ABPL 30048
StudioAIR
Yee Lun Chan 723256 2016 Semester 1 Tutor: CanHui Chen
ABOUT ME
I am Tiffany Chan. I am currently in my third year of the Bachelor of Environments and majoring in Architecture. As a transfer student from business major, I am still not so familiar with digital design softwares. I have always loved drawing and designing. However, I had never planned to study architecture until recent years. My interest in the field of Architecture developed from my previous art history class which I started to learn about some Greek and Roman architectures. I found that architecture is more than art, it can relate to culture, society, technology and everything. My curiosity and appreciation towards architecture has then lead me to begin this journey. Although I am more interested in the traditional design process, I am excited to explore digital design and fabrication. I hope this studio can enrich my knowledge towards parametric design.
PART A CONCEPTUALISATION
A1. DESIGN FUTURING
Precedent #1 Bloom
Architects: DO|SU Studio Location: Materials&Application Gallery, Los Angeles, California, United States Completion Date: November 19, 2011
Design tends to take advantage of natural resources in these days. Even though passive design is not something new in this field, an innovative weather responsive metal makes this project interesting. Bloom is formed with thermobimetal which allows air to drive out responsively with the weather [1]. In other words, the material is an interacted system that is able to perform all the role of sensing, operating and reacting [3]. The concept for this is actually simple to understand under the principle of thermal expansion. The metal panels that are facing out is designed to receive the most of sunlight with curing function while the opposite size provides shading effect [3]. Metal sheet bends to allow hot air flows out when the temperature get high and they flatten out to form an enclosed place to keep warm air stay when temperature drops [3].
In my view, instead of a real form, Bloom, should be perceive as an experimental model which explore this new technique. Exploration of material behavior helps expand future architectural possibilities. The thought of seeking responsive element to interact with climatic influences should be appreciated. I believe this project is influential, this metal can integrate with the ventilation system and provide the need for heating and cooling in an energy efficient way. I hope others can adapt this technique in their future project to achieve a sustainable design.
[1] Anderson, Lamar, “Biologist-Turned-Architect Invents “Breathing” Metal Building Skin”, Architizer, 2012 [3] Furuto, Alison, “Bloom / DO|SU Studio Architecture”, ArchDaily, 2012
A1. DESIGN FUTURING
Precedent #2 Bio Intelligent Quotient House Architects: Splitterwerk Location: Hamburg, Germany Project year: 2013
Resources in the world is limited thus a new way of living is urged to change our current living pattern. The façade of the BIQ project is installed with glass panels holding micro-algae farms which produce biomass which are used to turn into renewable energy [7]. Heat generated from daylight is collected and stored to supply for space and water heating [10]. Also, the algae façade provides perfect insulation for the building. The adaptive plants grow more and faster when sunshine get intense, hence allowing better shading in hot weather [10]. I believe that this material will become more common in the future. Not only in the architecture field, however, its flexibility should allow it to combine with other system or material and be useful for other projects as well. This project house is built and I believe it is revolutionary because it is the first building in the world that is powered by algae. Architectural achievements should not limit to aesthetic prospect. The theory engaged in this project rather than symbolizing todays architecture world, it managed to solve the real environmental issue should continue being appreciated.
[7] Rackard, Nicky, “World’s First Algae Bioreactor Facade Nears Completion”, ArchDaily, 2013 [10] “World’s First Algae Powered Building By Splitterwerk”, designboom | architecture & design magazine, 2013
A2 . DESIGN COMPUTATION
Precedent #1 Part to Whole
Architects: HG-A | LIVE COMPONENTS Location: National Museum of Modern and Contemporary Art, Seoul , South Korea Project Year: 2014 The project takes the idea that every objects is composed with numerous units. From “part to whole” means forming the space by organizing small modules, the basic building block, to form a bigger space [6]. At first glance, I feel the structure is complex because of the curvy edges composed with a stack of wooden modules with several layers. In fact, with digital computing, the design of this structure is simpler than how it looks. The whole volume begins with a cube with circles following different curves which dig through the inner capacity to form the void areas[6]. Digital computing also contributes to the precise calculation of mass. The structure is achieved by composing 50:50 proportion of voids and solids [6]. Besides, the properties of material have taken into consideration during the design process which enhance design flexibility. The construction make use of the strength of wood to stabilize the structure; and with the variation of degrees in piling those wooden blocks create the “plaid” pattern. In this project, digital computing may have limit human creativity in a certain way but it has maximized available space within the design meanwhile minimized waste of materials as well.
[6] “Part To Whole / HG-A | LIVE COMPONENTS”, ArchDaily, 2014
A2 . DESIGN COMPUTATION Precedent #2 Silk Pavilion
Architects: MIT Media Lab Location: MIT Media Lab Project Year: 2013 Perhaps the most interesting part of the Silk Pavilion project is the innovative technique being used. The pavilion is not purely computational, it combines the digital form finding method with a mix use of robotic and biological fabrication [9]. Computing has re-define the practice in design practice: They first research the habitual nature of silkworms in order to understand the thread properties produced from silkworms. And with the information, the curvature of the design is obtained based on the performance of how a single continuous thread react [2]. I would say computing has affect the design greatly in this case. Without the digital design technique, it would be hard to determine the form with only knowing the data of the quality of thread. Robot also plays an important role in the fabrication process. Robot first started a set of guide thread with pattern that is constructed over an aluminum frame as a foundation which allows silkworms to follow to create the sphere structure [2]. This project suggests the interlocking relationship of material, curvature and structure in digital computing is irreplaceable. Digital fabrication can often easily be reproduced which can be seen as an advantage, however, when everything is unify, it can lose one’s characteristic. I think what make the Silk Pavilion special is that with the integration of biological fabrication, unpredictable textures and features can make the structure unique.
[2] Flaherty, Joseph, “A Mind-Blowing Dome Made By 6,500 Computer-Guided Silkworms”, WIRED, 2013 [9] Stott, Rory, “Silk Pavilion / MIT Media Lab”, ArchDaily, 2013
A3 . COMPUTATION/ GENERATION
Precedent #1 Vaulted Willow
Architects: MARC FORNES & THEVERYMANY Location: Borden Park, Edmonton, Canada Year: 2014 The significance of digital computing is shown in the project of the Vaulted Willow. The Valuted Willow combines structure, skin as well as ornamentation into one system, which also means that the material properties must need to be fully taken into account during design process [8]. I believe the design idea is derived from the hanging chain model which used the concept of spring system, but digitally, to its structural form-finding process which results to this parabolic structure. It seems to me that without the aid of digital computation, this complex form would be challenging to create by using only traditional method. Yet, the computation solves the complex problems with algorithm and allows designers to understand the design more deeply and the whole process turns out to be much easier. The project in order to maintain lightweight, used thin aluminum sheets for the overall structure and overlay strips at the edge which allows better connectivity for transmission of additional load [11]. Computation helps evaluate each strips for fabrication to have a better management in material and thus reduce wastage and help save material cost. Also the precise information like axis of bending, angle measurements and color data for each stripe allows an accurate and more efficient building process [11].
[8] Rosenfield, Karissa, “Marc Fornes / THEVERYMANY Constructs Self-Supported “Vaulted Willow” With Ultra-Thin Aluminum Shells”, ArchDaily, 2015 [11] “11 Edmonton”, MARC FORNES & THEVERYMANY™, 2011
A3 . COMPUTATION/ GENERATION
Precedent #2 Subdivided Columns - A New Order Architects: Michael hansmeyer Year: 2010
[4] Hansmeyer, Michael, “Computational Architecture: Subdivided Columns”, Michael-hansmeyer.com, 2016 [5] “Michael Hansmeyer: Ornamented Columns”, designboom | architecture & design magazine, 2011
Perhaps these beautiful columns should be perceived as revolutionary artworks, they redefine the typical way of thinking and express an innovative design thinking. Hansmeyer begins with subdividing the local parameters of the topography and topology of a doric column [5]. Through the process, each single components revealed and gives a result that is not only complex but also confusingly beautiful [4]. Although under the same of rules, each column is different to one another due to the variation in shifting of points. It is surprisingly for me to notice that such a complex in form of columns can be generated by using simple subdivision algorithmic script. However, ‘simple’ here can only applies to digital computation. This is because this process would be impossible and can take endless time for humans to calculate. The complicated form of columns is unlikely can be composite by humans simply with our aesthetic sense in the first place. In this instance, computation save times to create a great variety of design probabilities and flexibilities which is difficult for human to evaluate. I believe Hansmeyer didn’t know how those columns would exactly look like before the result generates. The shortcoming of design generates by computation is that the outcome can be unpredictable. When numerous data is being analyzed with various factors engaged in the design process, it can be hard for humans to assume and know the result beforehand. However, I guess this is also what makes computation design interesting.
A4. Conclusion I develop a better understanding about digital design through part a. By researching those precedents, I realized the significance of curvature, material and structure under the design process in computation design. Computation has change todays design practice; it allows us to reach out the boundary that we used to unable to manage with only traditional method. Simulation of material properties is one particular feature of digital design that show us the effectiveness of computation to help human to solve complex problems. Overall, computation open up a lot of opportunities and it requires further exploration. From the precedents, we can able to see computation helps us to step towards a more sustainable life. My intended design approach is also to focus on the topic of sustainability and protecting the animals which inhabit at the site. The design aims to raise the awareness of environmental protection and hence providing a better living for the future.
A5. Learning outcomes Without knowing anything about parametric design, and have zero background in “grasshopper�, I feel nervous with this studio at the beginning. The resources that were provided in the last three weeks provide me a clearer understanding about the concept of computation design. And now I believe I am able to distinguish some similar terms like computation and computerization, composition and generation etc. Through following the online videos, it allowed me to get a touch on grasshopper. I am excited to see how I can apply what I learnt in the videos in the project.
References [1] Anderson, Lamar, “Biologist-Turned-Architect Invents “Breathing” Metal Building Skin”, Architizer, 2012 <http://architizer.com/blog/doris-kim-sung-thermo-bimetal/> [2] Flaherty, Joseph, “A Mind-Blowing Dome Made By 6,500 Computer-Guided Silkworms”, WIRED, 2013 <http://www.wired.com/2013/07/your-next-3-d-printer-might-be-filled-with-worms/> [3] Furuto, Alison, “Bloom / DO|SU Studio Architecture”, ArchDaily, 2012 <http://www.archdaily. com/215280/bloom-dosu-studio-architecture/> [4] Hansmeyer, Michael, “Computational Architecture: Subdivided Columns”, Michael-hansmeyer.com, 2016 <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=1#und efined> [5] “Michael Hansmeyer: Ornamented Columns”, designboom | architecture & design magazine, 2011 <http://www.designboom.com/architecture/michael-hansmeyer-ornamented-columns/> [6] “Part To Whole / HG-A | LIVE COMPONENTS”, ArchDaily, 2014 <http://www.archdaily.com/544023/ part-to-whole-hg-a-live-components> [7] Rackard, Nicky, “World’s First Algae Bioreactor Facade Nears Completion”, ArchDaily, 2013 <http:// www.archdaily.com/339451/worlds-first-algae-bioreactor-facade-nears-completion [8] Rosenfield, Karissa, “Marc Fornes / THEVERYMANY Constructs Self-Supported “Vaulted Willow” With Ultra-Thin Aluminum Shells”, ArchDaily, 2015 <http://www.archdaily.com/596033/marc-fornestheverymany-constructs-self-supported-vaulted-willow-with-ultra-thin-aluminum-shells> [9] Stott, Rory, “Silk Pavilion / MIT Media Lab”, ArchDaily, 2013 <http://www.archdaily.com/384271/ silk-pavilion-mit-media-lab> [10] “World’s First Algae Powered Building By Splitterwerk”, designboom | architecture & design magazine, 2013 <http://www.designboom.com/art/worlds-first-algae-powered-building-bysplitterwek/> [11] “11 Edmonton”, MARC FORNES & THEVERYMANY™, 2011 <http://theverymany.com/publicart/11-edmonton/>
A6. Appendix-Algorithmic Sketches
A6. Appendix-Algorithmic Sketches
PART B CRITERIA DESIGN
B1 . RESEARCH FIELD Tessellation is commonly being used in the area of pattern creation in terms of architectural use. It is particularly rich in mathematics and is highly related to geometry. A tessellation is created with the arrangement of shape by repeating and fit tightly with no overlaps and leaving any gaps; but with aesthetic understanding, tessellation can turns into an art form with beautiful patterns. Tessellation is able to reinterpret a smooth surface by simply using sheet materials. In order words, it seek a balance between the geometry and material performance. With the use of computational software, it is in particular beneficial when handling complex forms as it produces precision of data in surface definition which brought together the architecture itself with the materials; while leaving more controls for designers to explore how tessellation manipulate in producing such forms.
[6] â&#x20AC;&#x153;V [8] â&#x20AC;&#x153;V
Volta Dom
Architects: Skylar Tibbit Volta Dom has reference to the historic structural component, the vault, to create the space with an arched ceiling [8]. The project is generated with a planar surface with packed patterns and by inputting data of applied force to create those arches [6]. In this way, the beautiful patterns form with the technique under tessellation has no change in their interlocking arrangement, and are able to apply not only to a flat plane but they are able to transform into a three dimensional space. The curvy panels are divided into smaller developable strips and installed together.
Voltadom By Skylar Tibbits - Designplaygroundsâ&#x20AC;?, Designplaygrounds Voltadom Installation / Skylar Tibbits + SJET - Evolo | Architecture Magazine
In this project, we are able to see the technique of tessellation doesnâ&#x20AC;&#x2122;t only apply in ornamental purpose, but it can offer functions like working as structural element. Volta Dom as a selfsupporting structure has taken the advantage with the capacity of material performance to maintain structural capability. The whole structure need to be completely linked to the structural capability of each panel.
B2. Case Study 1.0
Iwamoto Scott- Voussoir Cloud Location: Los Angeles, CA, United States Year: 2008 The elegant patterns should be the most outstanding feature of Vousoir cloud and this is apparently an outcome from the technique of tessellation. Different from the Volta Dom, Vossoir cloud doesn’t simply follow the strict rules of tessellation but instead it leaves spaces between each modules while each gaps allows penetration of light which create a dramatic effect. Apart from patterning, the Delaunay tessellation also provide critical information for structural logic which determine the purely compression system. The form finding of the vaulted geometry can be seen referring to the hanging chain model. The force of gravity is driven to various anchor points to create different effects from the base geometry [5]. The form of Vossoir cloud is an efficient response to optimize the structural force with the lightweight plywood surface which are completely under compression [9].
[5] “Iwamotoscott”, Iwamotoscott.com, 2016 [11] “11 Edmonton”, MARC FORNES & THEVERYMANY™, 2011 [9] “’Voussoir Cloud’ By Iwamotoscott With Buro Happold - Archivenue”
Species1
Species3
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Species4
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Species5
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1. I have choosen this as one of my selection because it looks the most different from the others. Here, I put all the points along one side and I found that this has affect the whole form but not only the location of openings. 2. This iteration was selected due to its aesthetic form. Its shape is visually interesting compared to the others. I like how the triangulated plane grown from the centre and appear like a flower. 3. I was exploring how patterns can be generated over here. In fact, the chosen iteration has the simplest pattern among all others, but I like the equal balance which formed the regular rhombus pattern. 4.The form of this iteration made me think of some cathedrals. But , in favt, what I am exploring here is the cull faces. I found out that by using this component, a pretty much regular pattern will be formed. It is hard to create something really unique.
B3 . Case Study 2.0
[2] “Dragon Skin Pavilion– LEAD – Laboratory For Explorative Architecture & Design [3] “Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) And Sebastien Delagrange (LEAD)”, ArchDaily Magazine
Dragon Skin Pavilion Architects: Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD) Project Year2012 Location: Kowloon Park, Hong Kong
The Dragon Skin Pavilion is designed as an experimental artwork by architecture students from Finland [3]. It concept is to inspires people to think the space we live in today being developed into a technology combined space in the future [3]. Through digital design and fabrication technology, the project intends to explore new opportunities for spatial, tactile, and material possibilities. [3] The project shows how tessellation is implemented, in this case, the regular, repetiting wooden panels interconnected to each other to create its general form. I found the joining system used here interested me the most. In most other projects, additional bolts are often necessary for connecting structure but instead, the Dragon Skin Pavilion is designed with algorithm to get accurate position of each panel which shifted with a certain degree of angle to create its curvature and connected by simply slide past to interlock one another for connection [2]. The structure formed with 163 pieces of plywood components which are digitally fabricated by bending rectangular pieces; doesnâ&#x20AC;&#x2122;t only take patterning for aesthetic purpose, but the material capacity is also significance in providing structural stability [3].
B3 . Reverse Engineering Create curves and loft to create general form
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Cull to shift pattern position and scaled them to get this final result
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Create bounding box for pattern
eate tesselation patterns
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Morph patterns onto surface
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By creating the triangulated pattern and morphing it to the surface, I am able to develop a similar form of the Dragon Skin Pavilion. However, I noticed that the actual pavilion has a much complex tessekation pattern than what I did here. In the real one, each wooden modules are different from the bottom to the top of the openings in order to form the curvature.
Form Finding through culling points
Form Finding through adjusting constraint curve
Cull faces
Tesselation
I was aiming to find a form with the exploration on culling pattern. This component allows me to get control with the cells by using the boolean toggle by simply setting true or false.. I like this hemisphere dome form which is able to create the spatial experience with the gradual increase in internal volume and unlike a sphere, it allows to provide a stable base for the structure.
Similar to what I aim above, by adjusting the constraint curves, I can easily control the size of openings and get a general form for the design. The curvature of the structure with the increase in height and a wide opening which is more likely to be considered as an open space which is an opposite of the one above.
I begin to think about pattering over here. This is one of the iterations taken from the exploration of patterning by culling faces. I choose this as one of my selection becasue of the nice composition formed with the balance between “positive” and “negative”. I think the gaps here are able to allows adequate lighting to get through.
Tesselation is one important element I found in the Dragon Skin Pavilion. Here, I lofted two curves to create a pattern for morphing onto the surface. I found this is interesting because the patterns itself formed the gaps in between each patterns initially without the need of culling faces like what I did above,
B 5. Technique Prototypes:
1.Testing with its bending performance 2. Connection joints between each modules is explored with wire 3. Test to see whether this connection is possible using for the valve 4.Tesselation pattern 5. Exploring the performance of how well it can be float on water This prototype is done with polystyrene to explore the potential for this material as well as the tessellation pattern. Each modules are cut with the exact small size and shape according to the printing. Material: Through this prototype, I found out that the bending capacity of polystrene is highly related to its thickness. Thick polystrene tends to crack easier than thinner one. Also, this material can perfectly float on water which is an important element in my design. Connection: I used wire to tie each module to another one. This joint has worked effectively to provide movement so as to form the opening for valve. Polystrene has pretty much reach my expectation in most of my testings, but it require a rigid support like a grid shell in order to stand structurally for a real architectural structure.
B 6. Technique Proposal: Site of Interest: Dights Falls
Dights Fall
Dights Fall located at the downstream of the junction of the Yarra River with Merri Creek can be a possible area for my design. The weir at the dights increase the velocity of water so that rubbish can flow in naturally to the trap and able to keep litter inside without flowing back
Design concept:
Water pollution can trigger great impact to the environment. The wildlife can be greatly affected by the quality of water and there are reports showing that animals living in the Merri Creek are often trapped by rubbish such as water bottles, fishing nets, plastic rings and hair ties etc. Environmentalist has noted that it is almost impossible for entangled animals to free themselves and this can seriously threatened their lives. Animals can potentially get horrific hurt or forfeit the ability of foraging and may even get drown. There is no doubt that water pollution can leaves the habitat in poor condition or have a chance to lead animals to death. I see this as an opportunity to create something to tackle this problem. I understand that definitely my design is impossible to fully collect all the litters but it also aims to remind people that the interrelationship between nature, technology and culture. My design intent is to use the concept of the litter trap which is able to trap the floating litter in order to reduce the amount of rubbish at waterway and developed it into a design with both function and aesthetic purposes
(Existing and original form of Litter Trap)
Litter Trap is a floating device installed at strategic locations along waterways to collect and retain floating litter, vegetation and other debris. The system operates silently without any mechanical assistance, capturing and retaining debris ready for removal and disposal.â&#x20AC;? (Source: Bandalong Litter Trap)
Parametric design can perfectly stand for the system connection in order to evoke people awareness and to think about how technology and culture are causing impacts to our nature. For form finding of my design, I pay most attention on how the form can responds to its function which is to trap the litter in place. Also, the connection of the design and the site is linked with the fluid form of the litter trap where the curvature is derived from the curve of the waterway while the tesselation is taken form the pattern of the tree bark where I saw at the site . The structure itself need to be float on water so a low density material is required. Polystyrene is something that I am thinking of. Although it doesnâ&#x20AC;&#x2122;t seems to be a green material, the design can reuse polystyrene
that had been used for cups, containers or packaging etc. What brings into concern is that polystyrene, a lightweight material, is unable to stay in place. So, the structure will need to tie to rods thats are fixed to the ground. On the other hand, adopting the idea of tessellation from the Voussoir Cloud and the Dragon Skin Pavilion, for my design, patterns are arranged and packed in a similar way so that it can leaves spaces for fish to go through and not trapping them.
Mechanical power is not required for my design and it works solely with the natural force. Pin joints will be used for the connection between the structure with the valve. The flap is opened up with the pushing force from the velocity of water allowing gabage to flow in naturally. In contrast, the flap will close to form an enclosure so rubbish can be trap inside without flowing back with an opposite velocity.
B 7. Learning Outcomes and Feedbacks After part A, we switched from a research based study to really start experiencing the use of Grasshopper. From part b, it pushes me to develop computational design skill and the knowledge is fruitful. Throughout the course of part b, I faced a lot of challenges with the use of Grasshopper. I felt confused most of the time and this has definitely restrained the potential of my design. Case study 2.0 is a main struggle to me, I was unable to manipulate the definition for a long time. However, it was rewarding and I had gained some confident when the project has been generated. On the other hand, producing the large amount of different iterations made me feel tired but this had apparently helped me in experimenting and finding out the possibilities and limitations of the algorithm. This has further proven the advantages and opportunities of computational design which has been mentioned in part a research. Reflecting the feedbacks received from interim presentation, I noticed that the design still requires a deeper exploration in various aspects in order to be better developed. Form finding of the design should be taken into deeper consideration and get some improvements. Also, I have failed to think about the material and construction of the real structure. I have originally used paper as my prototype and this was apparently not applicable to the real situation. Thus, I was reminded to develop a clearer understanding of how does the litter trap works and the components of it. So, I decided to take a step back to return to the researching stage in order to perceive a complete concept of what it was made up with as well as how it actually function.
References [1] “Dragon Skin”, Dragonskinproject.com, 2016 http://dragonskinproject.com/ [2] “Dragon Skin Pavilion– LEAD – Laboratory For Explorative Architecture & Design”, L-e-a-d.pro, 2012 <http://l-e-a-d.pro/projects/dragon-skin-pavilion/2259/> [3] “Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) And Sebastien Delagrange (LEAD)”, ArchDaily, 2012 http://www.archdaily.com/215249/dragon-skin-pavilion-emmikeskisarja-pekka-tynkkynen-lead [4] “Dragon Skin Pavilion Is A Digitally Fabricated Plywood Sculpture - Evolo | Architecture Magazine”,Evolo.us, 2012 http://www.evolo.us/architecture/dragon-skin-pavilion-is-a-digitallyfabricated-plywood-sculpture/ [5] “Iwamotoscott”, Iwamotoscott.com, 2016 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [6] “Voltadom By Skylar Tibbits - Designplaygrounds”, Designplaygrounds, 2011 http:// designplaygrounds.com/deviants/voltadom-by-skylar-tibbits/ [7] “Voltadom By Skylar Tibbits | Skylar Tibbits - Arch2o.Com”, Arch2O.com, 2013 http://www.arch2o. com/voltadom-by-skylar-tibbits-skylar-tibbits/ [8] “Voltadom Installation / Skylar Tibbits + SJET - Evolo | Architecture Magazine”, Evolo.us, 2011 http:// www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/ [9] “’Voussoir Cloud’ By Iwamotoscott With Buro Happold - Archivenue”, Archivenue.com, 2016 <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/>
B 8. Appendix
PART C DETAILED DESIGN
COLLABORATIVE DESIGN TEAM Glen Thai-Chan Daniel Paris Luke Adamson Jessica Betterridge
C1. Design Concept:
Development from Interim:
Location: Primary School Client and Users: - Children aged from 6 to 11 - Teachers - Educational Guests.
In part C, we were arranged into groups base on our interest as well as the technique that we had been explored on in part B. By combining our skills in different research field e.g. orienting, patterning, sectioning etc., we have descided to come up with a design which can help improve the learning environement of a primary school through enhancing the acoustic quality of classrooms.
Our design intention is to create a ceiling installation which serve as good acoustic controller and absorber. The installation works as a sound barrier to absorb the noise and break up the sound weaves so as to diffuse the sounds of students or teachers. In other words, the design can helps reduce the intensity of sound and minimizing the interruption proposed to neighboring classes. We believe that this can improve the learning environment thus aiding the learning process. Also, we know that children learnt through observing, listening, exploring and experimenting and it is important to motivate their interest and engagement in learning. Our designed wish to encourages children to explore and interact through stimulating them with the color scheme and patterning. There are a number of research suggesting that visible learning and visible thinking is important for children. It has been proven that interesting colors and patterning in the architecture of the building can provide a great learning environemnt for kids to fully engaged with their surrounding.
Precedents research 1:
Pixel Building Architects: studio505 Location: Melbourne Victoria, Australia The Pixel building is featured with its innovative integrated environmental systems. It serves as a prototype for future office as a zero carbon building. The eye catching colorful façade is significant in different ways. It serves as a composite passive device to provide planters, fixed shading louvers and solar panel shading. Also, in terms of the geometry of the panels, the patterning of the building seems to be complex in a sense but the logic behind has mainly shows its concern towards material use. Each of these irregular polygons pieces fit inside various flat rectangular panels so the whole piece of panels can be used and there is no wastage of material. The colorful façade which doesnâ&#x20AC;&#x2122;t serve only in aesthetic way but the concept embedded in the patterning system has response to sustainable design.
Precedents research 2:
Project 3: Pushing The Envelope Student work: Alex Bancu
This project explores on the logic of component system regarding material properties in order to achieve a selfsupporting design. The design process started by using simple geometries from a two-dimensional flat material and by rotating the components in different angles to get the intersections for the panels from each side. Based on this logic, the design is not only limited to a single stretching direction but it can stack over one another to develop into a more complex and threedimensional structure.
Precedents research 3:
Wintergarden Façade / Studio 505 Architects: Studio 505 Location: Brisbane QLD, Australia Project Year: 2012 Project Year2012
The richness in geometries, colors as well as composition of the Wintergarden’ Façade made the building incredibly beautiful. The complexity of the façade is formed with overlaying four layers with different distinctive patterns related to the study of nature which are created by using techniques like laser and water-jet cutting, scoring, folding and lighting. A prominent feature of the façade is the changes in patterns due to the variance in sun angle from different time of the day and season. The interplay of vibrant colors and elegant patterns of each layer are attractive and compelling and together they composite an unique visual experience for visitors. Project Year2012
We have first lofted a surface and extract the surface points within the curvature. We obtain three different layers according to the vector direction genrated from each point. At each point, we orient a new geometry wherea their planes following the vector directions. Then we reduce those points to obtain a suitable amount of points and by overlapping the three layers together, the two dimenstional flat surface can transform into a three dimensional structure with different layering.
By reducing the density on each overlap layers, we are able to get a cleaner surface with the more appropreaite number of points for us to create those panels. By rotating the geometries for each layer, we are able to get the intersection so that each panel units can be interconnected to create one whole structure. With the known location of the joints, we have then able to create different geometries along those joints with the only concern of not affecting the area that need to be connected. Also, through rotating and orienting the geometries, we are able to get the panels with different angles and we combine all layers together to create a complexity within the installation. Therefore when sound hit onto a panel, it can be bounced around within all these panels according to the complexity hence the sound weaves can be absorbed and scatter in all directions to achieve noise reduction.
Color Coordination:
Recognizing and identifying colours is an important part in childrenâ&#x20AC;&#x2122;s development. Children are sensitive and naturally curious towards the world around them. A colourful environment can provide good opportunity to discuss colours with them. Also, we found that the use of playful colours has the ability to inspire childrenâ&#x20AC;&#x2122;s thought and mood. Primary colours are vibrant and bright which are attractive to children. Through the use of these colours, we hope to stimulate their interest in learning as well as improve the cognitive process of children.
Color Coordination:
The recognization of the color pattern requires understanding from different perspectives. The colors are arranged to alligned in a straight line. However, in order not to be overwhelming and caused distraction, the colors are applied onto different panels which may not be facing onto the same direction. One color is being virtually seperated by the other colours so that it doesnâ&#x20AC;&#x2122;t over grab oneâ&#x20AC;&#x2122;s attention. This allows the installation to give a general colorful and peasant appearance wherea it can still manage to get the arrangement of color patterning at the same time..
Material Research:
Acoustic foam
Standard Plasterboard
Very Poor
Good
Fire resistance
Acceptable
Acceptable
Weight
Very Light
Acceptable
Durability
Polypropylene she Good
Acoustic resistance
Appearance
Initial Cost
Scrach can easily destroy the foam but without affecting its performance Acceptable
PVC Foam Sheet Durability
Good
Further finishing is required
Very Poor Very Light
Available in opaque translucents with a w range of colors
Acceptable
Cork Sheet
Cheap
Aluminium sheet
Very Poor
Very Good
Acceptable
Poor
Very Light
Heavy
Acoustic resistance Fire resistance Weight Appearance
Initial Cost
Self Extinguishing Very Light Available in wide range of colors Acceptable
Grain texture and pinnable surface Cheap
Smooth surface and n prone to rusting Expensive
eet
es or wide
not
Acrylic
Echo panel
Good
Very Good
Very Poor Half the weight of glass Wide range of colors and able to diffuse light to create stunning visual effects. Cheap
Standard MDF Board Good
Copper Sheet Very Good
Acceptable
Poor
Light
Heavy
Fabric like finish surface Expensive
Polystyrene Sheet Very Poor
Smooth surface and not prone to rusting Expensive
Polycarbonate Panel Very Good
Acceptable
Very Poor
Heavy
Very Light
Half the weight of glass
Smooth surface and sparkle appearance
Highly transparent to visible light, with better light transmission than many kinds of glass
Further finishing is required Acceptable
Cheap
Poor
Acceptable
o Made up of recycled PET Polymer o Meets and exceeds human ecological requirements and is certified by TESTex, a leading body in environmental textile accreditations o No harmful effects in the colouration of EchoPanel. All the dyes used stay in the solution and become fibre so there is no waste. o Woven Image will take back product at the end of its life as well as recycle uncontaminated EchoPanel off cuts, this means that there will be little to no wasted material during the fabrication process. o The boards are also lighter than other building materials, weighing one third of the weight compared to products such as plaster board and MDF o 45% of the sound that comes into contact with EchoPanel is absorbed, while the remaining 55% would be reflected back into the classroom.
Echo panel is a durable material that are commonly used in restaurants, learning spaces and offices. The lightweight panel is flexible and can be easily assembled which make it an ideal solution for our acoustic ceiling installation. The panel is able to perform effectively in terms of sound absorption from the surrounding. It is capable in buffering sound for making a comfortable environment for interior space. Although it is costly compared to other materials, it does worth when considering in long term. Little maintenance is required and it has a fabric like finish surface thus reduce additional cost in further finishing. In addition, the panel is eco-friendly being made of recycling wasted bottles meanwhile as a highly recyclable material allows it to achieve sustainability. It offers a potential to integrate aesthetic, functional as well as sustainable purposes to get the desirable design that we aim.
Material Estimation Cost: 1200mm
2400mm
574 Total Panel @15mm X 15mm 128 Panel per sheet Total sheets needed:5 Based on the color scheme @12mm: Echo Panel: Black: $104.50 Off White: $ 152.73 Red: $ 193.73 Sunshine: $178.38 Mid Blue: $ 179.38 Total Projected Cost of Panels: $809 Projected Manufacturing Cost $ 717.50 Metal or wood fixtures are variable depending n the structural specifications of the roof. But estimating $400 and $300 for joints. Total Projected cost $2226
Joints research 1:
Plate Pavilion Designers: Steve DeMicoli, Toni Kontik Location: University of Malta
With the aid of computational design, the plywood panels are taken into consideration during the design process to create the vault which is able to free-stand. The structural stability is obtained purely based on the force of nature which allows the panels to go from the ground and keep it up and bring it down at the other side to form the parabola structure. Each wooden panel support another panel by simply interlocking the neighboring panels so there is no need to apply additional adhesive for joining. The panels are drilled with holes for another panel to pass through and a piece of wood is inserted from the opposite in order to fix the panels in place to get a stable structure.
Joints research 2:
ZA11 Pavilion Designers: Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan Location: Cluj, Romania Project Year: 2011
The ZA11 Pavilion is designed to be iconic but at the same time it engage with the historical context and managed to attract people to the Architectural event. It serves as a sheltering space to hold various social events during the architecture festival. Parametric design technique is used in the design process to create a design that can fit in with the limitation in material and tools as well as the budget available and also within the time constraint. The whole design is based on simple geometries and the structure is able to receive extra flexibility through changing the thickness of the wooden panels. Each hexagon is created with the irregular pieces of panels. The hexagonal clips which work as discs to join them from three different angles to create the intricate form yet a rigid structure.
C2. Tectonic Elements & Prototypes
We have explored different types of joining system though prototypes. Prototyping has pushed us to develop our joints in a reasonable and feasible way. For example, we are required to determine the appropriate sizing for tectonic joints so that the parts can be fabricable but still be manageable to provide stability for the structure. We found that this process is very useful since it pushed us to explore the potential for many different kinds of connections systems. We have learnt a lot through refining and changing in order to achieve a most suitable connection for our design.
C2. Tectonic Elements & Prototypes
C2. Tectonic Elements & Prototypes Slits for white disc:
A similar process has been done to generate the slit for the white joining disc. We have evalate the interesction and find out the middle point of the cut. A â&#x20AC;&#x153;rhombusâ&#x20AC;? which is the white color piece is placed and rotated so it can work as a joining piece to connect the red and blue pieces together. Slits of the white color disc is then generated at the intersections so that the red and blue panels can insert though the disc and be fixed.
We have decided to use a similar connection system that was used in ZA11 Pavilion but a refined version of it which can better apply to our installation. The middle piece panel which laid â&#x20AC;&#x153;flatwiseâ&#x20AC;? are cut in 4 sides in order for the polygon discs to be inserted. The discs help to join the other panels from different sides together to create the structure. In this case, all the panels are critical to make the whole structure stable, a missing piece would cause the whole system fail. This joing system is easy to assemble and the resulting model shows a sufficient potential in terms of structural performance in providing stability and a rigid strcuture. This physical model demonstrate the potential of establishing the self supporting installation that we were aiming to achieve.
C2. Tectonic Elements & Prototypes
In this prototype, some holes are cut out from the board.The main purpose of doing this is based on the physical properties of sound weaves. Since sound can reflect once they hit a hard surface, the sound can travel back to the inteior which is undesirable. The cut out holes allow sound weaves to be trapped and bounce within the installtiation panels until it break down and diffuse.
The main objective of this prototypes is to show the general appearance of our design. Echopanels are decided to be the material that we wish to use. However, due to a more cost efficient and easy fabrication as well as easy assembling reasons, we have laser cut the MDF panels to produce this prototype. We have then covered the panels with felt in different colors in order to get the feeling of the color and the texture of the installation.
In order to show the overall form of our design, we have produced a prototype with 3D printing. The panels are thicken to make sure it is fabricable to mantain rigidity of the model. In this model, we are able to get a sense of the â&#x20AC;&#x153;vitalityâ&#x20AC;? of design since the curvature is clearly shown. Also, we have put the model under the light to show the lighting and shadowing effect of the installation.
C3. Final Detail Model
We have refined the form of our previous design. This new loft creates complexity thus improves the acoustic performance of the installation. The complexity allows the sound weaves to be better bounce off so a greater amount of the intensity of noise can be reduced. Also, the geometries of the panels are refined so that they can fit onto a rectanglular fabricable board for laser cutting. This minimizes material wastage and can helps saving cost.
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1
2
3
2
3
Slits are generated at the edges for all panels at where panels meet and join.
Cirlce disc is inserted between clip to hold the two panels tog
n panels as a gether.
We have decided to change our joining disc into circle due to aesthetic reason. This new disc work as an contrasting element to emphhasis the complexity in geometries choice. The simple smoothing circle contradict with the sharp edges of the panels while taking an indispensable role to hold the panels together.
The panels slide through the circle disc so the disc can hold the panels in place and provide rigidity to the structure.
C4. Learning Objectives and Outcomes This course has definitely change my view towards design. I have experienced the convenience and the limitless amount of possibilities that computational design can offer. With computational technology and in particular algorithmic thinking, it helped rationalize a complex design that require accurate data like the precise location and size of joint opening. Throughout the design process, it is challenging to be able to get a full control of the script in order to apply the design thoughts into it. I entered the studio without any background knowledge and I am happy that our group have successfully end up with a project that we like. The relization of transforming the digital model into a real one has pushed us to think and applied techniques and skills practically which required us to consider how can the whole structure works in the way we aim while taking account into material that we used, connection system etc. I have faced a lot of ups and downs in this course, yet, the amount of hard work and the time spent is rewarding with the final outcome that our group has obtained. There is no doubt my knowledge and skill of using parametric tool: Grasshopper has enhanced more than I expected. My learning development and understanding towards the opportunities of parametric design and turning a virtual digital model into a real physical one has been absolutely a real gain for this whole semester .