Chen lin 691908 by Chen_lin

STUDIO AIR 2016, SEMESTER 1, FINNIAN WARNOCK CHEN LIN 691908

CREATION BY ALEX DIACONU: TONADO

‘Asan anarchitect architect ‘As youdesign designfor for you thepresent presentwith with the anawareness awareness an ofthe thepast pastfor for of futurewhich which aafuture essentially isisessentially unknown.’ unknown.’ ----NORMAN FOSTER1(TED TALK, 2008)----

Table of Contents

INTRODUCTION

B.5. TECHNIQUE: PROTOTYPES

B.6. TECHNIQUE: PROPOSAL

A.1. DESIGNNING FUTURE 8 1964 1970-1972

THE PLUG-IN CITY, PETER COOK,ARCHIGRAM,PROPOSED IN

NAKAGIN CAPSULE TOWER, TOKYO, JAPAN, KISHO KUROKAWA,

7 APPARATUSES , BI[R]O-BO[O]T, THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE,

B.7. LEARNING OBJECTIVES AND OUTCOMES C. 1. DESIGN CONCEPT

DESIGN COMPUTATION

58 63

4. SUCESSFUL ITERATIONS

5.FINAL GEOMETRY

6. DIAGRAMS

7. PATTERNING- --THROUGH MATERIAL EXPRESSION

8. ENVIRONMENTAL FACTORS--INFLUENCING

GOLDEN MOON A. 3. ICD / ITKE UNIVERSITY OF STUTTGART, 2011

HEYDAR ALIYEV CENTER ZAHA HADID ARCHITECTS

A.4.

3. FORM REGENERATION

THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE

CONCLUSION

INTERIM PRESENTATION FEEDBACK 2. CONCEPT FINALIZATION-------BIOMMICRY

COMPOSITION/GENERATION

A.2

9. CONTEXT DEPENDANT

10. PATERN GENERATION

C.2 TECTONIC ELEMENTS &PROTOTYPES 94

A.5. LEARNING OUTCOMES

1. JOINTS CONNECTED TO CEILING 2. JOINTS TO TIE THE CANES

B.1.

3. CONNECTION BETWEEN CANES AND RIBS

RESEARCH FIELD CASE STUDY 1. BIOTHING PAVILION

97 100

4. PRIMARY STRUCTURAL RIBS TO SUPPORT THE INSTALLATION 102 23

C.3 FINAL DETAIL MODEL

B.2. CASE STUDY 2.0

104

2. DIGITAL FABRICATION

111

31 C.7

B.4.

LEARNING OBJECTIVES AND OUTCOMES

TECHNIQUE DEVELOPMENT

DESIGN POTENTIALS

112

CONCEPTUALISATION 3

INTRODUCTION Icurrently am Chen Lin from China, shanghai, studying third year of architecture

major at University of Melbourne. To become an architect is my dream since Year 10 in High school, because of its charm as a combination of Science, Maths and Arts. I love travelling and photography since I could use my foot to measure the world, use my eye to feel the culture and design of buildings that sit in different context. I would impressed by the ancestors’ wisdom in the ingenious constructions, such like timber tenon in the temples and sublime domes in churches. I would also lost myself in the beauty of the geometry and light in the modern architectures. While the time moves on, digital technology has been applied in designing since late 20th century. Nowadays, digital software becomes the trend for assisting the designing and fabrication process, which highly provides efficiency, and more opportunity for the final projects.

CONCEPTUALISATION

In 2015 semester 1, I had the opportunity to start touching Rhino in Digital Design and Fabrication class. We had generated a head wear for defining personal space by analogy the idea of section from an egg cutter. During the designing process, the use of command such like “contour”, “boolean” helped us to form the shape and rationalized the ratio of each section cuts and we have used laser cutter to produce our product. In my opinion, through the employment of digital software and technology, we could test materials and perfect the outlook of our project. There more possibilities can be formulate in computation compare to a 2D base paper drawing. In the computation process, testing The experience I have on 3D Digital software is limited to Rhino only, and this semester is the first time that I learn grasshopper. Our future will be born in this virtual world.

FIG1. FINAL MODEL FOR “PERSONAL SPACE” PROJECT IN DDF

FIG. 2,3. FINAL MODEL FOR “PERSONAL SPACE” PROJECT IN DDF

Digitalisation and physical model help us to develop our idea step by step. Process of digital making shows more conceptual design such like the shape volume, frames, which help us fabricate much more precise and complex Project. Our design idea was encourage more freely and conveniently since the digital technology eliminates the gap between virtual model and physical outcome. Complex

FIGURE 4. PROCESS OF RE-FIGURE THE SHAPE FOR INTERNAL SPACE

geometric shapes can be easily formulated by digital technologies. This conclusion had been deeply experienced when we optimize the flow of the curvature for our project. And with the three dimensional software such like Rhino, our design thinking and mind are energized and opened to a larger boundary.

CONCEPTUALISATION 5

A 6

CONCEPTUALISATION

CONCEPTUALIZATIONN

CONCEPTUALISATION 7

NAKAGIN CAPSULE TOWER, TOKYO, JAPAN, KISHO KUROKAWA, 1970-1972 THE PLUG-IN CITY, PETER COOK,ARCHIGRAM,PROPOSED IN 1964

A.1. DESIGNNING FUTURE In the 1960s, after twenty years recover from WWII, the whole world developed, it was an era of bumping technology. It was an age that everything was possible. Archigram was born in this background with its neofuturistic, anti-heroic and pro-consumerist style, drawing inspiration from technology in order to create a new reality that was solely expressed through hypothetical projects. 2 The plug-in city by Peter Hook, would be the most provocative example. It contains modular residential units that “plug in” to the central machine. The traditional impression of architecture was broken. In the plug in city, every cell of residential, official, commercial space becomes a single unit with high mobility by giant cranes. The city itself is no longer buildings but a constantly evolving mega-structure. The whole structure would evolving towards the best outcome that serve the inhabitants according to people’s actual needs. Although, this imagery was not built, the idea behind had inspired many architectures and design. Such like the Metabolism movement in Japan. The Nakagin tower by Kisho Kurokawa is one of the most important icon of Metabolism movement. It is the first interchangeable capsule building in the world. The capsules were prefabricated with unite utilities, and is attached independently and cantilevered from the shaft. The flexibility provide organic change of the building, and the “plug in” methods allows more durable life of the building which create more sustainable living style. 3 The building is still using nowadays, but none of the single cell were moved and replaced as it originally designed. It was caused by many external influence such like the lack of economic support to run such avant project. However, the courage and creativity that jump out of the box is the part that we need to appreciated in these works. As designer, we are fighting at front military against defuturing development. The responsibility of designing is not limit to atheistic appearance or functions, it is more of a living style that could slow down the rate of defuturing and redirect people to sustainable habitation. New time is coming, new design intelligence is waiting us to explore, and computation is the tool.

FIG.1,2. HTTP://ARCHITECTURALMOLESKINE.BLOGSPOT.COM.AU/2011/10/METABOLIST-MOVEMENT.HTML 8

CONCEPTUALISATION

AD CLASSICS: THE PLUG-IN CITY PETER COOK, ARCHIGRAM PROPOSED IN 1964

FIG.1.1 THE PLUG-IN CITY

FIG.1: CLOSER LOOK OF EACH CELL ON THE SHAFT

FIG.1. VIRTUAL MODEL:

FIG.2 : ROOM WHICH WAS PREFABRICATED WITH UTILITIES

NAKAGIN CAPSULE TOWER, TOKYO, JAPAN, KISHO KUROKAWA, 1970-1972 FIG.1.1 HTTP://3.BP.BLOGSPOT.COM/-NVO9WDSDZ7G/UEZZD6G3I7I/AAAAAAAAAVA/ JWGWEMT2OFC/S1600/8-PLUG-IN+CITY+DRAWING+BY+ARCHIGRAM+1964.JPG CONCEPTUALISATION 9

THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE

APPARATUSES, BI[R]O-BO[O]T Design into future is not necessary being crucial to solving the existing problem, but guiding people towards more sustainable life. The sustainability can be interpreted as renewable resources, durable infrastructures, more efficiency consumptions and so on. In the French architect, Francois Rocheâ&#x20AC;&#x2122;s strange expectation of future attracts me very much. The imagination of his work broaden my mind of how ecology can collaborated with algorithmic thinking in architectural design. He detects the resilience in the building and design the building with its intellengence. In the example of the image at right, the building reacts to the rhythm of the seasons. In winter, it looks like solid cut-out of ice and snow. The transparent cube likes the cavities that could be found in glaciers. In the summer, the rainwater collected by a pool would be used to refrigerate and making snow. 4 The building will response to the transformation of water in different condition. This rules can be seen as simple principle for this house, but requires further technology development to realized. But I think there is no impossible unless we have never try to imagine it.

CONCEPTUALISATION

FIG.1. HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/BIOREBOOT-THE-ARCHITECTURE-OF-RSIEN/

7 APPARATUSES , BI[R]O-BO[O]T, THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE, INTERNATIONAL PAVILION VENICE BIENNALE FIG.1. VIRTUAL MODEL:

CONCEPTUALISATION 11

THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE

A.2 DESIGN COMPUTATION Computation design has brought more opportunity to redefine designing thinking and practice. It encourages us to dream and step out of trivialization and tradition. The digital computation generates what beyond our imagination. With the logic of algorithmic thinking, the capabilities of modellers based on Non-Uniform Rational B-Splines(NURBS) such as rhino, grasshopper visualized the morphogenesis transformation under certain factors/situation. Such as the biometric design which is currently becoming the mainstream for the Architecture design. Among these, I want to use the example of François Roche’s projects, Bioroboot as precedent to discuss the new possibility that computation could produce for architectural design. The algorithmic rules in his ecological design is to set the project within a certain science fiction scenario and operate with sensor system that collects psychological data from the environment and people to construct new type of biomorphic architecture in an anthropomorphic way in order to response to the site and users with immediatey. This new type of formulation of an architecture form would be way under humans’ ability to calculate without the digital simulation. Responding to the site is always the esstential part in an architectural design, with this biomorphic logrithmic, the architecture will be no longer a static, but a changing formation like how we are inhabited with the city context nowadays, in the future, the ambiguity of the impact that effect each other between human and cities would be logrithmicazed, and be controlled towards more sustianble future living style. 7 APPARATUSES , BI[R]O-BO[O]T, THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE, INTERNATIONAL PAVILION VENICE BIENNALE

CONCEPTUALISATION

HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/BIOREBOOT-THE-ARCHITECTURE-OF-RSIEN/

HTTP://WWW.NEW-TERRITORIES.COM/BIENNAL%20O

OF%20VENICE%2008.HTM

3D MODEL OF THE PROPOSED

A VIEW OF THE DEMILITARIZED ZONE AND POSITION OF THE PROJECT

'Machines are always pretending to do more than what they were programmed to do. It' s their nature. Their behaviour induces in us phantasms, frustrations, and fears inspired By their ability to break free and threaten us.'-----FrancOIS Roche 5

CONCEPTUALISATION 13

LEAD, HONG KONG, 2012

GOLDEN MOON With the engage of computation, traditions and craftsmanship can be combined more sufficiently with contemporary practice and culture. With the same material that used in traditional fabrication process, Computation allows the craft plays in larger scale with no difficulty. In this case, the light-weight steel geodesic dome forms firstly as primary structural, and it was based on a computer-generated grid wrapped around it. The secondary structure was materialized through bamboo which is Hong Kongâ&#x20AC;&#x2122;s traditional scaffolding technique that used for building scaffoldings. In order to install and bend the bamboo sticks into a grid that wraps the steel dome with more accuracy instead of the traditional intuitive and imprecise craft skill, exact algorithm sphere penalization was calculated. An approach of purity and repetition around the equator and imperfection and approximation at poles was produced. A complex geometry and space were formulated by the simplest component, and can be efficiently achieved by digital forming and digital fabrication. The property of the materiality is tested with most potential by using performance simulation software.

CONCEPTUALISATION

GOLDEN MOON, LEAD, HONG KONG, 2012

FIG.1. DIGITAL PREVIEW OF PARAMETRIC FORM FIG.1,2. HTTP://WWW.ARCHDAILY.COM/283965/GOLDEN-MOON-LEAD/

CONCEPTUALISATION 15

A. 3.

COMPOSITION/GENERATION This precedent mainly demonstrated the transformation from the principle in the shape of sea urchinâ&#x20AC;&#x2122;s plate skeleton into architectural design that testing with spatial and structural material -system in 1:1 scale by coding with morphological algorithm. 6 The simulation of building performance that incorporate with performance analysis test the material firstly to assist for choosing appropriate material acting as extension of the recognized bionic principles. In this case is, the limit of using the 6.5 mm thin plywood sheets. As this project was designed by large group of people, the algorithmic thinking process act like the medium for participants with different responsibilities communicate and work with continuity and connectivity, thus resulting in more efficient time allocation. Furthermore, the algorithmic design also encourage the application of the use of digital fabrication systems such as the seven-axis robot that used in this case which has high capability of producing geometrically components and Joints economically. 6 In addition, the digital generation of the form

CONCEPTUALISATION

ICD | ITKE RESEARCH PAVILION 2011 ICD / ITKE UNIVERSITY OF STUTTGART, 2011

FIG.2. FIANL PROJECT IN THE NIGHT 2

can be interpreted from the data scheme which make it easier for people to repeatedly read the complex geometry in order to analyse and modify the critical elements. It is not as the folk concerns like that algorithmic theory would take over the design responsibility from the designers, the computational generation is still designed by people since the designer could “understand the results of generating code, knowing how to modify to code to explore new options and speculating on further design potentials.” The only shortcoming for computational generation would be the degeneration of innovation. As the designer, it is better to understand and being able to design software for designing. We could inspired by script which is written by others, but we have stand on this giants’ shoulder to look further and explore more, that is the way to promote the digital thinking and the way to push the development of technology.

FIG.1. MORPHOLOGY TRANSFER TO FORMULATE THE GEOMETRY1

CONCEPTUALISATION 17

ZAHA HADID ARCHITECTS, BAKU, 2013

HEYDAR ALIYEV CENTER Computation augments designers’ ability to deal with complex geometries, which can be highly demonstrated in Zaha Hadid Architects’ work. In the case of Heydar Aliyev Center in Baku, Azerbaijan. The flow pattern of the building is simulated and calculated precisely that perfectly responds to the sites’ topography. A precisely designed terraced landscape establishes alternative routes between public plaza, building, and underground parking with avoid of additional exaction and landfill. 7 It is a good case that demonstrate the potential of parametric design to convert a disadvantage into one of the key designing ideas. The simulation in algorithmic thinking enhance the generation of these elegant curvature. Simultaneously, the form generation of the surface also create responsive contour interior space which reflects the auditorium layout. Behind this homogenous skin which is multi-functioning, construction logic, technical systems are required and experts from multi- disciplinary were engaged. In order to achieve the large-scale column-free spaces for interior, innovative structural solutions such as ‘boot columns’ and ‘dovetail’ tapering of the cantilever beams has been used to achieve the inverse peel of the surface from the ground to the west of the building and support the building envelope to the east. The complexities of the structures highly enquire advanced computing for the continuous control and communication among the participants for this projects.

CONCEPTUALISATION

HEYDAR ALIYEV CENTER , ZAHA HADID ARCHITECTS, BAKU, AZERBAIJAN , 2013

HTTP://WWW.ARCHDAILY.COM/448774/HEYDAR-ALIYEV-CENTER-ZAHA-HADID-ARCHITECTS

CONCEPTUALISATION 19

A.4.

CONCLUSION

FIG.1. RELAXING MEDITATION

Briefly summarise Part A. What is your intended design approach? How is it innovative? Why is it significant to design in this way? Who and how can benefit? Through the conceptualization in part A, I was introduced and acknowledged about grasshopper and start to understand the algorithmic logic under the programme. It provides more possibility for the form generation with easier control and simple but strong fundamental logic. Although I just started to learn this computation technique, I was amazed by its flexibility and coding logic. Through the research of the precedents, I am kind of looking forward to design our project in a more bionic morphogenetic system which could response to the nature environment outside of the office (which is our site) or more relate to the human inhibitions and movement inside the building. I hope the final project that we construct would not only create the beauty of parametric form, but also can change the atmosphere in the site which could make users feel relax and comfort.

CONCEPTUALISATION

FIG.1. HTTPS://GUWELLNESS.FILES.WORDPRESS.COM/2013/09/MAN-NETWORK-ROOM-BUSINESS-LAPTOP-YOGA-LOTUS-SITTING-SERENE-HEALTHY-STRESCORPORATE-MEDITATION-WELLNESS-OFFICE-ONE-RELAX-ZEN-POSE-INTERNET-TECHNOLOGY-SERVER-SERVICE.JPG

A.5.

LEARNING OUTCOMES

FIG.2 DDF’S FINAL PROJECT WITH AN PARAMETRIC INTERNAL SPACE IN THE SHAPE OF HUMAN PROFILE

In a short paragraph, outline your experience learning about the theory and practice of architectural computing. How has your understanding developed from the beginning of the semester? How could you have used your new knowledge to improve a past design? Firstly, I could identify the difference between “computerization” and “computation” now. Computer is like our pens, computerization is to physically digitalize the existed idea and form in computer, which I always do in the last two years in designing class. The designing products were still in the boundary of our imagination. However, in the “ computation” methodology, we gives our ideas in the way of mathematics thinking, We are still taking charge of designing ideas but the flexibility and opportunity that computer programmes have would provide far beyond our expectation. If I have chance to change my previous design of “ personal space”, I would conclude an equation or simple rules for NURS software such as Grasshopper to modulate and development to get both more dynamic form and more interesting visualization of the interaction between people.

CONCEPTUALISATION 21

B.1.

RESEARCH FIELD

CO-DE-IT AND UNIBOLOGNA - LOOP_3

I CHOOSE STRIP AND FOLDING BASED ON THE REASON OF ITS POTENTIAL EXPLORATION ON ORGANIC FORM GENERATION. THERE IS MORE FREEDOM IN STRIPS AND FOLDING THAN IN OTHER RESEARCH FIELD THAT WE ARE FAMILIAR WITH. IN ADDITION, COMPARE TO BIOMMICRY, STRIPS AND FOLDING IS AN EASIER APPROACH FOR ME TO PLAY WITH GRASSHOPPER WITH MORE CLEAR LOGIC AND POWER OF CONTROL. FROM PART A CONCEPTUALIZATION, I WAS INTERESTED IN THE FLOW AND CHANGE THAT RELATES TO THE HUMAN INHIBITIONS AND MOVEMENT INSIDE THE BUILDING, THEREFORE, I THINK IT MORE ACHIEVABLE IN VISUALIZING THIS ABSTRACT THING BY STRIPS AND FOLDING.

CRITERIA DESIGN

B.2.

CASE STUDY 1.0

BIOTHING PAVILION

THIS BIOTHING PAVILION IS BASED ON THE DEFINITION OF FIELD GENERATION AND USING THE GRAPH MAPPER TO CONTROL THE POINT SYSTEMATICALLY. EACH POINT CHARGES ON EVERY LINES INTERACTING EACH OTHER TO FORMULATE A SPREADING FAN-SHAPE LINES. AND THE GRAPH MAPPER GIVES THE ACTIVITY AND VOLUME TO THE FAN-SHAPE.

CRITERIA DESIGN

GRAPH MAPPER=BEZIER,

GRAPH MAPPER= PARABOLA

GRAPH MAPPER= PARABOLA A/B DECREASE

BASE ON DIVIDED POINTS ON TWO OBLIQUE OVALS

BASE ON DIVIDED POINTS ON A TRIMED SPHERE

ADD IN SPIN FORCE AND ATTRACTORS

GRAPH MAPPER=BEZIER

EVERY PT CONNECTS TO BOTH POINT CHARGE AND SPIN FORCE

MOVE PTS IN 3D SPACE

CRITERIA DESIGN

BASE ON DIVIDED POINTS ON A TORU

CHANGE THE MANIPULATION OF GRAPH MAPPER

ADD IN LINE AS A VECTOR FORCE DIRECTING THE FLOW OF LINES

GRAPH MAPPER=CONIC

GRAPH MAPPER=BEZIER,

GRAPH MAPPER=SINC,

A/B DECREASE

BASE ON DIVIDED POINTS ON A SPHERE

BUILD CIRCLES AROUND THE DIVIDED POINT ON FIELD LINES

MOVE UP THE POINTS CARRY POINT CHARGES

USE TWO ATTRACTOR POINTS TO MODIFI THE HEIGHT AND RADIUS OF THE CIRCLE ON THE FIELD LINES

MODIFIE THE LOCATION OF PTS AND EXTRUDE

ADD NO. OF PTS

BASE ON DIVIDED POINTS ON THREE PARALLEL CURVES

INCREASE THE NUMBER OF CIRCLE ON EACH LINE

GRAPH MAPPER

CRITERIA DESIGN

DIVIDE MORE PT ON CIRCLES LINE UP VERTICALLY THE PTS BOTH CONNECT TO SPIN FORCE AND PT CHARGE

INCRESE LENGTH OF LINE

(EXTRUDED, INTERSECTING STIPS)

DECREASE: R OF CIRCLES S&R OF SPIN FORCE INCREASE: S OF MERGE FIELD LINE

CRITERIA DESIGN

TWO SETS O DECREASE R O

TOP PTS ---PC, SP MIDDLE PTS----ONLY SP WORK AS ATTRACTORS TO TWIST OTHER TUBES

IN THE RENDERED VERSION, WE CAN EASILY OBSERBE THE CONCAVE CURVATURE ON THE TUBE, AND EACH TUBE IS PUSHED BY THE INVISIABLE SPIN FORCE FACTOR, GENERATING MORE ORGANIC FLOWING FORM. AND THIS SPECIES IS VERY SUCESSFUL WHICH DELIVER OUR CONCEPT OF FLOWING VERY WELL. HOWEVER, WE ARE STILL MANULLY PUTTING IN ATTRACTOR POINTS, BETTER CONTROL OF THE FORM GENERATION IN A SYSTEMATICAL ALGORITHM NEED TO BE FUTHER DEVELOPED.

OF POINTS F SPIN FORCE

CRITERIA DESIGN

ALTHOUGH THIS ITERATION IS ONLY IN 2D, BUT THE COMBINATION USE OF BOTH ATTRACTORS AND FIELD FORCES CREATES A VERY ATTRACTIVE FAN SPREADING SHAPE LIKE OPEN WINGS WITH CENTRAL SPIRAL SPACE. IT CAN REPRESENT THE COLLISION OF FLOW AND MOVEMENT.

THE THREE CONTROL POINTS IN THIS DEFINITION ARE BOTH CONNECTED TO POINT CHARGES AND SPIN FORCE, WHEN WE MOVE THE POINT TO CREATE SPACE DIFFERENCE, THEY FORCE ON EACH OTHERâ&#x20AC;&#x2122;S , RESULTING A DANGLING, WATER- DROP VOLUME WHICH LOOKS VERY ORGANIC. HOWEVER IT IS NOT EASY TO BUILD UP THIS GEOMETRY WITH TIMBER VENEER. THE COMPLEXITY NEED TO BE REDUCED.

SIMILAR TO ABOVE, WITH DIFFERENCE POINTS LOCATION AND SHOWS APPARENTLY THE IMPLICATION OF GRAPH MAPPER. THIS ITERATION PROVIDE AN IMPRESSION OF PLANTS SUCH LIKE AIR PLANTS THAT CAN BE HANGING ANYWHERE AND GROWING BY MERELY ABSORBING THE MOISTURE IN THE AIR.

CRITERIA DESIGN

Flow+CHANGE

such like floor. The smooth, rippling, weaving-like texture that the shadow creating could bring atmosphere such as serenity to the meeting room. The long hanging iterations in the matrix can be rotated horizontally to create kind of weaving ceiling.

FLOWING + GROWTH + COLLISION =

The benefit of using field as the core algorithm is because it contain internal algorithm already in the component such like point charge and spin force, which can visualize the interaction among people automatically, and the merged field lines can be loft as strips easily for fabrication in veneer. However, the concern will be more accurate control of the location of each points for attractors and chargers. The gaps between strips emerges shadowing effect, could projecting on any surface

SHADOW SERENITY

CRITERIA DESIGN

ICD/ITKE Research Pavilion 2010

CRITERIA DESIGN

B.3.

CASE STUDY 2.0 ICD/ITKE Research Pavilion 2010 is a bending-active parametric design sits in the Stuttgart University. This research pavilion has investigated the new possibility of structural and architectural form through computation and numeric simulation both of the structural frames and the materialâ&#x20AC;&#x2122;s performance based on the elastic properties of timber. Ingenious joints (fig1,2) are designed to convert the flexural stress into stiffness for the thin strips. For example, the elastically force stored in each bent region is subsequently connected to the neighbouring strip which contain tension region, increase the structural capacity of the system.

Unlike the normal digital design processes which always separate design form and external force as two entities, this pavilion shows a successful approach to processing computational form generation with physical behaviour and material characteristics at the same time. The digital form generation is entirely based on the elastic bending behaviour of plywood strips. They use a large number of physical experiments on deflection limits to defined parametric value for digitalizing model, also carefully calculate and morphological differentiate the locations of every joint to construct more stable structure as well as achieve lightweight system.

CRITERIA DESIGN

METHOD 1

EVALUATE CURVES

DRAW THREE CIRCLE AS THE BASE FRAME OF THE OVER GEOMETRY

METHOD 2

CRITERIA DESIGN

USE PLANES THE STRIP A FOR FUTURE

GRAPH MAPPER

DRAW THREE CIRCLE AS THE BASE FRAME OF THE OVER GEOMETRY

EXLORE THE CIRCLE, CONNECT THEM SYSTEMATICALLY IN ORDER TO MAKE ARCS

DIVIDE CURVES INTO 7 PTs, APPLY GRAPH MAPPER TYPE OF SIN SUMMATION TO GET THE DEFLECTIVE LINES

TO TEST IF ALL ARE PLANNAR E FABRICATION

EVALUATE CURVES AS TWO SETS FOR BETTER CONTROL OF FORM GENERATION

LOFT THE SURFACE BY ROTATEING THE ORIGINAL 2O CURVES.

DUPLICATE THE PERVIOUS 20 CURVES, AND ROTATE AROUND CENTRAL POINT, CHANGE THE MOVEMENT OF CURVE BY GRAPH MAPPER

ROTATE THE LOFT SURFACE OF PERVIOUS STRIPS.

CRITERIA DESIGN

EVALUATE CURVES EVALUATE CURVES CURVES

METHOD 1

EVALUATE CURVES

PT BASE CIRCLES

BASE CIRCLES

PT PT PT PT

METHOD 2

AFTER THAT, DUPLICATE ALL THE LINES, AND ROTATE THE NEW COPY TO MAKE IT SLOT WITH THE ORIGINAL ONES. THEN LOFT EVERY SEGEMENT OF LINES SEPERATELY, WHICH MEANS 5*2 TIMES LOFTING TO CREATE STRIPS.

GRAPH MAPPER

GRAPH MAPPER IS AN EASIER AND MORE CONVENIENT WAY TO EMERGE THE STAGGERED STRIPS, HOWEVER, IF WE CANâ&#x20AC;&#x2122;T UNDERSTAND THE EQUATION THAT USE IN THE GRAPH MAPPER, WE WILL LOSE THE CONTROL OF THE FINAL SHAPE FORMULATION. SAME PROCESS FOR THE FIRST HALF DEFINITION AS THE PERVIOUS ONE, UNTIL DIVIDING POINTS ON ARCS. WE THEN USE MAPPER TYPE SUCH LIKE PURLIN AND SINC SUMMATION TO GET WEAVE INFLUENCE ON EVERY POINTS THAT CONTROL BY THE MAPPER. THEN DUPLICATE THE NEW LINES CREATED BY

CRITERIA DESIGN

AFTER CONNECTING THE EXPLORED POINTS ON THREE CIRCLES BY THREE POINT ARCS, THEN CONVERT THOSE INTO CURVES IN ORDER TO BE EVALUATED THE CERTAIN DEFLECTION POINT ON A-TYPESCURVES AND B-TYPE-CURVES, EMERGING TWO LISTS OF POINTS. THEN, USE POLYLINE TO CONNECT THEM IN ORDER TO CREATE THE STAGGERED ARRANGEMENT.

THE MAPPER, ROTATE THEM IN ORDER TO BE LOFT TO CREATE STRIPS. THEN WE DUPLICATE THE WHOLE DEFINITION, AND ROTATE IT TO GET SLOTTING PAIRS OF STRIPS. THE MULTIPLICATION FACTOR CAN GUIDE THE POINTS MOVE IN EITHER POSITIVE OR NEGATIVE DIRECTIONS TO CREATE MIRRORED ITERATIONS, AND GRAPH MAPPER TYPE CAN BE DIFFERENT FOR THE EVERY FIRST STRIPS AND EVERY SECOND STRIPS TO CREATED CONCAVE FLUSHING.

B.4.

TECHNIQUE: DEVELOPMENT

PHOTO BY TARA DONOVAN

BASE ON THE DEFINITION OF RESEARCH PAVILION 2010, WE STARTED TO LOOK AT VARIOUS GEOMETRY VOLUME THAT COULD CREATE BY STRIPS WITH A CIRCULAR FRAME BASE.

CRITERIA DESIGN

SP1. RELATED ITEM, CULL PATTERN

SP2. CHANGE THE POSITION

SP3. MANIPULATE THE SHAPE OF THE CIRCLES

SP4. GENERATING ENCLOSURE VOLUME BY FIELD WITH POS AND NEG CHARGES

CRITERIA DESIGN

OF BASIC CIRCLES

CRITERIA DESIGN

SP5. COMPOSITION OF DIFFERENT GRAPH MAPPERS INFLUENCE IN X DIRECTION

SP5. COMPOSITION OF DIFFERENT GRAPH MAPPERS INFLUENCE IN Y DIRECTION

SP5. ADDITION OF INFLUENCE UNDER SPIN FORCE

SP6. CHANGE THE BASIC THREE FRAMES, COMBINE WITH SPECIES ABOVE

CRITERIA DESIGN

DESIGN POTENTIALS WE WANT OUR INSTALLATION HAVE IRREGULAR CHANGES ON IT LINEAR STATUS. THE EASIEST WAY TO ACHIEVE BOTH GOAL OF BUILDABILITY AND SEEK FOR ORGANIC FLOW IS USING SOLID FORM AS THE FRAME BASE TO CREATE IRREGULAR CURVATURE, EMERGE FLOW BY TWISTING STRIPS.

In order to combine the idea of biomimicry and give the installation an idea of growth, I was inspired by this simple iteration which show that the twisting of strips could not only be achieved by simple twist the circles at two ends, but can be play with stretch out circles into different directions(like cross). This shape could only be achieved with at

CRITERIA DESIGN

least 3 circular frames, with a fixed middle frame. Since each circular shape is not on a flat axis, the angle contains in one unit can be utilized and modified when we duplicating, rotating and scaling, this angle would defeminize the final growing structure of the whole ceiling. However, the repetition of one unit would be too rigid and lack of organic aesthetics.

FIG.1

In this iteration, we use boundary surface instead of loft to extrude surface with the use of related item. In our next step, we can cull certain pattern by applying this methods. In addition, instead of create two set of lines by duplicating and rotation in aim to loft strips, we may also try using related items. This is iteration based on the merge of different field. In order to generate a closed volume with

FIG.2

field lines, I used two sets of field in opposition direction, each of them shape a half sphere. All the parameters for these two sets field are the same in order to let their field lines meet at the same points to emerge a sphere as entirety. The twisted angle of the strips in this field is what I am looking for, they are flat facing outwards and start pitch more as they bend more, this characteristic is very similar as how the veneer acts in the real world.

Images at left is another trail of potential development from one of the shell-shape iterations. The flowering shape is achieved by enlarge and rotating the original iteration. Although this is not contributing to any form of flow, it tested the idea of form generation with progressive increase of scales.

CRITERIA DESIGN

B.5.

TECHNIQUE: PROTOTYPES

SLOTS IN RESEARCH PAVILION 2010

WE ARE INTERESTED IN INVITING THE MATERIALITY OF ELASTICITY OF TIMBER VENEER ITSELF TO EMERGE FORM GENERATION, THEREFORE, THE FINAL OUTCOME WOULD NOT BE TOTALLY MAN-MADE AND RIGID FLOWS WHICH MAY LOSE SOME ACTIVITY AND FREEDOM.

CRITERIA DESIGN

NATURAL CURVATURE GIVEN BY VENEERâ&#x20AC;&#x2122;S DEFLECTION.

CRITERIA DESIGN

First idea is to explore the possibility of self-structural support for fabrication and the form generation. We have laser cut diagonal strips lines on a small size, single layer veneer which contained only one direction grain. In this prototype, we want to test the capability of natural veneer to formulate a volume by only strips cuts on one flat sheet. It successfully provided nice deformation and differentiation in bending extent, and indicates that the width and length of every strips will result in different bending extent. The bend along the grain direction has strong stiffness, however the direction across is fragile for strips to be rolled and bent. If we can solve the problem of cracking in this prototype, then we could continue this idea to consider to make slots on the edge of each sheet as joints.

For further development of material choice for better performance, we have discovered laminated veneer would be better choice with high flexibility. The image shows above is PLI-Flex veneer which is made up of 2-ply or wood on wood veneer. It is a quality veneer face laminated to a cross grain veneer backer. The perpendicular grain between the two layer adds stability and flexibility to the veneer sheet. This material would be more preferable for our project if we keep going on this doubly curve design.

CRITERIA DESIGN

BASE ON THE LOGIC OF DEFINITION WE HAVE DEVELOPED, WE ARE GOING TO DISTURB THE GRID POINTS ON THE LINE, AND CONSTRUCT DIFFERENT INDIVIDUAL FRAMES WHICH ARE PERPENDICULAR TO THE PLANE OF GRID. THEN THE STRIPS WILL BE USED TO CONNECT POINTS ON EACH FRAME TO EMERGE FLOWS (AS SHOW IN PAGE 36). THEREFORE, THE MOST ACHIEVABLE TYPE JOINTS WE CONSIDERED IS THE EXTRUSION VERSION OF THE CIRCULAR FRAME BEING USED IN GRASSHOPPER. IN THIS CONSTRUCTION METHODS, STRIPS WOULD BE INDIVIDUALLY INSERT INTO THE MATCHED SLOT ON THE FRAME.

CRITERIA DESIGN

B.6.

TECHNIQUE: PROPOSAL

STRIP AND FOLDING IS USED AS THE MEDIUM TO VISUALIZED THE FLOW OF THOUGHTS IN THE MEETING ROOM, SINCE THIS SITE HAS STRONG FUNCTIONALITY FOR DISCUSSION, BRAINSTORMING, PRESENTATION AND COMMUNICATION. THE NATURALLY FORMED DOME-SHAPE VOLUME THAT GENERATED BY THE BEND OF STRIPS EMPHASIZED THE ORGANISM IDEA IN THIS PROJECT. THE GAPS BETWEEN STRIPS COULD PROVIDE BEAUTIFUL LIGHTING EFFECT FOR NOT ONLY THE OFFICE BUT ALSO PROJECTION OUTSIDE THE ROOM BOUNDARY THROUGH THE TRANSPARENT PANORAMIC GLASS WALL. THE PROJECTION OF SHADOW OUTSIDE THE ROOM BREAKS UP THE PHYSICAL SPACE ISOLATION OF THE ROOM, BRINGING AMBIGUOUS RELATIONSHIP OF THE SPACE, AS WELL AS CONTRIBUTING TO THE TRANSPARENCY AND OPENNESS THAT CREATED BY THE CHOSEN MATERIAL: GLASS, FOR THE WALL.

CRITERIA DESIGN

The organic flowing texture on the ceiling can response to the collision of different ideas from different people. In addition, the curve growing branches (grid line in GH) matches with the meandering thoughts and ideas in

The installation will cover the whole ceiling. In order to avoid shadow on the table and TV, also reduce the impact while people’s writing. We consider to install two types of lighting. In the central part of the ceiling, the light will inset along the groove of ceiling installation to avoid creating shading effect. The other type of lighting will be located above the installation, and their location should be above the middle line of walkway surround the table and chairs.

For the presentation model, we choose to use circular frame as the support and joints for the structure. And speculating on the organic flow generation on the base algorithm of grid spreading. After the presentation, we want to modify the shape of flows in our design, in order to make more smooth flush of overall shape and give more sense of intergrity, I change to the idea of grid pinch instead of grid spreading, which reflect more vividly of ‘collision of different thoughts’. (AS DIAGRAMS SHOWN IN PAGE 47)

GRID SPREADING

GRID PINCH

CRITERIA DESIGN

B.7.

LEARNING OBJECTIVES AND OUTCOMES In the field research of strips and folding, I was inspired by the various and rich application of parametric design in architecture, the most avantgarde design is always tested and experimented as a form in pavilion. At the early age, digitalization in designing was only a tool to visualize the exist image in designerâ&#x20AC;&#x2122;s mind, but now, more and more projects rely on parametric form generation to enrich architectural aesthetics and atmosphere. Indeed, computerization becomes more and more reliable on simulating the physical factors that are influential to architectural performance, such like the application of force simulation in ICD/ITKE Research Pavilion 2010, use the materiality of plywood to self-support and self-formulate the structure and the shape. The new plug in that we learned in recent week is this type of tool to visualized the physical law in virtual software. And it is very worth for further exploration for the final design.

During this critical design process in the recent weeks, I have improved my grasshopper skills, but still feel helpless when I struggled with transforming the real world logic into the algorithmic thinking in grasshopper. I started to familiar with data structure, and can correctly fix the unmatched data structure when we apply one algorithms logic to another. The overall progress for our proposal generation started from focusing in one chosen field with specified criteria for the site at first, and learning and develop technique from the exist work to visualize our idea, and modify the idea with computerization process, in this case is the algorithm definition in grasshopper. It is an ambiguous process, that makes me feel sometimes I am using GH as only a tool to visualize my idea, but sometimes it take the role in reverse as a guide or engine to push the development and modification of the design.

CRITERIA DESIGN

In this section, we have experienced what we have read from the part Aâ&#x20AC;&#x2122;s readings about Computerization and algorithm, including its impacts on traditional design efficiency, order and logic. The use of grasshopper active the potential of form generation, however, I also strongly felt that it would consumed and obliterate my afflatus and enthusiasm at that particular moment when I was still lack of full understand and fluent handling of that software. Furthermore, some ideas which are easy to hand crafted cannot be transformed direction within the same logic, we need to convert them all into mathematical logic and find out the relation and calculation with points, lines, and surface, and it can be very hard for some case. Nevertheless, on the other hand, some beautiful creations could not be fabricated in physical world as well.

For next few weeks, I will look more detail through materials, and modify the definition to provide better atheistic look and control of the lighting effects for the design with keeping study and learning in grasshopper tutorials.

CRITERIA DESIGN

C. 1.

DESIGN CONCEPT

PROJECT PROPOSAL

[BIOMMICRY ]

[STRIPS AND FOLDING ]

The main fundamental issue around the project was the question â&#x20AC;&#x2DC;that how this project is related to the concept of biommicryâ&#x20AC;&#x2122;.

The final geometry we had for interim was criticized about its simplicity of geometry and rigidity.

Issue associated with the concept of Biommicry

In one hand our design intention was to create a geometry/form inspired by nature, for instance, the vessels of a leaf. In the other hand, the main idea of bio-mimic design is the imitation of the models, system and elements of nature for the purpose of solving complex human problems, not just a design that looks like an element in nature. This was a fundamental issue that need to be addressed in new part of the design phase.

PROJECT PROPOSAL

Issue associated with the concept and form

As the main concept of our proposal is aiming to visualize the invisible flow and changes which are very unpredictable, our geometry should modified to a closer approach of a more organic and free form with more complexity.

C.1.1 INTERIM PRESENTATION

feedback

[VORONOI]

[FABRICATION ]

In new part of the design phase. Despite voronoi creates a complex and volumetric form which is desirable and it gives the place a sense of singularity but it does not reflect the main concept.

Regardless of any other issue, one of the selection criteria was buildability of the form in a limited time and budget as this project was a real project for Hachem office. (credit to Eddie)

Issue associated with the form

In addition, although voronoi is a very volumetric form but its mass is not an appropriate form for a ceiling installation that can be fitted into a 24 square metres meeting room unless it would be a combination of voronoi surface and volume. (credit to Eddie)

Issue associated with the concept of Biommicry

The construction method that we implied which break through the ribs by indiviual strips is a very time -consuming way to assambly the installation and it lacks sense of aesthetics because of the exploration of the structure ribs.

PROJECT PROPOSAL

INTER [BIOMMICRY ]

[STRIPS AND FLODING ]

To solve the issue,the team decided to focus more on one of studentâ&#x20AC;&#x2122;s geometry and pick-up the positive aspects of other projects.

The curvature of the whole flow will be future determined after the exploration of specific biommicry algorithm script.

Despite the chosen geometry need to be developed more, but it optimizes the design of the concept around the flow of idea in a meeting room located in architecture firm.

The definition is going to further developed towards the goal of creating more coterminous tubes that could better represent the sense of layering and free flow in order to create more aesthetic appearance and our design concept.

Idea of flow in nature

Also by focusing on between spaces that exist, we could create better experimental flow for our site occupants. This will help us tie our design ideas together to support the overarching design concept, which ultimately leads to more functional, beautiful and meaningful poetics.

PROJECT PROPOSAL

Issue associated with the form

Looking towards addition of the complexity contains in the voronoi.

C.1.1

R I M P R E S E N T A T I O N issue addressing and change [VORONOI]

[FABRICATION ]

The selected project was a different geometry which basically pick up the logics from Seroussi Pavilion 2007 and the ICD/ITKE Research Pavilion 2010. Also the volume of voronoi applied to the geometry to create the flow. (credit to Eddie)

The structure will be still constructed in a ribs-supporting system. However, we are considering to swap to a new methods that connect the strips at the outer edge of the ribs instead of intersecting through the ribs.

Issue associated with the form

Issue associated with the geometry and structure

However, with this new methods, we need to beware of how the distance between each ribs can be fixed to allow the deflection of the strips in order to fabricate more accurate geometry compare to the digital one.

PROJECT PROPOSAL

C.3

FINALISING

CONCEPT

FLOW /flō TO MOVE OR RUN SMOOTHLY WITH UNBROKEN CONTINUITY, AS IN THE MANNER CHARACTERISTIC OF A FLUID.

PROJECT PROPOSAL

C.1.2 CONCEPT

FINALIZATION

Biommicry

PROJECT PROPOSAL

BIOMMICRY ALGORITHM HAS BEEN EXPERIMENTED TO ASSIST THE CONCEPT OF VISUALIZING THE INVISIBLE FLOW AND CHANGE IN THE SITE BY SIMULATING PEOPLEâ&#x20AC;&#x2122;S BEHAVIOURS AND PICTURE THE FLOW AND COLLISION OF THE IDEAS BORN DURING THE BRAINSTORM IN THE BOARDROOM.

PROJECT PROPOSAL

C.1.2 CONCEPT

FINALIZATION

Biommicry

SYSTEMIC GROWTH AG E N T- B A S E D D E S I G N S T U DY 1

PROJECT PROPOSAL

C.1.2 CONCEPT

C.4

FINALISING

FINALIZATION

Biommicry

CONCEPT-CONSEQUENCES

SYSTEMIC MOTION AG E N T- B A S E D D E S I G N S T U DY 3

AFTER THE EXPLORATION ON THE AGENT-BASED SIMULATION, WE FIND THE FLEXIBILITY AND DYNAMISM IN THE BIOMMICRY ALGORITHM. AND THAT IS THE REASEON WE ARE CHANING OUR DEFINITION.

PROJECT PROPOSAL

C.1.3 FORM REGENERATION OLD: GRID SPREADING+ TWO SETS OF ATTRACTORS TO CHANGE THE RAIUS OF THE CIRCLS AND THE INTERFERENCE EFFECT+ CIRCLES SIT ON THE POINTS ON THE LINES

AFTER THE INTERIM PRESENTATION, WE DECIDED TO CHANGE THE DEFINITION IN ORDER TO CREATE GEOMETRY WITH MORE ORGANISIM AND FLUDITY. WITH THE NEW MODIFICATION, WE ARE ALBE TO CHANGE BOTH FLOW OF THE CURVES AND THE GEOMETRY OF THE LOFT TUBES AT THE SAME TIME, THE TUBES ARE DIRECTLY INFLUENCED AND SHAPED BY THE FLOWING CURVES. IN ADDITION, THE BASIC ALGORITHM IN THE NEW DEFINITION IS MORE REPRESENTABLE OF OUR IDEA, WHICH EVOLVES THE COLLISION AND CONJUNCTION OF PEOPLE AND MOVEMENT IN THEORY.

NEW: GRID PINCH+ ONLY ONE FACTORS CHANGE THE RADIUS OF THE CIRCLS AND THE INTERFERENCE EFFECT+ CIRCLES SIT BETWEEN THE

GRID SPREADING

GRID PINCH

CURVES

PROJECT PROPOSAL

C.1.3 FORM REGENERATION

THE NEW SERIOUS MATRIX WILL BE BUILT UPON THE NEW DEFINITION THAT GENERATES TUBES AND BULBS BASED ON THE DISTANCE BETWEEN THE ADJACENT CURVES. THEREFORE, THE GENERAL GEOMETRY GAINS MORE FLUIDITY AND ELEGANCE. EXCEPT THE ORGANIC FLOW CURVES ARE CREATED BY THE ATTRACTOR POINTS, IN THE NEW DEFINITION, THE VARIABLE DIMENSION OF THE CIRCLES (WAIST OF THE TUBES) IS ALSO UNDER THE INFLUENCE OF THE DISTRIBUTION OF THE ATTRACTOR POINTS, WHICH MEANS THE TWO MAIN PARAMETERS IN THIS DESIGN PROPOSAL IS INFLUENCE BY THE SAME SET OF DATA, AND THIS MADE THE WHOLE GEOMETRY GAIN MORE SENSE OF INTEGRITY AND CONTINUITY, DEMONSTRATING MORE CONCRETE IMPLEMENTATION OF THE DE-SIGN CONCEPT.

PROJECT PROPOSAL

#01

#05

#02

#06

#03

#07

#04

#08

PROJECT PROPOSAL

#09

#13

#10

#14

#11

#15

#12

#16

PROJECT PROPOSAL

#17

#21

#18

#22

#19

#23

#20

#24

PROJECT PROPOSAL

#25

#29

#26

#30

#27

#31

#28

#32

PROJECT PROPOSAL

#33

#37

#34

#38

#35

#39

#36

#40

PROJECT PROPOSAL

ELONGATE ALONG THE CURVE TUBES SIT ADJECENT TO EACH OTHER

DENSE TUBES WITHOUT TOO MUCH CHANGE OF SIZE OF TUBES

PROJECT PROPOSAL

INCREASE THE DIV DISTANCE BETWEE OPENNING SPACE

SIMPLE GEOMET INTERSECTION

VISON PROTION OF THE EN CURVES TO CREATE E.

TRY WITHOUT

C.1.4 SUCESSFUL ITERATIONS

#13

THE #13 IS THE BEST ONE THAT WE CHOSE FROM THE ABOVE 40 ITERATIONS WHICH HAS BIG CONTRAST OF SMALL AND BIG TUBES THAT CREATES SENSE OF ELEGANT AND ORGANIC LAYERING. THE IRREGULAR OPENING PROVIDES ABILITY TO SEE THROUGH THE INSTALLATION TOWARDS CEILING, GIVE SENSE OF OPENNESS TO THE ROOM AND CLIENTâ&#x20AC;&#x2122;S USING EXPERIENCE. THEN BASED ON THE GEOMETRY AND IDEA THAT SHOWED IN #13, WE HAVE DEVELOPED 6 ITERATIONS WHICH ARE MORE PRACTICAL WITH CONSIDERATION OF CONCERNS IN FABRICATION. IN THE SELECTION OF THE ITERATIONS, -----WE TRY TO AVOID THE ONES WITH TOO MUCH RANDOMNESS OF THE DISTRIBUTION OF THE DISRUPTED SPACE WHICH RESULTS IN CREATING TOO MUCH INTERSECTING TUBES THAT ARE NOT FABRICATABLE. -----TRYING TO FINISH THE EDGES OF THE TUBES MORE SHARPLY TO PROVIDE SENSE OF COMPLETION RATHER THAN JUST TRIM THEM OFF WITH THE WHITE BOX. *PROVIDES LIGHTWEIGHT FLOATING AND FREEDOM.

PROJECT PROPOSAL

ADJUSTABLE AS SEPRATE GROUPS TO MINIMISE INTERSECTION AND GENERATE VOLUME

DENSE TUBES WITHOUT TOO MUCH CHANGE OF SIZE OF TUBES 78

PROJECT PROPOSAL

C.1.4

SUCESSFUL ITERATIONS

----- GRAPH MAPPER HAS BEEN USED TO ADJUST THE POSITION OF THE TUBES AS SEPERATE GROUPS TO AVOID MINIMISE THE OCCURANCE OF INTERSECTION, AS WELL AS CREATING VOLUMETRIC SPACE BY ITS WEAVE ON THE VERTICAL DIMENSION. THEN IT BECOMES DOUBLLY CURVED GEOMETRY WHICH MAY CAUSE ERRORS DURING UNROLLING AND FABRICATION PROCESS. -----EXCEPT BY GROUP THE STRIPS AND GRAPH MAPPER THEM, THE SECOND WAY TO MINIMIZE THE INTERSECTION IS MINIMIZE THE NUMBER OF STRIPS FIRST AND THEN CONTROL THEM INDIVIDUALLY BY USING GRAPH MAPPER. THE OUTCOME CAN BE SEEN IN #F. WE LIKE ITS ORGANIC FLOW AND FLUDITY, HOWEVER, CONSIDER THE DIFFCULTY IN FABRICATION TO BUILD SUCH COMPLEX AND IRRGULAR CURVATURE, WE FINALLY CHOSE A MORE GENTLE AND ORDERING ITERATION, SHOWING IN THE NEXT PAGE.

PROJECT PROPOSAL

C.1.5 FINAL

GEOMETRY

IN ORDER TO RESPONSE TO THE SITE, WE LEFT THE MIDDLE OPENING A BIT WIDER THAN THE OTHERS, IN ORDER TO PRODUCE LESS INFLUENCE ON THE LIGHTING IN THE MIDDLE OF THE ROOM WHERE ABOVE TABLE. AND ALSO THE FOUR CORNERS ARE ROUNDED TO SUIT THE GLASS WALL. MOST OF THE CLASSMATES PREFER #F AND #13 INSTEAD OF #D AND #E, BECAUSE WE THOUGHT #F AND #13 ARE MORE PRESENTIVE OF OUR DESIGN CONCEPT DUE TO THEIR FLEXIBILITY, FLUIDITY, AND IRREGULAR DISTRIBUTION OF THE SPACES AND THE BULBS WHICH CAN STRONGLY IMPRESS PEOPLE IN VISUAL. HOWEVER, DUE TO THE ACTUAL BUILDABILITY AND TIME LIMITATION, WE CHOSE #D AND # E TYPE AS THE BASE FOR OUR FINAL GEOMETRY AND TRIED TO ACHIEVE AS MUCH PARAMETRIC AESTHETICS AS WE CAN WITH MINIMUM INTERSECTION FOR FABRICATION. THE FINAL GEOMETRY WERE ALSO KEPT IN AN APPROPRIATE DIMENSION TO NOT DISTURB OCCUPANTSâ&#x20AC;&#x2122; VIEW ANGLE TO THE TV SCREEN.

PROJECT PROPOSAL

IN OUR ENVISAGEMENT OF THE ¬¬¬¬FINAL CONSTRUCTION, WE ARE GO IRREGULAR BULBS. THE STRIPS WILL SOMEHOW CONNECT TO EACH OTHE OF ANOTHER MATERIAL. THE CONNECTION BETWEEN RIBS AND STRIPS, A

GEOMETRY DEFINITION

CREATE 4000*6000 RECTANGLE AND THEN DIVIDE THE 4000 LINE BY SPACING OF 70 AND CONSTRUCT 57 LINES.

POSITION ATTRACTOR POINTS TO CULL PATTERN AND GENERATE NEW POINTS TO INTERPOLATE NEW CURVES WHICH ARE ORGANIC.

GROUP THE CURVES INTO GROUP BY 10, THEN WE GET 6 GROUPS ALLOW SEPARATE GRAPH MAPPER CONTROL.

DIVIDE EVERY CURVES INTO TWO SEPARATE SUB LISTS TO CALCULATE THE DISTANCE BETWEEN EVERY TWO ADJACENT CURVES. THEREFORE, WE ARE ABLE TO CONTROL THE SPACE BETWEEN EACH TUBE BY CHANGING THE DIVISION PORTION. THE FINAL STEP IS LOFTING THEM. 82

PROJECT PROPOSAL

C.1.6

OING TO INVENT RIBS AS THE STRUCTURAL BONE TO SUPPORT THE TUBES AND SHAPE THE STRIPS INTO THE ER FOR BETTER STABILITY. THE VERY TINNY TUBS WILL BE TAKEN EXPLORATION IN THE INVESTIGATION AND THE CONNECTION BETWEEN EACH INDIVIDUAL TUBES NEED TO BE FURTHER DETERMINED.

DIAGRAMS

STRIPS BASE GEOMETRY

STRIPS APPLIED TO BREP

WEAVING STRIPS TO INTERSECT

FINDING THE MID POINT OF INTERSECTIONS TO CREATE POINTS FOR FABRICATION.

STRUCTURAL SUPPORT

PROJECT PROPOSAL

C.9.1

PATTERNING-THROUGH

PROJECT PROPOSAL

MATERI

C.1.7

AL EXPRESSION P A T T E R N I N G - THROUGH MATERIAL EXPRESSION

PROJECT PROPOSAL

Environmental feedback within the design process creadit: Nick Dean

• Workflow that narrows the gap between 3d modeling and analysis • Creates a feedback loop that allows for iterations to occur with reference to real-world parameters (i.e. light exposure & distribution) instead of in isolation • Exploration into design potentials and performance at a very early stage within the design process • More time to reach the optimum performance of the building/installation

Ladybug plug-in (creadit: Nick Dean) • Whilst it is a plug-in that analyses sunlight exposure and distribution, there is quite a high level of control that allows the user to pinpoint exact locations for the sun • these locations ‘acted’ as lights within the meeting room (4 different locations/ positions were input into the SUNPATH COMPONENT) • RADIATION ANALYSIS component was used in order to analyse the distribution of light within the meeting room • Areas of most light exposure were located • A point was set at each of these areas • Points then used as ATTRACTOR POINTS in order to vary the thickness of the strips throughout the geometry • Closest to attractor points = thinner strips Note: Still had to retain the overlap of the strips in order for the rivet connections to be possible

PROJECT PROPOSAL

C.1.8 E N V I R O N M E N T A L F A C T O R S - INFLUENCING

FORM + PATTERN DISRIBUTION

Contribution/relevance to the design (creadit: Nick Dean) • Works towards creating context-dependent parameters • Design is somewhat unique to the meeting room site • Different ‘lighting plan/layout’ would contribute to different effects, therefore, the grasshopper definition is quite flexible & responsive in that regard • Although the effect is not overly noticeable due to fabrication restrictions (had to retain the overlap of the strips), the strips no longer all perform in the same way • strip thicknesses vary within each bulb • In a general sense, working with Ladybug establishes a workflow that draws upon both generative design and analysis  a little bit different to how we designed throughout the semester

PROJECT PROPOSAL

CONTEXT D

PROJECT PROPOSAL

C.1.9

D E P E N D A N T - P A R A M E T R E S //

ESTABLISHING A FRAMEWORKK

LIGHT EXPOSURE E VA LUAT I O N W I T H I N T H E M E E T I N G R O O M PROJECT PROPOSAL

C.1.10

PATERN GENERATION

SITE SPECIFIC

F E E D B AC K LO O P

WEAVING INITIAL IDEA

PROJECT PROPOSAL

INITIAL IDEA

LINEAR PATTERNS DIRECTION CHANGE #1

PATTERNING ON STRIPS DIRECTION CHANGE #2

PROJECT PROPOSAL

PATTERNING ON STRIPS DIRECTION CHANGE #2

PROJECT PROPOSAL

C.1.10

PATERN GENERATION

WE FINALLY CHOOSE THIS PATTERN IN ORDER TO PROVIDE GOOD LIGHTING AS WELL AS NOT BREAKING UP THE STRIPS DUE TO ITS MATERIALITY. THE PARALLEL DIRECTION ALSO CONTRIBUTES TO AN ACCORD LOOKING AS THE STRIPS.

PROJECT PROPOSAL

C. 2.

TECTONIC ELEMENTS & PROTOTYPES 1. JOINTS CONNECTED TO CEILING

2. JOINTS TO TIE THE CANES

3. CONNECTION BETWEEN CANES AND RIBS 4. PRIMARY STRUCTURAL RIBS TO SUPPORT THE INSTALLATION

PROJECT PROPOSAL

4 PROJECT PROPOSAL

C.2.1 J O I N T S: CEILING CONNECTIONS

JIA HAD INVENTED THESE JOINTS WHICH PERFORMANCE AS A HOOK WITH BOLT. HOWEVER, AFTER THE PRESENTATION WE REALIZED THE WEAKNESS OF THESE JOINTS IN A 3D PRINT MATERIAL AND THESE JOINTS FAILED TO HANG THE INSTALLATION VERTICALLY IN THE PLACE. THE JOINTS HAS BEEN FURTHER DEVELOPED BY JIA IN HER JOURNAL.

PROJECT PROPOSAL

C.2.2

CANE

EXISTING GEOMETRY

MATERIAL + PRECEDENT BRENDON AND HUGH HAD INVESTIGATED THIS PRECEDENT AS THE REFERENCE TO FABRICATE THE TINNY TUBE WITH BETTER MANAGEMENT OF THE CHANGING WAIST TUBES AND HAVE BETTER ABILITY TO DEAL WITH THE INEVITABLE INTERSECTION OF THE TUBES. THE CORES IN THEIR JOINTS ARE ANGLED IN ORDER TO PRESS THE CAN FLOW IN THE CERTAIN DIRECTION TO CONSTRUCT ACOMPLEX SCULPTURE VOLUME.

PROJECT PROPOSAL

MATERIAL

JOINTS

JOINT FOR 98

PROJECT PROPOSAL

C.14

JOINTS

P H O T O S OF THE FABRICATION OF THE CANE

TS TH E JOINTS SUCESSFULLY SHAPE THE CANE INTO THE RIGHT SHAPE, HOWEVER, THERE IS TROUBLE TO HOLD THE CANE TUBE INTO THE RIGHT POSITION. AND THE CANE HAS IMPACTS ON THE OVERALL LOOKING.

PROJECT PROPOSAL

C.2.3 JOINTS CONNECTION BETWEEN RIBS P R OTOT Y P E 1

CONNECTION BETWEEN CANE-JOINTS

P R OTOT Y P E 1

P R OTOT Y P E 2

100

PROJECT PROPOSAL

P R OTOT Y P E 2

P R OTOT Y P E 3

CONNECTION BETWEEN RIB TO CANE-JOINTS

JOINTS FOR --CONNECTION BETWEEN RIBS (1) --CONNECTION BETWEEN CANE-JOINTS (2) --CONNECTION BETWEEN RIB TO CANE-JOINTS (3) HAS BEEN DEVELOPED BY JINTAO. ALL THE JOINTS ARE CLIPS LIKE AND 3D PRINTED, PERFORMING WITH INTERLOCKING SYSTEM. ALL THE JOINTS ARE DESIGNED TO STABILIZE THE STRUCTURE OF THE INSTALLATION AND POSE EVERY INDIVIDUAL TUBES IN THE EXPECTED POSITION. UPGRADED JOINTS HAS BEEN DEVELOPED AFTER PRESENTATION AND PRESENT IN JINTAOâ&#x20AC;&#x2122;S JOURNAL.

STRIP CONNECTIONS -

P R O T O T Y P E M O D E L I N G // TABS

Press Studs

Rivets

P R OTOT Y P E FA B R I C AT I O N Initial Prototype: Polypropyleme | Tabs

TIMBER VENEER PAPER BACK

TIMBER VENEER LAMINATE BACK

Prototype: Timber Veneer Laminate Back | Rivets

BREAKING POINT

PROJECT PROPOSAL

101

RIBS-STRUCTURAL INTERIOR

THE IDEA OF THIS WEAVY RIBS IS INSPIRED FROM THE SOUTH POND PAVILION IN CHICAGO. HOWEVER, WE NEED TO BE VERY CAREFUL ABOUT THE DIRECTION OF THE GAIN OF VENEER AND ITS FLEXIBILITY THAT ALLOW THE BEND OF THE VENEER. THE THERE JOINED WEAVE CREATES A RIGID STRUCTURE THAT SUPPORT THE STRIPS LIKE FISH BONE.

South Pond Pavilion, Chicago 2010 by Studio Gang Architects

102

PROJECT PROPOSAL

HOWEVER, IN THIS PROTOTYPE, THE RIBS CRACKS AT THE PUNCH POINT, DUE TO THE LACK OF THE FLEXIBILITY OF THIS PIECE OF VENEER WITH LAMINATED BACK WHICH MADE THE VENEER BECOME RIGID. THE CRACK HAPPENED MAY ALSO DUE TO THE SMALL SCALE OF THIS PROTOTYPE, IN THE REAL 1:1 INSTALLATION, THIS SITUATION MIGHT NOT HAPPEN, BUT WE WILL STILL CONSIDER TO CHANGE TO THE VENEER WITH PAPER BACK TO AVOID THIS PROBLEM IN THE FINAL MODEL.

THE FORM-

D E S I G N I N G W I T H I N P A R A M E T E R S // PROTOTYPE

PROJECT PROPOSAL

103

C. 3.

FINAL DETAIL MODEL FOR THE FINAL PRESENTATION, WE ARE GOING TO FABRICATE AND PRESENT THREE MODELS IN THE SCALE OF 1:3, 1:10 AND 1: 30, RESPECTIVELY IN ACTUAL TIMBER VENNER, CARD CUTING AND 3D PRINTING.

104

PROJECT PROPOSAL

105

106

PROJECT PROPOSAL

107

Pro t o t y p e 1

Pro t o t y p e 2 108

PROJECT PROPOSAL

Pr o t o t y p e 1

FA B R I C AT I O N P R O C E S S DA M AG E

DIFFUSED TENSILE PRESSURE

PROJECT PROPOSAL

109

SEWN RIB/STRIP CO N N E C T I O N

H O M O G E N E I T Y O F M AT E R I A L EMPHASIZED

Pr o t o t y p e 1

110

PROJECT PROPOSAL

Pro t o t y p e 2

C.3.2

DIGITAL FABRICATION

CARD CUT TER 1:10 SCALE

3 RIB SUPPORT

4 PROJECT PROPOSAL

111

C.4

LEARNING OBJECTIVES AND OUTCOMES

As a class project containing 13 people, we didnâ&#x20AC;&#x2122;t successfully produce a completed fine model as we expected at the end of the semester, I think it is due to several reasons. - Team work cooperate mismatched sometimes. We just start to work as a group after week 9, therefore there is less unity to work together efficiently and people had less passion and understanding for the final chossen design proposal that decided to be the base of part C final model. In a group work, every process should operating at the same time to save time and give feedback between each groups on time to efficiently fix the problems and made modification to both digital model and fabrication. it should not be just one direct working flow from concept--geometry---pattern---joints----unroll----fabrication model. Instead, the working flow should be cross referenced to each other. After final presentations:

112

CRITERIA DESIGN

From the first to the last, our initial concept didnâ&#x20AC;&#x2122;t changed too much, and the persist of this concept push us to develop more potential by using computerlization-driven design. This subjects force us to learn a very different digital model making programme that push us to step out of our comfort zone and discover the new innovation and possibilities of the way to design, and the way to deepen the connotation. By using grasshopper to design a parametric proposal, it allows the application and simulation of the law in the physical world such like gravity, forces and lighting. In addition, it gives us the chance to visualize the invisible rules in the natural world, such like distributed behavioural model of birds (boids).

Biommicry algorithm has been experimented to assist the concept of visualizing the invisible flow and change in the site by simulating peopleâ&#x20AC;&#x2122;s behaviours and picture the flow and collision of the ideas born during the brainstorm in the boardroom.

https://vimeo.com/169959169 PROJECT PROPOSAL

113

114

PROJECT PROPOSAL

115

116

PROJECT PROPOSAL

117

118

PROJECT PROPOSAL

119

120

PROJECT PROPOSAL

121

122

PROJECT PROPOSAL

123

A.6. APPENDIX - ALGORITHMIC SKETCHES

HTTPS://STATIC.DEZEEN.COM/UPLOADS/2010/05/ DZN_SHANGHAI_EXPO_BRITISH-PAVILION-0004.JPG FIG.1.CURVILINEAR ATTRACTORS

FIG.2.IB&W IMAGE ATTRATORS

FIG.3. COLOURS INDICATES THE HEIGHT DIFFERENCE

FIG.4. PANELLING A GEOMETRY FIRST, THEN MAKE ATTRACTORS EFFECT. CREATE FEELING OF TEXTURE OF MATERIALITY

FIG.5. TRYING TO EMERGE THE PROJECTING SHAPE AS THE UK PAVILION IN SHANGHAI EXPO, BUT FAILED TO GET A AVERAGE ROUND SHAPE OF THE PROJECTION, AND THE COMPUTER FAILED TO RESPOND WHEN I EXTRUDE A TUBE AROUND EACH PROJECTING LINE.

FIG.6. UK PAVILION, SHANGHAI EXPO, 2010

FIG.6. HTTPS://STATIC.DEZEEN.COM/UPLOADS/2010/05/ DZN_SHANGHAI_EXPO_BRITISH-PAVILION-0004.JPG

FLIP DATA AND USE RELATED ITEM TO GET WEAVE TEXTURE

FIG.2.IB&W IMAGE ATTRATORS

FIG.4. PANELING A GEOMETRY FIRST, THEN MAKE ATTRATORS EFFECT. CREATE FEELING OF TEXTURE OF MATERIALITY

GRID PINCH USING CULL PATTERN AND CLOSED POINT TO PICK UP THE POINT IN A RANGE IN ORDER TO RECONSTRUCTE

ACTING FORCE ON THE SURFACE TO CREATE RIPPING EFFECT BY KANGAROO

ROTAE BREP ALONG CURVES AND ROTATE THEM GRADUALLY CREATE FIELD BY THREE PAIRS OF POINTS ON A SURFACE, ROTATE THE VECTOR OF THE CLOSER POINTS IN ORDER TO EMERGE AS AN ENTIRETY.

Reference:

1. NORMAN FOSTER, TED TALK, 2008. 2. 2. GILI MERIN, ‘AD CLASSICS: THE PLUG-IN CITY / PETER COOK, ARCHIGRAM’, ARCHDAILY, 10 JULY,2013 < HTTP:// WWW.ARCHDAILY.COM/399329/AD-CLASSICS-THE-PLUG-IN-CITY-PETER-COOK-ARCHIGRAM/> [ACCESSED 5 MARCH 2016] 3. 4. 3. MEGAN SVEIVEN, ‘AD CLASSICS: NAKAGIN CAPSULE TOWER / KISHO KUROKAWA’, ARCHDAILY, 9 FEBRUARY, 2011 < HTTP://WWW.ARCHDAILY.COM/110745/AD-CLASSICSNAKAGIN-CAPSULE-TOWER-KISHO-KUROKAWA>[ACCESSED 5 MARCH 2016] 5. 4. BIOREBOOT: THE ARCHITECTURE OF R&SIE(N), DESIGNBOOM, 02, SEPTEMBER, 2010.< HTTP://WWW. DESIGNBOOM.COM/ARCHITECTURE/BIOREBOOT-THE-ARCHITECTURE-OF-RSIEN/>[ ACCESSED 10 MARCH 2016] 6. 5. FRANCOIS, ROCHE, ‘INTERNATIONAL PAVILION / BI[R]O-BO[O]T / 7 APPARATUSE’, NEW-TERRITORIES. < HTTP://WWW.NEW-TERRITORIES.COM/BIENNAL%20OF%20VENICE%2008.HTM>/>[ ACCESSED 10 MARCH 2016] 7. 6. ‘ICD | ITKE RESEARCH PAVILION 2011 / ICD / ITKE UNIVERSITY OF STUTTGART’ , ARCHDAILY, 18 JANUARY, 2012 < HTTP://WWW.ARCHDAILY.COM/200685/ICDITKE-RESEARCH-PAVILION-ICD-ITKE-UNIVERSITY-OF-STUTTGART> 8. 7. ‘HEYDAR ALIYEV CENTER / ZAHA HADID ARCHITECTS’ ARCHDAILY,14 NO-VEMBER,2013< HTTP://WWW. ARCHDAILY.COM/448774/HEYDAR-ALIYEV-CENTER-ZAHA-HADID-ARCHITECTS>>/>[ ACCESSED 16MARCH 2016] 9. PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, P10 10. COVER PHOTO CREATED BY ALEX DIACONU. <HTTPS:// WWW.BEHANCE.NET/GALLERY/18569487/TORNADO> 11. HTTP://WWW.WISEWOODVENEER.COM/FLEXIBLEWOODVENEER.HTML