PART B STUDIO AIR, SEM 1, 2017 DANIELLE EBEYAN 698494
B / CONTENTS 4.......5
B.1 RESEARCH FIELD
5......10
B.2 CASE STUDY 1.0
11....13
B.3 CASE STUDY 2.0
14....15
B.4 TECHNIQUE : DEVELOPMENT
16....17
B.5 TECHNIQUE : PROTOTYPES
18....19
B.6 TECHNIQUE : PROPOSAL
20.....21
B.7 LEARNING OBJECTIVES
20.....21
B.8 ALGORITHMIC SKETCHES
B.1 RESEARCH FIELD In looking further into the techniques provided, both sectioning and stirps/folding were ones that drew my interest, as the creation of form through patterning appeals to me, yet the fabrication of these forms and modelling their dimension would be possible via the technique of sectioning. Strips and folding involves the use of fields, movement graphs and the movement of points from their original location using either attractor points, or an algorithmic relationship to plot this. Sectioning is the process by where a surface or three dimensional form can be layered so that it may be constructed by arranging the ‘layers’ together. This serves useful in situations where the design materiality does not allow for bending or shaping (such as in strips/folding), or if it cannot be modelled in a way that satisfies the design critera. For this reason, sectioning allows for us to use more rigid materials to create forms that present a certain curvature.
SECTIONING / BANQ RESTAURANT by OFFICEdA The use of sectioning allows for designers to translate a 3D form into a series of 2D sections, that when assembled together, create the illusion of the same form; essentially creating interesting iterations of a standard 3D form. The interior installation in the Banq restaurant works to connect the columns and the ceiling through a 3D wave form, that has ultimately been sectioned into 2D cross sections. It gives a sense of continuity throughout the space, with the cross sections having a wave-like design. The benefits of this are that the volume of material used decreases, and the complexity of fabrication is also decreased; rather than using a whole block of material (full or hollowed), and having to 3D print/fabricate it, a more feasible option of laser cutting the various 2D contours can be used to achieve the design. FIGURE 1. Sectioning of the roof in the Banq Restaurant
STRIPS AND FOLDING / SEROUSSI PAVILION by BIOTHING The Seroussi Pavilion by Biothing is an example of a design outcome using the technique of ‘Strips/Folding.’ Essentially, the definition utilises field lines, and the displacement of the divided points on these lines to create a three dimensional outcome. The use of the definition allows for controlled movement, rather than an unpredictable material behaviour or bending, as the movement is graphed through Grasshopper and the points on the field lines are displaced through this. Some of the design potentials of this technique is the control over the nature in which each element bends, how long each element is, how dense or spaced out each of the field lines are, and how the starting points can be controlled through a series of base curves. Some fabrication concerns, however, include the actual manufacture of the model; either the elements must be 3D printed, or the model must be a lofted surface to be sturdy enough to maintain its shape; malleable materials such as paper, wire and mesh may not be able to be moulded to complete accuracy, and due to their plasticity may not retain the shape permanently. A certain framing system would need to be applied, however this may defeat the purpose as if the framing system can be fabricated, the entirety of the model may be fabricated in this way also.
FIGURE 2. Seroussi Pavilion by Biothing
B.2 CASE STUDY 1.0
I chose to explore the Seroussi Pavilion by Biothing, as I would like to explore its form and understand the possibilities of designing and fabricating parametric models that involve curvature in its form. I ultimately would like to focus more on sectioning, however the Seroussi pavilion will introduce ideas of density, bending, and how these forms can be fabricated. Sectioning as a technique is something that I feel I can apply to most algorithmic designs, and I am therefore exploring a definition that works with strips, folding and bending. In Figure 4, I have exported the original form of the Seroussi Pavilion as a basis for the changes that I have made to its grasshopper definition. Through the image above, a comparison can be made between it and the iterations in the matrices to the right
FIGURE 3. Photograph of the Seroussi Pavilion
ITERATIONS / SEROUSSI PAVILION SPECIES 1 // Changing value of ‘curve divide’ of base curves, which results in n+1, with larger numbers resulting in ‘bunching’ due to fields. Changed to 1, 2, 8, 15, and 30 respectively.
SPECIES 2 // Changing value of ‘curve divide’ of the ‘nucleus’ (circle from which the field lines stem from). Changed to 5, 10, 40, 70, and last thumbnail shows results when curve divide changed to 100, & diameter of base circle is changed from 0.1 to 0.75.
SPECIES 3 // Changing value of length of produced field lines, original length 100 units. Changed to 30, 160, 250 and n respectively. Interesting how the origin points of the field lines began to repel and ‘bunch’ as the lengths of the field lines increased.
SPECIES 4 // Changing the base curve that defines the points from which the field lines are produced. The base curves also alter the fields produced, and how each field repels and attracts based on the distance between them.
SPECIES 5 // Transforming the field lines with applied geometries, or transforming the points created along the field lines using the ‘curve divide’ components. Each alteration is denoted below the iteration.
5.1 ‘Pipe’ component is applied to each of the field lines.
5.2 Field line is divided into points via ‘curve divide’, and then each point is transformed into a sphere.
5.3 A small tear drop shaped ‘brep’ has been referenced from rhino, and then through the ‘orient’ component, is placed on each point.
5.4 Field lines are curve divided, then ‘Perp Frames’ at each point, then an SDL line drawn in the ‘Y’ direction at 3 units.
5.5 Same as 5.4, however field lines are hidden, and the SDL lines drawn have the ‘pipe’ component applied.
5.6 Field line is divided into 1 (which results in a point at each end), and then a sphere is located at each point. Field lines are kept same.
SPECIES 6// The displacement of the flat field lines in the negative Z direction is prescribed by a graph. Species 6 is the alteration of the graph that determines the shape of the pavilion.
ITERATIONS / 4 MOST SUCCESSFUL
a)
b)
c)
d)
I chose the above 4 iterations as the most successful, based on their aesthetic balance, possibility for real-life fabrication, and architectural context (how they may be used in future projects). a) This iteration provides a new output of geometry (the extruding pipes) based on the planes and angles created by the normals of each point on the field lines. It is an example of how grasshopper can take one geometry, and produce a whole new form based on the geometric properties and qualities of the first. Ultimately these extrusions are dependent on the ‘graph’ component used in the definition, which tracks the movement of each point in the Z direction; this also is a testament to how carefully each displacement of each point can be calculated, whic can serve to be extremely useful when designing with a given accuracy. b) This iteration shows a different curvature to the field lines produced, which may serve as an interesting roof or ceiling feature, due to its abundance of vertices at the top. I found this species of iterations interesting as it was surprising to see how carefully each point could unfold into many curves, and to the accuracy that they do this with. c) The alteration in the density of the field lines, and also the radius of the circle that is primarly subdivided to create the field lines, allows for a denser space with considered openings at each ‘nucleus.’ I believe this could serve to be an interesting space in itself, as the density in the field lines create closure, and the openings of the circles could form light fixtures, air holes, etc. d) I found this specific iteration one of the most practical, as the slight union between the spheres closest to the ground place could be fabricated as one unity, creating a stable frame upon which the field lines are supported. There is an apparent difficulty in fabrication with some of the other iterations due to some of the elements being suspended in space, which in reality may be a tough assembly.
B.3 CASE STUDY 2.0 I have chosen to reverse engineer the OneMain Street by deCOI Architects, which is a project that aligns with the technique of sectioning. “The project emphasises the two planes, the floor and the ceiling; and it works to create a smooth transition between them through a streamline design.
“The curvilinearity expresses both the digital genesis and the seamless fabrication logic, with the architect providing actual machining files to the fabricator. “1 As far as possible, the aim of the project was to replace typical industrial elements (such as vents, door handles, etc) with carefully crafted timber, offering an aesthetic and functionality of a highly considered space.
I believe that the space definitely posseses a seamless aesthetic, however I would argue that the floor and the ceiling are not streamlined, however the ceiling and the supporting columns/walls perhaps are. The consideration of materiality, in regards to only using timber from sustainably forested suppliers, works to be a great design agenda and the presence of the ply-lam timber throughout not only the ceiling, but also in the desks, benches are storage units supports this agenda. In reverse engineering the ceiling, I was not able to fabricate the form of the ceiling accurately, and therefore have created a simple lofted shape that resembles some curvature of the ceiling, and also includes the main column onto which the ceiling is swept.
PROCESS / 5 STEPS
1)
4)
2)
5)
3) 1. Create a lofted surface that includes the column, and a curvature to its surface. 2. Offset a curve above the referenced brep so that it covers its entireity. 3. Extrude the offset curves so that they cover the entireity of the brep. 4. Use the Brep intersecting Brep component to formulate curves in the intersections of the extruded surfaces and original brep. 5. Using the intersected curves, use the Split Surface component between these curves and the original extruded surfaces from step 3.
RENDERED IMAGES / PHOTOGRAPHS O
Above is my reverse-engineered version of the OneMain office by Decoi Architects on the left, accompanied by photog project to the right. Similarities include the overall form of the structure, however I was unable to create the most accurate representation du ed with a floor plan or the representation of the ceiling’s curvature. The sectioning detail of the actual project also appears to be much thinner, whereas my panels are more spaced apart resolution of the rhino model, and the purpose of showing the the sections graphically.
Differences include the transition from the column structure to the ceiling itself, as the texture of the wood does not follo column, but fades in and out near the stem; I was unable to create this kind of effect.
OF PROJECT
graphs of the actual
ue to not being provid-
t; this is due to the
ow through the entire
FIGURE 4+5. Photographs of OneMain office by deCOI Architects.
B.4 TECHNIQUE:DEVELOPMENT Changing size of panel; as sections increase, the spacing decreases
Offsetting the curves created through the Brep/Brep intersection.
changing offset line to a closed curve, such as circles, squares and trapezoids.
Changing the direction of the section lines, so that it is done horizontally and diagonally (instead of vertical).
Dividing the curves and applying geometeries at points, also applied a reference point.
Sectioning from both horizontal and vertical directions, then layering to create a double section.
surface dividing the panels and orienting breps, geometries, and potential fixings onto them as a form of assembly.
offsetting a a central extruding both X and
circle from point, and panels in Y direction.
4 MOST SUCCESSFUL /
POSSIBILITY FOR FABRICATION / SUCCESSFUL
If using wood, the best outcomes to pursue for fabrication would be those with straight sided depths, as these can be laser cut and fabricated without having to panel the panel/section the section. Here, a double section has been applied, which would be useful in providing a self sufficient bracing.
If using plastics or metals (materials that can be easily bent or moulded, the circular depth section offers an interesting view from below. The ‘floating’ pieces could be suspended from the ceiling, as unlike the iteration to the left, they are floating in the atmosphere without any fixing.
B.5 TECHNIQUE:PROTOTYPES In my reverse engineering exercise, I created the base loft quite spontaneously; my aim was that it aesthetically represented the same shape as the real life project. The original form, however, may have been derived from a more meaningful source or shape. The prototype we created below was derived from a test image, however in future development we would like to develop the form from a curve/shape/diagram that relates specifically to the ballroom. The process of patterning (image sampling) and sectioning were however applied respectively to this prototype. Our prototype was developed through the process of sampling the image of a wave onto a surface, and having the lightest points of the image extrude most, and the darkest not extrude at all. The surface was then sectioned, and assembled onto a base, whereby the extrusions may slot into the designed gaps. The image chosen was not specific to our design intent, and was moreso to provide a basis on which we could experiment with materiality, aesthetic, size; it was important to see the impact of the extrusions from different angles not just digitally, but also in real life. To test the material, we applied tints and glosses to the lumen plywood, however it caused the base to buckle, bend and expand. Ideally, we will aim to find a material that already has the colour and finish that is desired. We would like to incorporate a considered acrylic member to be able to introduce lighting from behind the surface. In part C, we will be finalising and exploring more into the use of LED/Fibre optic lighting. In doing so, we concluded that the extrusions needed to have more contrasts in their crests and troughs, and that we needed to find a material that did not need to be altered/tinted/glossed.
a) clear acrylic
c) hybrid assembly b) lumen plywood
Adding multiple slots for the ‘waves’ weakened it structurally and caused for it to buckle, and therefore the need for a backing plate or a perpendicular bracing has become apparently. To the right, an example of this is shown, where the extrusions are pushed further through the slot and then attached onto an additional bracing support. Additionally, we could reference each ‘wave’ as a surface, and use the ‘orient’ component to place a small block/foam between each of the contours to provide a sort of fixing between each element. Alternatively, each wave could be suspended to a beam on the ceiling, rather than using a backing plate at all.
PROTOTYPE CONSTRUCTION / MATERIAL + ASSEMBLY
B.6 TECHNIQUE:PROPOSAL A ballroom, being a dynamic place that represents liveliness, movement and dance, has inspired a design that works to represent this notion of movement. We aim to design a ceiling installation that mimics this movement, through modelling the simulation of fluid. The ballroom ceiling will be treated like an inverted ‘basin,’ where water is being released into and the waves and movement is recorded. We aim to release it at an angle where there will be some fragments of splashback (droplets), and these can be converted into lighting features or chandeleir elements. Another lighting option was to use LED strips along the acrylic elements (travelling at the edge of the wave), and therefore a repeated strip lighting at every 4 intervals. The prototype is not modelled off a fluid simulation, but rather just an image sampled wave to understand how we would suspend/fix the feature to the roof. In having created the prototype, it has become apparent that we will need to break apart each of the elements, or the spans will be too great. Otherwise, we can use lighter, thinner material and rather than having them fixed, suspend them like a chandeleir. A mock fluid simulation has been completed (to the right) to begin to visualise the patterns that the water will make, and how we will begin to model and section this in Rhino and Grasshopper. The intended floor plan is shown below, along with a render model of the prototype in context to the right.
FLOOR PLAN / INSTALLATION LOCATION
FLUID SIMULATION MODEL / FLOW DIAGRAM
PROTOTYPE CONTEXUALISED / BALLROOM SETTING
B.7 LEARNING OBJECTIVES Through the design process of part B, the relationship between the digital and the tangible has been enforced heavily. Often times we design in a way that can be digitally represented, and that looks extraordinary; however this is because it usually is not possible to fabricate, hence its driving interest. Studio Air has enabled me to not only research and understand different design techniques, learn how to manipulate these and design with them using my own design agendas (via Grasshopper/Rhino) (Objective 3), but also understand and appreciate the fabrication process that is linked to these; this process stems as far as materiality, cost, weight, suspension, fixings, sealants, light passage, electrical services, etc. The important of the brief, and its possibilities/ restrictions (Objective 1) has enormous importance, as understanding and appreciate the context with all of its parameters is key to a functional design.
The ‘need’ to design, or designing with known restrictions and parameters is apparent in many situations, and is ultimately enabled through algorithmic design. In using Grasshopper, I now appreciate the convenience of being able to design parametrically, as it proves to be more efficient, allows me to make adjustments and alterations to my design in mathematical and considered ways, and also offers such a high accuracy when designing with specific numeric values or geometric restrictions. (Objective 2). Objective 4 was one of the most crucial to my learning process, as it worked to divert my attention to HOW things are built, rather than just the end project viewed through digital software. There is such a large extent to the possibilities of creating interesting forms and structures using Grasshopper, yet the
B.8 ALGORITHMIC SKETCHES
week05 - using ‘orient’ component
week04 - diam
consideration of how these things are suspended, or propped, or joined together, with what framing, etc. has completely shifted my view on parametric design. It has instilled an awareness of the practicality in design, and allowed for me and my studio partner to reassess our design choices following these criterias. The process of forming opinions and creating arguments about predecents, and substantiating these (Objective 5) was a necessary exercise to learn how to be critical about design, and further understand how to deconstruct a brief. Case study 1.0 was an avenue through which I was able to understand the design logic and process of others, and interpret it in my own way (Objective 6). Often I would experience difficulty in understanding the way other people’s design logic worked, and how they formed their ideas from their own interpretation, however this exercise allowed for me to start to deconstruct the process.
mond panel using lunchbox
The notion of actually understanding how to use Rhino and Grasshopper was another concept that I found difficult, as I had not yet ventured into the process of digital design and fabrication until this semester. Studio Air was an avenue for me to push my boundaries and start learning the fundamental processes of Rhino, and how to enhance and control these through Grasshopper (Objective 7). A new type of design, using data structures, programming and computational geometry was explored and it has allowed for me to develop my design skills much further. Ultimately, the different techniques learned and tested in this studio have served as ways of problem-solving when designing. Often there are specific design outcomes desired, yet the process of achieving them seems skewed and perhaps unachievable. Grasshopper has ultimately enabled this, and I’ve been able to practise this notion of problem solving in design. (Objective 8).
reverse engineering of AA Pavilion, following ExLab tutorials
PART B / BIBLIOGRAPHY FOOTNOTES 1. “Decoi Architects » One Main”, Decoi-Architects.Org, 2017 <https:// www.decoi-architects.org/2011/10/onemain/> [accessed 1 May 2017].
BIBLIOGRAPHY “Decoi Architects » One Main”, Decoi-Architects.Org, 2017 <https://www. decoi-architects.org/2011/10/onemain/> [accessed 1 May 2017]
LIST OF FIGURES Figure 1: Photograph of Banq Restaurant. Retrieved from Archdaily: http://www.archdaily.com/42581/banq-office-da Figure 2: Digital representation of the Seroussi Pavilion by Biothing. Retrieved from Ezio Blasetti: http://portfolio.ezioblasetti.net/Seroussi-Pavillion Figure 3: Photograph of Seroussi Pavilion. Retrieved from Daily Tonic. http://www.dailytonic.com/biothing-a-transdisciplinary-lobratory-foundedby-alisa-andrasek/ Figure 4: Photograph of OneMain office by deCOI Architects. Retrieved from deCoi. https://www.decoi-architects.org/2011/10/onemain/ Figure 5: Photograph of OneMain office by deCOI Architects. Retrieved from deCoi. https://www.decoi-architects.org/2011/10/onemain/