement happening in a ballroom. It would be interesting if the installation can respond or act as another form of movement happens in the site. This can be achieved by using thin and lightweight material, with loose connection to let it move or by creating a from that add a sense of fluidity into the design.
ATMOSPHERE
Ballroom is a space for social activities and it would be nice to create an relaxing environment for people to talk or dance. Semi-transparent, lightweight structure should be formed in order to reduce the sense of oppression. Adding volume to the lightweight structure can create movement to the structure easier. Arrangement should also be considered according to the site.
Our precedent is the Catenary Pavilion by Dillion, Gogarty and Ting. This pavilion uses reverse-hanging method to study the tension force of string used and create the desired shape. This pavilion only use simple curves to gives a sense of fluidity to the form. Using thin string also makes the structure lightweight and gives movement easily when there is a force. However this pavilion is only one direction and we believe variations in directions and height can be developed in our ceiling installation.
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MATERIAL TEST Mulberry paper is chosen because of the thin and semitransparent properties. The mix of long fibre creates an unique pattern and strength to the paper. Different test of mulberry paper with different gram are performed to found out suitable one.
25g Relatively soft and weak compare to others. Transparency is the highest but can get crease easily.
25g WITH GOLD THREAD Additional gold thread gives richer pattern under light. Optimum transparency and strength.
30g Paper pattern is shown clearly under light. Not easy to create crease too.
50g Thicker paper allows less light penetration . Highest strength when it is lifted at one point.
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CREASE
SP
POT LIGHT
SPREAD LIGHT
STRENGTH
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MATERIAL TEST The thinner the paper the easier to creates movement when there is a force (wind).
25g
It creates large movement with small energy application as expected.
25g WITH GOLD THREAD Really nice movement outcome. Gold thread slightly add some sparkles to the paper.
30g The scale of movement decrease relatively compare to the previous example.
50g Higher energy is required for 50g paper to move. At the end we think mulberry paper 25g with gold thread is the best option to create a lightweight structure with optimum strength and light softening effect.
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MOVEMENT
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JOINTS DEVELOPMENT
�PAPER T
Additional joint load to the struc want to develop use the paper i each other. We cut out a key on each strip. through the hole and they are int twist the strip in p This method kee continuous of pa
PAPER TO
Similar method i connection for p An I-shape with c out fro the paper frame. Two side is folded inwards per get through frame. Then unf the paper to wid strip and lock the This method c length of connec
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TO PAPER
will add extra cture hence we p joints that only itself to interlock
hole and a circle The circle pass e perpendicularly terlock once you parallel direction. ep can keep the aper stirp.
O F R A M E→
is applied to the paper and frame. circular end is cut r with a cut in the of the half circle s to allow the pah the gap of the fold two side of den the length of em together. can ensure the ction required.
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PROTOTYPE
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The form of this prototype is created from one of the successful outcome in B.4. It can be form by two components: frame and strip. Both element is laser cut to obtained the shape directly from the Rhino model. In order to keep the overall structure lightweight we chose polyethylene as frame material due to its semi transparent properties and thin in thickness. Two circles are required for each unit. We have one frame connecting two circles and one with separated circles to test out the variations formed. Gaps are cut with speicfic distance for paper strip connection.
Once the form is created in Rhino. All lofted surface is unrolled and arranged in the laser cut template for cutting. This ensure the accuracy of strip length and shape. It also shorten the time to cut a series of objects . Although one end of the paper strip is very thin the long fibre in the mulberry paper creates really strong friction between each other which strengthen the paper and lower the chance to tear. Due to this properties a further material test base on the thickness of strip can be developed to push the design to the limit of the material used.
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MAKING PROCESS
82
First of all the strips are connected to the inner circle and then connect to the outer circle. One prototype is connect directly to the outer circle while one is connect with shifting four times to test the movement effect produced. This is a simplified model and the connection part are only connected by folding the paper strip or with additional glue.
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Strips are flipped out. It gives greater movement while bouncing but it is hard to control the paper strip from falling into the center.
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This from of the prototype looks like a jellyfish. With the use of 50g mulberry paper the structure is more rigid and reduce the scale of movement.
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LIGHT EFFECT
86
The prototype is tested under different types of light. Although paper is cut to thin strip but the pattern is still expressed clearly under light. From the bottom of the structure a sense of movement can be obtained. The density of paper strip should be developed carefully because it determines the movement and shadow pattern created .
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B.6 TECHNIQUE: PROPOSAL 89
PROPOSAL
Instead of using separated curve we tried to developed another pattern with connections to the neighbor curves to create interesting shadow effect. Curves are divided and a curve line is draw by connecting those point together. However all the curves are limited to four to six connection points to reduce the complexity of structure and maintain a loose paper strip for movement. The variation in height of the unit varies from 0.5 meters to 2.5 meters. By varying the height it creates an organic form with the sense of fluidity. Varies in height can also affect the response to wind. The variations in height maintain at least 4.5 meters ceiling to the floor which keep the spatial quality of the room and reduce the sense of oppression.
90
The arrangement of units are determined by the plan of the ballroom. Longer units are mainly accumulated near solid walls and corresponding corners, while shorter units are located near the stage and curtain wall to prevent blockage of performance on stage and sunlight from the curtain wall. Radius of units also varies to enrich the installation.
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93
B.7 LEARNING OBJECTIVE AND OUTCOME
94
ES
Through the use of parametric modelling I expand my knowledge of architecture and the rules of computation in the design process. I realised there are different and effective ways to construct an structure. I am focusing on the use of strip with vector electric field and by doing research I understand the theory behind and able to develop different iterations. Apart form that I also tried to experiment with different types of input for unexpected outcomes and seek for inspirations. This broaden my knowledge and helps me to find solutions for a problem in grasshopper easier. For the site proposal the definition needs to be refined and more research has to be done in order to improve the movement it gives and the arrangement of units. Prototypes need to be done and test constantly to make sure the direction of our project is achievable.
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B.8 APPENDIX Diamond panel from lunch box plug-in is used to form diamond shape. I also tried to explore this method in my matrix with other panelling tools to enrich the variations of form using the surface of the structure. Surface Frame is used to divided the surface with grids and orientation of a geometry is also tested to create interesting outcome. These two method mainly focus on the surface of a geometry and by changing the material to lightweight paper they can form a really light structure with twisting movement.
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ALGORITHMIC SKETCHES
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TEXT REFERENCE dECOi- One Main, (2016). Retrieved from http://www.decoi-architects.org/2011/10/onemain/
ICD/ ITKE Research Pavilion 2010 (2010). Retrieved from http://icd.uni-stuttgart.de/?p=4458 One Main, (2016). Retrieved from http://architizer.com/projects/one-main/
Research pavilion ICD/ITKE University of Stuttgart, 2010 (2010). Retrieved from http://www.str-ucture.com/en/what/research-and-development/ reference/research-pavilion-icditke-university-of-stuttgart-2010/
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IMAGE REFERENCE Biothing, (2010). Retrieved from http://www.biothing.org/?p=51 dECOi- One Main, (2016). Retrieved from http://www.decoi-architects.org/2011/10/onemain/
Digital Crafting, (2011). Interview with Julian Lienhard, Digital Crafting 5 Seminar. Retrieved from http://www.digitalcrafting.dk/?cat=23 Gogarty, D. (2016). Caternary installation. Retrieved from http:// www.dillongogarty.com/catenary-installation.html ICD/ ITKE Research Pavilion 2010 (2010). Retrieved from http://icd.uni-stuttgart.de/?p=4458 One Main, (2016). Retrieved from http://architizer.com/projects/one-main/
Research pavilion ICD/ITKE University of Stuttgart, 2010 (2010). Retrieved from http://www.str-ucture.com/en/what/research-and-development/ reference/research-pavilion-icditke-university-of-stuttgart-2010/ Gogarty, D. (2016). Caternary installation. Retrieved from http:// www.dillongogarty.com/catenary-installation.html
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100
C DETAILED DESIGN
101
102
C.1 DESIGN CONCEPT 103
REFLECTION
MOVEMENT
ATMOSPHERE
F A B R I C A T I O N
P E R
The quality of the last prototype is not good enough as the frame cannot hold the strip properly and the connection between paper and frame is not effective. A new joining method and frame should be developed in order to make it stable yet invisible. Withiut the use of extra joining element allows the frame remain lightweight.
Instead of connecting t straight strip can move e ner but the limitations in fa take into consider. Diffe should be developed to gives, such as height and
We decided to use mulberry paper with 50g for the strip since it can hold the shape better even it is cut into thin strips. The laser cut template should also be considered to reduce the steps for connection.
104
� A lot of useful and received in the part b leads to our next step i In general, the idea of mulberry paper to create the theme of movement unchanged. Hoever, a n be reconsidered in orde this theme in its best wa divided into three section
U N I T
The size of each unit were it should scale down to a for assembly. The relation tion and the ballroom can of ball dress can be adap
d helpful feedback were presentation and these in developing this design. f using point charge and e an installation which fulfil t and atmosphere remains numbers of detail need to er to achieve and express ay. These changes can be ns:
T
D E S I G N
the strip to one another easier. Strip should be thinabricating the strips should erent types of variations o exaggerate the effect it d thickness.
e too big to fabricate and smaller size that is suitable nship between the installan be stronger. The layering pted into our design.
O V E R A L L
D E S I G N
↑ The ceiling should be filled up to increase the sense of integrity. Density of the installation can be control in a grid system. The arrangement of unit should be reconsidered according to the location of entries and stage. Apart from the movement created by each unit another type of movement can be created as a group. A curvy pattern can be developed across the ball room to enhance the sense of movement. The installation should also be decided considering the ceiling height.
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WORKFLOW THEME
FORM
SIZE
RESEARCH FIELD
- Set a point and cre - Divide the circle - Compute field line - Divide the lines ag
- Vector field - Point charge
PRECEDENTS
LENGTH
THEME
- Seroussi Pavilion - ICD/ ITKE Research Pavilion 2010 - Caternary Installation
- Move the points in - Connect to graph - Control the shape - Interpolate the poi - Reverse the z direc
- Movement - Atmosphere
SITE ANALYSIS - Limitations
- Opportunities
MATERIAL TEST - Lightweight - Semi-transparent - Strength
THICKNESS
- Create a series with - Create source dom - Remap and rotate - Form ruled surface
LAYERING
- Run the definition t - Rotate layers to sho
106
M
TECTONIC
FABRICATION
INSTALLATION
eate a circle with radius
es of the circle with point charge ain
Z direction mapper and length with graph mapper ints to form curves ction to make it hanging
h desired step main and target domain e the curves es between two curves
three times with different input ow the inner layer from gap
FRAME
LASER CUT
- Thickness - Joint location - Perspex
- Mulberry paper 50g - Perspex 2mm - Arrangement on material
ASSEMBLY - Assembly all components
JOINT - Experiment - T-shaped Joint - No extra element
STRIP - Unroll the strip - Divided as groups - Connect one side - Mulberry paper
BOX - To hang the model - Perspex
EVALUATION - Performance, visual effect and workability
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108
C.2 TECTONIC ELEMENT & PROTOTYPES 109
TECTONIC ELEMENT
→ A small hole is cut on the strip and a J-shaped joint is used to hold the strip to the frame. The joint is held on the frame by gravity only and it can fall apart easily. Therefore this is not a stable method. Also, there are limitations in using laser cut to form joint as it can only go one direction. However the joint is too small for 3D printing.
→ In order to reduce the thickness of the frame we tried another method which, increase the height of the frame instead. Two holes are made whit five layers of perspex and a joint is inserted horizontally with the paper in between. A very thick and heavy frame is formed. This is not a effective method.
110
� At the end we designed to back to basic and omit the use of additional element for joint. We decide to extend the strip with a T-shaped end and connect it directly to the gap on the frame. This method require no additional element, including glue to give a clean finish. This is also relatively easier to connect and reduce the weight.
� We tried another method by using two small plate to clip the paper strip and lock it with other elements. The result is good but there are too many steps compare to other solutions. Extra connection elements are required too. Therefore this method is not easy enough to use.
111
→ The joinin
folding the T-
through the g the strip pass to lock the str
← From the
can observe t
is not tough e
in same leve
used for frame
→ With the us
no extra elem
provided by p
lightweight fra
This helps to m
112
ng method used is by
-shaped ending to pass
gap on the frame. Once through unfold the end ip in place.
previous prototype one
the polypropylene frame
enough to hold the strips
el. Therefore perspex is
e due to its strength.
se of a joint that requires
ments and the strength
perspex, a very thin and
ame can be obtained.
make the frame invisible.
113
DESIGN P
SIZE
114
THICKNESS
PROCESS
LENGTH
LAYER
115
S I Z E
In part B the size per unit is too 600mm
to fabricate and a smaller size
be obtained. Therefore we de
to have 900mm diameter and a 600mm height for each unit.
With
the
change
in
height
diameter the thickness of stri
change accordingly therefore t
of the unit should be well conside
order to achieve a balance be
the workability and visual require
900mm
116
o large should
esigned
around
t
and
ips will
the size
ered in
etween
ement.
1: 2 model
117
THICKNESS
The thickness of strips chan
shadow and visual effect
differ in weight and volum
A test on the thickness of sr
strip from 1mm to 11mm. A
have strip with minimum 2
118
nge to create an interesting
t. This creates an illusion of
me of the structure.
rcipt is carry out with paper
At the end we decided to
2mm thick.
119
LENGTH
120
To further increase the visual effect of
A prototype is ma
the design we decide to have variations
the effect creates a
in strip length. This distorted shaped
interesting. By incorp
looks interesting and strips perform
with the variation i
slightly differently in movement.
effect it gives becom
ade to test out
and the result is
porating this idea
in thickness the
me stronger.
121
L A Y E R ← We are inspired
ball dress with lay incorporate
this
i
layers are added.
relationship betwee the ballroom.
→ At the end we ag
two more layers p
because it gives e
between and allow
Also this keeps the i
→
Another
variation
versio
is
also
grasshopper
how
formed are too thin
cannot be fabricate
it with mild vraiation
122
by the traditional
yers of fabric. To
into
our
design
This increase the
en the design and
greed that adding
performs the best
enough space in
w for movement.
inner layer visible.
on
with
tested
wever
the
higher out
in
strips
n and long which
ed. We then adjust
n.
123
124
C.3 FINAL DETAIL MODEL 125
FABRICATION PROCESS
Inner Strip
Middle Strip
All components are first prod groups of strip is connected
T-shaped end developed. Af Outer Strip 126
point to adjust the height and
Inner Frame
Middle Frame
duced by laser cut. Then different to corresponding frame with the
fter that all frame are tied at one
d rotation of layers.
Outer Frame 127
FINAL MODEL
128
129
130
131
132
133
134
135
GROUP 3
1.7m
2
0.4m
↑ Since the stage is the main focus of this ballroom we decide to add two dome surrounding that area. Base on the location of entries we made the dome closer slightly shorter so that people can view the variations once they enter the room.
136
1
→ The ceiling of the room is 7m and this allows for depth in design. At the end we decide to leave 0.5m for tying and 1.7m for variations of the installation. Hence 4.8m is left as open space which reduce the sense of oppression for users in the ballroom.
Section 1
1.7m
0.5m
Section 2
4.8m
Section 3
137
138
139
140
141
142
C.4 LEARNING OBJECTIVES & OUTCOME 143
In part C a lot of changes are made and I am satisfied with the movement and effect it gives with the addition of variations. However I agree that there are still room for development to make this design even more interesting. From the feedback we received in the presentation the frame of the design can be distorted and varies in size. The strip should be longer and thinner too. Through this studio I believe I developed skills and get used to various three dimensional media such as computational geometry, parametric modelling and digital fabrication which, provided me a new way to design. I also understand the relationships between architecture and air is about the process of how a design is developed in digital world then transfer and build in atmosphere. Through this process there are much more details that need to considered than expected. My knowledge of architecture expanded and now I understand the rules of computation in the design process. I think this studio is a inspiring and useful experience for me.
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