Studio Air Journal 745610 Part B by CheeJong Wong

STUDIO AIR 2017, SEMESTER 1, Finn Chee Jong Wong 745610

Table of Contents A Conceptualisation A1 Design Futuring A2 Design Computation A3 Composition / Generation A4 Conclusion A5 Learning Outcomes A6 Appendix - Algorithm Sketches

A0 Introduction My name is Wong Chee Jong. I am a third year student taking Architecture major. I was born and raised in Malaysia.

CONCEPTUALISATION

A CONCEPTUALISATION 5

A1 Design Futuring

We, humans, are now facing a critical moment of existence as the future which is assumed to be set right in front of us, is no longer secured.[1] This is due to the still accelerating defuturing conditions of unsustainability that is created by our anthropocentric mode of worldly habitation.[2] Future here is referred as the finite period of time left of our existence (as a species) in the finite world.[3] If the conditions are not changed, we will facing our probable future, the accelerating diminution of our future.[4] We can only secure our future by ‘design futuring’’, design against the defuturing conditions of unsustainbility.[5] Design futuring have to face two task: slowing the rate of defuturing and redirecting us towards far more sustainable modes of future.[6]

To slow down rate of defuturing, great changes has to be made to current situation. There is some main problems of current situation of design, including architecture. Firstly, the deregulated pluralisation of design activity, also known as design democracy, that rendered design increasingly trivialised and reduced to appearance and style.[7] Second, design’s complicity in adding into conditions of unsustainability.[8] Thirdly, design became highly-commercialised and economically-oriented, left no alternative roles of design.[9] Lastly, capitalism left no alternative socialpolitical possibilities for design to align itself with.[10] As a result, design practices have to be redesigned for design to take on the role in the transformative action.

Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg Publishers Ltd., 2009), pp. 1. Fry, pp. 1. 3 Fry, pp. 2. 4 Fry, pp. 1. 5 Fry, pp. 6. 6 Fry, pp. 6. 7 Fry, pp. 6. 8 Fry, pp. 7. 9 Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 6. 1 2

Dunne and Raby, pp. 8. CONCEPTUALISATION

Schumacher suggested the theory of architecture as an autopoietic system which is the autonomous network of communications within the overarching society system of communication, as a intervention from within.[11] Architectural autopoietic system include all processes artefacts, knowledge and practices that disseminated, circulated and connected within a network of cross-references, and even communicate with external communication systems.[12] This could forms the basis for the development of an universal design intelligence. Design intelligence has to be developed as a essential life skill, a mode of literacy acquired by every educated person.[13] Design intelligence realised is to have the ability to read the form and content of the designed environment, thus making crucial judgement about the actions and contents that would increase or decrease futuring potential. [14] Everyone would then take on responsibility of design and acting ethically and sustainably.

There are many possibilities in the region of plausible future outside the cone of singular probable future. [15] For redirection, designers has to explore in the region of plausible future, open up possibilities through speculative design.[16] These possibilities can be publicly discussed and used collectively redefine the direction for moving towards a more preferable future.[17] This process requires a new signposting system to indicate error in existing pathways and point to new directions.[18] Besides, critical design, which opposite is affirmative design that reinforces the status quo, proposes designs that sit simultaneously in hereand -now as well as yet-to-exist, that links the reality to the plausible future thus encourage people to think differently and radically.[19]

Patrik Schumacher, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), pp. 1-28 (p. 1, 2). Schumacher, p. 1, 3. 13 Fry, pp. 12. 14 Fry, pp. 12. 15 Dunne and Raby, pp. 4. 16 Dunne and Raby, pp. 4. 17 Dunne and Raby, pp. 6. 18 Fry, pp. 11. 11

Dunne and Raby, pp. 43.

CONCEPTUALISATION 7

JAPANESE EXPO PAVILION 2000 HANNOVER, GERMANY SHIGERU BAN ARCHITECTS + FREI OTTO Shigeru Ban, who is famous for his innovative use of paper and cardboard tubes as building materials, continue this trend in his design for Japanese pavilion for Expo 2000 in Hanover, Germany. This pavilion is considered a great leap forward in the field of paper architecture and also a contribution to design futuring. The concept behind the pavilion was to create a structure that leaves minimal industrial waste after dismantled. The goal was to recycled or reused almost all materials that used to construct the building. The paper membrane, cardboard tubes gridshell and timber frame are all recyclable, cheap, of low technology. PVC membrane (for fire safety) was to be reused as waterproof delivery bags. Paper architecture shown the possibility of encompasses a large volume of space with the minimal environmental footprint compared to other material system. The construction of the pavilion promote the possibilities of paper architecture, either as temporary structure or permanent building. The use of cardboard tubes expanded into Banâ&#x20AC;&#x2122;s disaster relief project. This increase the efficiency of humanity aid in this era of increasingly unpredictable climate changes and high frequency of natural disasters.

FIG.1: INTERIOR OF THE JAPANESE PAVILION , SHOWING THE GRIDSHELL, TIMBER FRAME AND PAPER MEMBRANE

CONCEPTUALISATION

CONCEPTUALISATION 9

Al Bahr are towers that loom on the horizon of hot desert climate city of Abu Dhabi. The extreme weather poses challenges for the architects. Abu Dhabi has intense sunshine, high temperature, little rainfall and even the occurrence of sandstorm.

AL BAHR TOWERS 2012 ABU DHABI, UAE AEDAS

For the intense sunlight, the design solution is shading screens which was inspired by the adaptive flowers like sunflowers that has heliotropism movement in response to the direction of the sun as well as the â&#x20AC;?mashrabiyaâ&#x20AC;? - a wooden lattice shading screen. The intelligent dynamic shading screens are consisted of over 1000 triangular semitransparent umbrella-like units for each tower, each units comprise of a series of panels driven by linear actuator. The units are pre-programmed and computer-controlled to open and close progressively as response to the direction of the sun and other weather conditions. The shading screens help to reduce glare and solar gain, improve sunlight penetration thus lower reliance on artificial light and air-conditioning which in turn reduce carbon emission of the building. This intelligent shading system would acts as example for high-rise typology as intense sunlight is always problematic for large surface area of high rise building. It also suggests more responsive and dynamic solutions to climatic conditions are more appropriate. These responsive approaches also help to slowing rate of defuturing.

FIG.2: EXTERIOR SHADDING SCREEN UNITS OF AL BAHR, SHOWING DIFFERENT STAGES OF TRANSFORMATION 10

CONCEPTUALISATION

CONCEPTUALISATION 11

FIG.3: VIEW OF AL BAHR TOWERS FROM DISTANCE

CONCEPTUALISATION

CONCEPTUALISATION 13

FIG.4: VIEW OF DONGDAEMUN DESIGN PLAZA, EMPHASISING THE CURVATURE

A2 Design Computation Architecture is experiencing a shift from digital computerisation to the digital computation. From computerisation to computation, design process had shift from analogue paper-based design and digital CAD drafting to digital parametric and algorithm computation as ways of capturing and communicate design ideas.[21]

Design computation had revolutionised by changing how we design and increase the range of functions that we can executed using computer. There are, of course, benefits of engaging with contemporary computational design techniques which will be discussed later.

Within the last decade the appearance and evolution of the digital in architecture in integration with new digital technologies have begun to produce what might be termed a Vitruvian effect In synthesizing material culture and technologies within the expanding relationship between the computer and architecture, this phenomenon defines a digital continuum from design to production, from form generation to fabrication design.[22]

Rivka Oxman and Robert Oxman, 'Introduction: Vitruvius Digitalis' in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 1â&#x20AC;&#x201C;10 (p. 1). 22 Oxman and Oxman, p. 1. 21

CONCEPTUALISATION

CONCEPTUALISATION 15

DongDaeMun Desisgn Plaza (DDP), as the largest 3D amorphous structure in the world, has complex and dynamic form as the dynamism of Dongdaemun area was Zaha's design focus. The construction of DDP structure was considered virtually impossible with existing 2D design methods, that is computerisation. Rather, 3D parametric software allowed the generation of the complex forms, that is first benefit of engaging with contemporary computational design techniques.[23] Computation expanded the range of conceivable and achievable geometries. Parametric software also allowed continual and convenient testing and adapting the design to the ever-evolving client's brief as well as integrate engineering and construction requirements while maintaining the original design aspiration throughout the projectâ&#x20AC;&#x2122;s construction. This is second benefits of computational design methods, making small changes on various parameters and inputs without changing the overall design, but creating multiple variations.[24] The design had adapted to the discovery of the remains of a ancient city walls onsite, and integrate it into the composition of the site. The third benefit of computational methods is that linkage between conception and production is established while parametric modelling software allows mass-customisation in fabrication.[25] The cladding system model was designed, engineered and adjusted with much greater control using parametric modelling software while mass-customisation take place through optimisation of the division of the surface into over 45,000 panels in various sizes and degrees of curvature: flat, single curve and double curve.

DONGDAEMUN DESIGN PLAZA 2014 SEOUL, SOUTH KOREA ZAHA HADID ARCHITECTS

Oxman and Oxman, p. 2. Oxman and Oxman, p. 4. 25 Oxman and Oxman, p. 5. 23 24

FIG.5: VIEW FROM LEVEL B2 OF DONGDAEMUN DESIGN PLAZA 16

CONCEPTUALISATION

CONCEPTUALISATION 17

ICD/ITKE RESEARCH PAVILION 2010 UNIVERSITY OF STUTTGART, GERMANY

Instead of separating processes of geometric form generation from subsequent simulation based on specific material properties, the computational generation of form of this pavilion is directly driven and informed by physical behavior and material characteristics. The structure is entirely based on the elastic bending behavior of birch plywood strips. The strips are robotically manufactured as planar elements, and subsequently connected so that elastically bent and tensioned regions alternate along their length. The force that is locally stored in each bent region of the strip, and maintained by the corresponding tensioned region of the neighboring strip, greatly increases the structural capacity of the system. The computational design model is based on embedding the relevant material behavioral features in parametric principles. These parametric dependencies were defined through a large number of physical experiments focusing on the measurement of deflections of elastically bent thin plywood strips. The structural analysis model is based on a FEM simulation. This is another benefit of engaging with computational design methods: performance evaluation and analysis.[26] Beside, computational design methods also allow engagement with the latest fabrication technologies such as robotic arm and 3D printing.[27] It is suggested that integration of design computation and materialization is a feasible proposition.

26 27

CONCEPTUALISATION

FIG.6: ELEVATION OF ICD/ITKE RESEARCH PAVILION 2010

Oxman and Oxman, p. 4. Oxman and Oxman, p. 5.

CONCEPTUALISATION 19

A3 Composition / Generation Generative approaches have become new form of design methods as contrast to traditional composition. Generative approaches are based on digital computation. Computation is "the use of the computer to process information through an understood model which can be expressed as an algorithm".[28] Algorithm is a particular set of instructions for doing something. For these instructions to be understood by computer they must be written in a language that computer can understand, a code or script.[29] As a result, appropriate coding or scripting skill became a pre-requisite for designer to engage with computational design methods.[30] Some designers, especially hybrid software engineers/ architects, may even write their own software to solve certain design problem.[31] Grasshopper® visual programming language remove the necessity to learn scripting skill in order to use to software.[32] However, algorithmic thinking still an essential skill to be developed in order to taking on an interpretive role to understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials.[33]

Architects are increasingly experimenting with computation by creating new custom digital tools that able to simulate building performance, to incorporate performance analysis and knowledge about material, tectonics and parameters of production machinery in their design drawings, creating new design opportunities. Critically, the making of these custom tools takes place within the design process, and becomes integral to the design itself.[34]

[...]at present scripters tend to be of the “lone gun” mentality and are justifiably proud of their firepower, usually developed through many late nights of obsessive concentration. There is the danger that if the celebration of skills is allowed to obscure and divert from the real design objectives, then scripting degenerates to become an isolated craft rather than developing into an integrated art form.[35]

Brady Peter, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), 08-15 (p. 10). Peter, p. 10. 30 Peter, p. 10. 31 Peter, p. 11. 32 Peter, p. 10. 33 Peter, p. 10. 34 Peter, p. 13. 35 Peter, p. 15. 28 29

CONCEPTUALISATION

CONCEPTUALISATION 21

NONLIN/LIN PAVILION

2011 FRAC CENTRE, ORLEANS, FRANCE MARC FORNES & THEVERYMANY™

This nonLin/Lin Pavilion is considered a prototypical architecture. It is a non-linear structure. Obviously, this pavilion is impossible to be designed without the use of generative approaches. The cohesive morphology of the pavilion originates from a “Y” model while tri-partite relational models (hollow branching structure) can not be formalized and described through a single bi-directional surface (i.e.: Nurbs surfaces). As a result, this prototype deviates from a strategy of singular protocols or codes and towards a series of protocols for computation which made process of computation more complicated and involved development of codes and scripts. This pavilion can be seen as at the extreme end of range of conceivable and constructable forms. It shown dramatic change of morphology: from net work to surface condition. Members within the structural network are opening up and recombining themselves into larger apertures while their reverse side is creating a surface condition providing that as density increase eventually provides to the person evolving within a sensation of enclosure. This pavilion is no longer a descriptive geometry that can be represented in 2D. Custom computational protocols here are describing the non-linear structure of the pavilion as a set of linear developable elements. Those singular elements can then be unrolled and cut out of flat sheets of material. Though due to the nonlinear property of the model, this discretisation process cannot be applied globally onto the morphology, but rather requires a search process. A local application strategy would distribute agents with local ‘search behaviour’ tracing parallel along the surface, providing immediate solutions based on local decision making, that then be translated and materialized into a series of paths or stripes. Even description of the structure is completed through search process, a precise description of such a prototypical structure requires massive number of elements, not only all unique but also morphologically extremely different, that is massive customisation.

FIG.7: NONLIN/LIN PAVILION

CONCEPTUALISATION

CONCEPTUALISATION 23

ICD/ITKE RESEARCH PAVILION 2014-15 UNIVERSITY OF STUTTGART, GERMANY

FORM GENERATION AND SIMULATION This research pavilion is a self-supporting monocoque structure that consist of a ETFE membrane that being reinforced by carbon, the similar structure as the underwater web of diving bell spider. The shell geometry and location of the carbon fibre was generated by computational form finding process that integrate the fabrication constraints and structural simulation. A digital agent system was developed to determine the robot path and simulate the fibre placement. These processes are essentially generative approaches. FABRICATION A custom made robot that included a fibre extruding end effector and force sensor was developed for the fabrication process. During fabrication, the robot is placed within an air supported ETFE membrane. A composite adhesive is sprayed on the ETFE membrane before the carbon fibre is placed on the surface. This inflated soft shell is gradually and robotically reinforced with carbon fibres. REAL TIME MONITORING A cyber-physical system that allow constant feedback between actual production conditions and the digital generation of robot control codes was also developed to adapt to any changes of the pneumatic formwork during the fabrication process.

FIG.8: ICD/ITKE RESEARCH PAVILION 2014-15

CONCEPTUALISATION

CONCEPTUALISATION 25

A4 Conclusion

FIG.9: Comparison of various fibre reinforcement

FIG.10: Cyber-physical fibre placement process

As the world is accelerating towards destruction and we will facing end of our existence, a braking action of design futuring and multiple redirectional steers towards more sustainable future are required.

As the project aims to produce full-scale, the design approach must be practical and wellorganised workflow required as time is the first and known constraint placed on the design process.

Design computation can be a good solution. With the power of computation, we can design and construct building with better efficiency and performance, in material and energy aspect. We can create much more complex form with greater efficiency using parametric modelling software. Digital simulation and performance evaluation help us to design building that response to the environment and help to reduce error during construction. Site conditions, material characteristics, various requirements and constraints can be easily input to the digital environment as parametric dependencies. The creation of buildings that response to the natural environment and with greater efficiency and performance, can reduce environmental footprints of the buildings and thus slowing rate of defuturing.

Material should be considered as natural or semi natural materials will be suggested as the preferred medium. Material characteristics such as strength, available size, workability, and flexibility should informed the parametric design. Exploration of materiality should start in the next section of the studio.

Design computation also allow experiments with new materials and new ways of constructing things. Mass customisation and quick prototyping are possible, with the establishment of direct linkage between digital environment and fabrication tools, and these allow designers to explore and open up more possibilities. As a result, computational approaches encourage speculative design, that related to the redirectional movement.

FIG.11: Exploded diagram of fibre extruding end effector developed

CONCEPTUALISATION

Prototyping should take place as early as possible after sketch design is completed to test the practicality of the design. Several generations of prototyping and optimisation should came before the final prototype for presentation. Communication and file sharing platforms should always be selected as soon as the team is formed. This should be complementary to a responsive and responsible team.

FIG.12: Fabrication process

CONCEPTUALISATION 27

A6 Appendix - Algorithm Sketches A5 Learning Outcomes After the section of conceptualisation section of the studio, I realised that a whole new age of design has opened up in front of me where various new digital design tools keep emerging. I believed that parametric design will be more popular and sophisticated as it further developed and evolved. As technology is developing faster than ever before, it is essential to take a grasp on the contemporary technologies and techniques to avoid being left behind.

CONCEPTUALISATION

CONCEPTUALISATION 29

Bibliography Readings Brady Peter, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), 08-15 Dunne, Anthony and Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45. Oxman, Rivka and Oxman, Robert, 'Introduction: Vitruvius Digitalis' in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 1–10. Schumacher, Patrik, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), pp. 1-28. Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg Publishers Ltd., 2009), pp. 1-16.

Precedents AHR, 'AL BAHR TOWERS' <http://www.ahr-global.com/Al-Bahr-Towers> [accessed 9 March 2017] ArchDaily, 'Dongdaemun Design Plaza / Zaha Hadid Architects', ArchDaily <http://www.archdaily. com/489604/dongdaemun-design-plaza-zaha-hadid-architects> [accessed 12 March 2017] CTBUH, 'Al Bahar Towers, Abu Dhabi' <http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ AlBaharTowersAbuDhabi/tabid/3845/language/en-US/Default.aspx> [accessed 9 March 2017] DDP, ' DDP, the largest 3D amorphous structure in the world' <http://www. ddp.or.kr/page/37/detail?menuId=108> [accessed 12 March 2017] Federica Lusiardi, 'Seoul | Dongdaemun Design Plaza by ZHA' <http://www.inexhibit.com/casestudies/seoul-dongdaemun-design-plaza-by-zaha-hadid-architects/> [accessed 12 March 2017] Karen Cilento, 'Al Bahar Towers Responsive Facade / Aedas', ArchDaily <http://www.archdaily. com/270592/al-bahar-towers-responsive-facade-aedas> [accessed 9 March 2017] Shigeru Ban Architects, 'JAPAN PAVILLION, EXPO 2000 HANNOVER Germany, 2000' <http://www.shigerubanarchitects.com/works/2000_japanpavilion-hannover-expo/index.html> [accessed 9 March 2107] ICD/ITKE, 'ICD/ITKE Research Pavilion 2010' <http://icd.unistuttgart.de/?p=4458> [accessed 12 March 2017] Marc Fornes & THEVERYMANY, '11 Frac Centre' <https://theverymany. com/constructs/10-frac-centre/> [accessed 16 March 2017] ICD/ITKE, 'ICD/ITKE Research Pavilion 2014-15' <http://icd.unistuttgart.de/?p=12965> [accessed 16 March 2017]

CONCEPTUALISATION

CONCEPTUALISATION 31

PART B

CRITERIA DESIGN

Table of Contents B CRITERIA DESIGN B1 RESEARCH FIELD B2 CASE STUDY 1 B3 CASE STUDY 2 B4 TECHNIQUE: DEVELOPMENT B5 TECHNIQUE: MATERIAL TEST / PROTOTYPE B6 TECHNIQUE: PROPOSAL B7 LEARNING OUTCOMES B8 APPENDIX: ALGORITHM SKETCHES

CRITERIA DESIGN

B CRITERIA DESIGN

B1.0 RESEARCH FIELDS As this studio will focus on the design of a ceiling installation, I have selected several research fields or streams that can be useful for parametric skill development. We can learn from different works that of these selected research fields to synthesise and developed a skill set that is useful or relevant to the ceiling installation project.

PATTERNING This approach use individual patterns and perforating, transforming them in a repetitive or predictable manner to create a integral effects at a larger scale or at the whole surface. This approach focus more or less on the surface or 2D elements. This approach is about manipulating the rule of patterning or transformation of individual pattern components, about how each components related to the others. This approach is useful in create an interesting and complex surface articulation of the installation.

TESSELLATION This approach focus on panellisation, breaking up of complex surfaces by repeating elements. This approach use repetitive elements (heterogeneous) defining the whole (homogeneous). This approach allows complex surfaces to be divided and/or fabricated in small individual heterogeneous components that connected to approximate the whole surfaces. This approach is particularly useful to allow the installation to be fabricated in smaller module.

STRUCTURE This approach, as the name suggested, focus on structural aspect of the design. Lattice, waffle, column grids are some of the examples of this approach. This approach is considered important in creating supporting structure / framework for the ceiling installation.

CRITERIA DESIGN

B2.1 CASE STUDY 1

CRITERIA DESIGN

B2.1.1 CASE STUDY 1.1 - DE YOUNG MUSEUM / HERZOG & DE MEURON Patterning approach was used in designing the facade of the building. The facade is made up of copper panels which would slowly become green due to oxidation and therefore fade into its natural surroundings. The facade is also perforated to represent light filtering through a tree. The facade is also patterned with dimples increase complexity of patterning. Two grids of circles of different radius are the basic patterning elements of the facade. The larger radius are the dimples that extrude from the copper facade either towards outside or inside in the form of truncated cone. The smaller radius of perforation overlapped on the dimples grid to create more complex patterning. The size of the perforation varying to mimic or represent light filtering through the leaves and branches of a tree. Dimples and perforation occur at the location that they are required, for both aesthetic and natural lighting purpose. For grasshopper script, image sampler can be use to create similar grid of patterns.

CRITERIA DESIGN

B2.1.2 ITERATION / MATRIX SPECIES 1 PERFORATION

SPECIES 1.1 SURFACE DIVIDE UV VALUES U= NUMBER OF HOLES AT U DIRECTION V= NUMBER OF HOLES AT V DIRECTION

U=30 V=20

U=15 V=15

U=45 V=45

U=45 V=30

SPECIES 1.2 IMAGE SAMPLING VALUES -- PERFORATION SIZES FIXED VALUES U= 45 V= 35

RGB

RED

GREEN

COLOUR HUE

COLOUR SATURATION

COLOUR BRIGHT

SPECIES 1.3 EQUATION -- PERFORATION SIZES FIXED VALUES U= 45 V= 35 IMAGE SAMPLER RGB CHANNEL REMAPPED TO DOMAIN 0.0 TO 1.0 *SERIES S=0.001, N=0.005, C=17

CRITERIA DESIGN

EQUATION X*Y Y= SERIES

EQUATION X*Y Y= 0.05

EQUATION X*Y Y= 0.08

EQUATION X*Y Y= 0.12

EQUATION X*Y+Z Y= SERIES Z= 0.05

CRITERIA DESIGN

SPECIES 1.4 GEOMETRY -- PERFORATION SHAPES S= SEGMENTS OF POLYGON R= RADIUS OF POLYGON V= IMAGE SAMPLER VALUE FIXED VALUES U= 20 V= 15 IMAGE SAMPLER VALUE REMAPPED TO DOMAIN 0.0 TO 1.0

ECLIPSE

S= 3 R= V

S= 4 R= V

S= 5 R= V

S= 6 R= V

R= V D= V*30

R= V D= V*45

R= V D= V*60

R= V D= V*90

R= V D= V*115

CIRCLE DOMAIN 0.3 TO 0.6

S=3 D= V*115

S=4 D= V*115

S=5 D= V*115

S=6 D= V*115

SPECIES 1.5 ROTATION -- PERFORATION SHAPES V= IMAGE SAMPLER VALUE D= ROTATION DEGREE ( °) FIXED VALUES U= 20 V= 15 POLYGON SEGMENTS= 6

SPECIES 1.6 HEXAGONAL GRID + GEOMETRY + ROTATION -- LOCATION AND SHAPE OF PERFORATION V= IMAGE SAMPLER VALUE S= POLYGON SEGMENTS D= ROTATION DEGREE ( °) FIXED VALUES U= 20 V= 15

CRITERIA DESIGN

SPECIES 1.7 HEXAGONAL GRID + EXTRUSION V= IMAGE SAMPLER VALUE D= ROTATION DEGREE ( °) H= EXTRUSION HEIGHT R= RADIUS OF POLYGON WB= WEAVERBIRD PLUG-IN FIXED VALUE POLYGON SEGMENTS= 6 R= V (REMAPPED INTO DOMAIN 0.3 TO 0.6)

H= V *1.5 R= V (REMAPPED INTO DOMAIN 0.3 TO 0.6)

H= V + 1.5 R= V (REMAPPED INTO DOMAIN 0.3 TO 0.6) R= V*90

H= V *3.0 R= V (REMAPPED INTO DOMAIN 0.3 TO 0.6) R= V*135

R= V*0.60

R= V*0.60 H= V*2

R= V*0.60 H= V*2 D= V*60

R= V*0.60 H= V*2 D= V*30

H= V *3.0 R= V (REMAPPED INTO DOMAIN 0.3 TO 0.6) R= V*135 WB SPLIT TRIANGLES SUBDIVISION + WB CATMULL-CLARK SUBDIVISION + WB PICTURE FRAME

H= V *3.0 R= V (REMAPPED INTO DOMAIN 0.3 TO 0.6) R= V*135 WB LOOP SUBDIVISION + WB PICTURE FRAME

SPECIES 1.8 CURVY SURFACE + HEXAGONAL GRID + EXTRUSION V= IMAGE SAMPLER VALUE D= ROTATION DEGREE ( °) H= EXTRUSION HEIGHT R= RADIUS OF POLYGON FIXED VALUE POLYGON SEGMENTS= 6

CRITERIA DESIGN

R= V*0.60 H= V*2 D= V*30 WB SPLIT TRIANGLES SUBDIVISION + WB PICTURE FRAME

CRITERIA DESIGN

SPECIES 2 EXTRUSION

SPECIES 2.1 DIMPLES DIRECTION FIXED VALUE U= 20 V= 15

SPECIES 2.2 IMAGE SAMPLING VALUES -- DIMPLE SIZES V= IMAGE SAMPLER VALUE R= RADIUS OF DIMPLES FIXED VALUE U= 20 V= 15

BASE RADIUS, R= V*0.70

BASE RADIUS, R=0.5 TOP RADIUS, R= V*0.75*BASE RADIUS

BASE RADIUS, R=V*0.5 TOP RADIUS, R= V*0.75

SPECIES 2.2 IMAGE SAMPLING VALUES -- DIMPLE SIZES V= IMAGE SAMPLER VALUE R= RADIUS OF DIMPLES FIXED VALUE U= 20 V= 15

CRITERIA DESIGN

SPECIES 2.4 DIMPLES HEIGHT AND SHAPE V= IMAGE SAMPLER VALUE H= DIMPLES HEIGHT S= POLYGON SEGMENTS FIXED VALUE U= 20 V= 15

H= V S= 3

H= V S= 4

H= V S= 5

H= V S= 6

H= V S= 7

R= V H= V

R= V H= V WB SPLIT TRIANGLES SUBDIVISION + WB LOOP SUBDIVISION + WB PICTURE FRAME

R= V H= V WB SPLIT TRIANGLES SUBDIVISION + WB CATMULL-CLARK SUBDIVISION + WB PICTURE FRAME

R= V H= V WB SPLIT TRIANGLES SUBDIVISION + WB LOOP SUBDIVISION + WB PICTURE FRAME

EXTRUDE TO POINT POINT LOCATION X,Y= V (REMAPPED INTO DOMAIN 0.0 TO 0.45 Z= 0.5

SPECIES 2.5 HEXAGONAL GRID + EXTRUSION V= IMAGE SAMPLER VALUE H= DIMPLES HEIGHT R= RADIUS OF POLYGON FIXED VALUE POLYGON SEGMENTS = 6

CRITERIA DESIGN

SELECTED OUTCOMES

CRITERIA DESIGN

B2.2.1 CASE STUDY 1.2 - SPANISH PAVILION / FOREIGN OFFICE ARCHITECTS Spanish Pavilion was designed with a lattice envelope. The lattice envelope is considered a reinterpretation of a traditional element. Similarly, patterning was the approach used in designing the envelope. Hexagon grid was used to create patterns, the grid was divided into individual hexagons. Different colours were used to create first level of patterning. Hexagons were slightly transformed to create second level patterning. Hexagons were further divided into three types: perforated, half-perforated, not perforated. These three levels of patterning give the envelope a more interesting look without any changing the form of the envelope. This design approach is useful when designing patterns on a surface.

CRITERIA DESIGN

B2.2.2 ITERATION / MATRIX

SPECIES 1 PATTERN

SPECIES 1.1 VECTOR CONTROL V1= VECTOR 1 V2= VECTOR 2 V3= VECTOR 3 V4= VECTOR 4

CRITERIA DESIGN

V1, X= 0.2

V1, Y= 0.3

V1, X=0.3, Y= 0.1 V2, X=0.3, Y=0.3 V3, X=-0.2, Y=-0.3 V4, X=-0.5, Y=-0.2

V1, X=0.3, Y=-0.1 V2, X=0.2, Y=0.4 V3, X=-0.2, Y=0.3 V4, X=0.1, Y=-0.2

CRITERIA DESIGN

SPECIES 1.2 EQUATION CONTROL

X * Y - 1.5, X * Y - 1.5

X * Y + 1, X*Y-2

X * Y - 0.5 X * Y + 0.5

X * Y - 1.5 X*Y+2

X*Y-3 X * Y- 0.5

X*Y+2 X * Y - 1.5

X*Y+3 X * Y + 1.5

X*Y-2 X*Y-1

SPECIES 1.3 IMAGE SAMPLING -- OFFSET SELECTION

CRITERIA DESIGN

SPECIES 1.4 OFFSET DISTANCE D= OFFSET DISTANCE V= IMAGE SAMPLING VALUE REMAPPED INTO DOMAIN 0.0 TO 0.3

D= 0.20

D= 0.25

D= 0.30

D= V+0.15

POINT CHARGE X2

SPIN CHARGE X2

D= 0.35

D= 0.40

LINE CHARGE X3

SPECIES 1.5 FIELD EVALUATION

CRITERIA DESIGN

SPECIES 2 EXTRUSION

SPECIES 2.1 IMAGE SAMPLING -- OFFSET SELECTION

SPECIES 2.2 OFFSET SELECTION + EXTRUSION HEIGHT -- IMAGE SAMPLER AND GRAPH MAPPER NO OFFSET -- IMAGE SAMPLER WITH OFFSET -- GRAPH MAPPER

CRITERIA DESIGN

SPECIES 2.3 VARYING EXTRUSION SIZE AND SHAPE

V= IMAGE SAMPLER VALUE D= ROTATION DEGREE ( Â°)

NO ROTATION

INTERIOR HEXAGON ROTATION, D= V*150

SKELETON OF EXTRUSION

DOUBLE EXTRUSION

D= 150

D= V*150

HEXAGON STAR

SPECIES 2.3 FIELD EVALUATION R= RADIUS OF HEXAGON H= EXTRUSION HEIGHT F= FIELD STRENGTH

POINT CHARGE X2 R= F H= F

CRITERIA DESIGN

POINT CHARGE X2 R= F H= F

SPIN CHARGE X2 R= F H= F

LINE CHARGE X3 R= F H= F

CRITERIA DESIGN

SELECTED OUTCOMES

CRITERIA DESIGN

B2.3

CASE STUDY 2 VOLTADOM / SKYLAR TIBBITS REVERSE ENGINEERING

CRITERIA DESIGN

B2.3 CASE STUDY 2 - REVERSE ENGINEERING - ATTEMPT 1

1. CREATE A LOFTED SURFACE

CRITERIA DESIGN

2. SUBDIVIDE SURFACE

3. CREATE CIRCLES AT POINTS OF INTERSECTION

4. EXTRUDE CIRCLE TO POINT ALONG NORMAL OF THE CIRCLE

5. TRUNCATE THE CONES BY REMAPPING DOMAIN

6. TRIM THE CONES ROW BY ROW

7. TRIM THE INDIVIDUAL CONES ONE BY ONE

CRITERIA DESIGN

B2.3 CASE STUDY 2 - REVERSE ENGINEERING - ATTEMPT 2

7.1. FIND OUT THE LINES FOR SPRINGS CREATION

8.1. ADD IN KANGAROO SOLVER AND SET THE RESET INPUT TO TRUE

7.2. FIND OUT THE POINTS FOR LOAD APPLICATION 1. CREATE A LOFTED SURFACE

2. MAP A SQUARE GRID ONTO THE SURFACE

3. FIND OUT THE CENTRAL POINTS OF EACH SQUARE IN THE GRID

4. MOVE THE CENTRAL POINTS ALONG THE NORMAL OF THE SQUARE AND CREATE A CIRCLE USING THE MOVED POINTS

5. LOFT SURFACES BETWEEN THE CIRCLES AND THE SQUARES

6. TRANSFORM THE LOFTED SURFACES FROM BREP INTO MESH 8.1. UNDERGO THE PHYSICAL SIMULATION BY SETTING RESET INPUT TO FALSE

7.2. FIND OUT THE POINTS FOR ANCHOR POINT OF THE CATENARY SURFACES

CRITERIA DESIGN

B2.4

TECHNIQUE: DEVELOPMENT VOUSSOIR CLOUD / IWAMOTOSCOTT

CRITERIA DESIGN

B2.4.2 ITERATION

SPECIES 1.1 NUMBER OF COLUMN N= NUMBER OF COLUMN

N= 2

N= 3

N= 4

N= 5

N= 6

N= 7

H= 10

H= 15

H= 20

H= 25

H= 30

H= 35

S= 0.23

S= 0.25

S= 0.27

S= 0.30

S= 0.35

S= 0.40

SPECIES 1.2 COLUMN HEIGHT H= HEIGHT OF COLUMN

SPECIES 1.3 SIZE OF COLUMN S= SIZE OF COLUMN (SCALE DOWN)

CRITERIA DESIGN

SPECIES 1.4 FORCE MAGNITUDE F= FORCE MAGNITUDE

F= 0.4 UPWARDS

F= 0.5 UPWARDS

F= 0.6 UPWARDS

F= 0.4 DOWNWARDS

F= 0.5 DOWNWARDS

F= 0.6 DOWNWARDS

L= 0.50

L= 0.55

L= 0.60

F= 0.7 UPWARDS

SPECIES 1.5 SPRING REST LENGTH L= SPRING REST LENGTH

CRITERIA DESIGN

L= 0.65

L= 0.70

CRITERIA DESIGN

SPECIES 1.6 LOCATION OF BASE OF COLUMN L= LOCATION OF COLUMN BASE

4 UNCHANGED 1 MOVE UPWARDS

3 UNCHANGED 2 MOVE UPWARDS

GRADUALLY MOVING UP

2 MOVE ABOVE THE RECTANGLE 3 UNCHANGED

ALL MOVE ABOVE THE RECTANGLE

1 BASE RELEASED (UPWARD FORCE)

ALL BASE RELEASED (UPWARD FORCE)

TOP RECTANGLE RELEASED (UPWARD FORCE)

ALL BASE RELEASED (DOWNWARD FORCE)

TOP RECTANGLE RELEASED (DOWNWARD FORCE)

SPECIES 1.7 ANCHOR POINT RELEASE

CRITERIA DESIGN

SPECIES 1.7 WEAVERBIRD PLUG-IN WB= WEAVERBIRD PLUG-IN

CRITERIA DESIGN

WB SPLIT TRIANGLES SUBDIVISION + WB PICTURE FRAME

WB SPLIT TRIANGLES SUBDIVISION + WB CATMULL-CLARK SUBDIVISION + WB PICTURE FRAME

WB SPLIT TRIANGLES SUBDIVISION + WB LOOP SUBDIVISION + WB PICTURE FRAME

WB SIERPINSKI TRIANGLES SUBDIVISION

WB CONSTANT QUADS SPLIT SUBDIVISION + WB PICTURE FRAME

WB LAPLACIANHC SMOOTHING + WB MESH WINDOW

WB SPLIT TRIANGLES SUBDIVISION + WB CATMULL-CLARK SUBDIVISION + WB BEVEL EDGES

WB LAPLACIANHC SMOOTHING + WB MESH WINDOW + WB STELLATE

CRITERIA DESIGN

SELECTED OUTCOMES

CRITERIA DESIGN

B2.5 TECHNIQUE: MATERIAL TEST / PROTOTYPES

As natural or semi-natural materials are the required range of materials for this ceiling installation project, we decided to try out timber veneer as our material for the project. We selected two types of timber veneer of different tree types and colours, one light colour and one dark colour. We bought two large sheet of timber veneer of size 2.4m x 1.2m. We cut the timber veneer into smaller sheets and further laser cut them with different shape to test the material performance. We found out that timber veneer can be bend or curve in one direction which is along the grain. We curve the timber veneer using electric hair curler to achieve the more permanent curving effect without using any additional fixing components. The effect looks quite good and can be applied to our design after finding a more reliable way in curving the timber veneer. Beside, we also found that timber veneer can easily cracked along the grain of the sheets. The width of the sheets that is available without any cracks is depend on the cut and fabrication of the timber veneer. This limit should integrated into our design to allow more practical fabrication

CRITERIA DESIGN

B2.5 TECHNIQUE: MATERIAL TEST / PROTOTYPES

We tried to connected each curving pieces of timber veneer according to the curving pattern into two long continuous pieces that can be considered a surface pattern. We hang up the testing structure as an ceiling installation in different layers to create a more interesting and complicated effect. The curving characteristic together with different colour and grain that arrange in different layer can be repeat in an undulating manner to create a whole continuous surface for a ceiling installation.

CRITERIA DESIGN

B2.6 TECHNIQUE: PROPOSAL Brief: To design a ceiling installation for the ballroom of the new W hotel that has the quality that match the luxury characteristics of W hotel.

PRECEDENTS

Proposal: We proposed a catenary installation that cover the ceiling space from edge to edge, with several circular opening of different diameter hanging at different height over the ballroom space. The proposed material for the installation is timber veneer strips. The surface of the installation will be made up of weaving network of timber veneer. Problems: 1. Large ceiling area of the ballroom 2. Sliding door that dividing the ballroom

Ventricle by SOFTlab

Solutions: 1. Multiple layers of surfaces 2. Large continuous surfaces 3. Undulating surfaces to create flow

Installation for IBM WMC by SOFTlab

CRITERIA DESIGN

B2.7 LEARNING OUTCOMES

B2.8 APPENDIX

In this section of studio, I have developed a parametric skill set that synthesise from different research fields which can be used in the design development of the ceiling installation. We have also establish an understanding of the material timber veneer and limit of practical application of timber veneer in design. For the next step, we would explore more in the aspect of fabrication of the digital design. We would like to investigate and design suitable joints and supporting system for the ceiling installation. We would also further develop the patterning system for the timber veneer. In addition, we would also include some kerfing patterns to ease the curving of the timber veneer.

CRITERIA DESIGN