Studio Air Journal Final by Deon Cham

2017

CONTENT

INTRODUCTION PART A : CONCEPTUALISATION PART B : CRITERIA DESIGN PART C : DETAILED DESIGN

i, my name is Deon Cham, a thrid year undergraduate environments student, majoring in Architecture at the University of Melbourne. I was born and grew up in Malaysia, a beautiful place filled multicultural heritage buildings. From an early age, I have been intrigued by the creativity of great minds that gave colours to the world with Architecture. Having utmost interest in sketching as well as model making, I told myself that Architecture is what I have to pursue. My passion for Architecture was further driven by the thought of building a cottage house for my beloved mother as it was a dream that she hoped to fulfill in life. Hopefully, by the end of this studio, my knowledge of software and Architecture could go deeper thus a step closer to my goal and dream.

1. Submissive Concept, Digital, Design and Fabrication, 2017 2. Admonere, Studio Water, 2016 3. Amicitia, Studio Earth, 2017

PART A

A.1. DESIGNING FUTURING

... 7-12

A.2. DESIGN COMPUTATION

... 13-18

A.3. COMPOSITION /GENERATION A.4. CONCLUSION

... 19-24

... 25-26

A.5. LEARNING OUTCOMES

... 27-28

A.6. APPENDIX : ALGORITHMIC SKETCHES

...29-32

A.I

design futuring A

ccording to Anthony and Fiona, design is commonly known for just solving problems to achieve a better future.1Nonetheless, with the ongoing anthropocentric view of humans, our future cannot continue to be determined by the way designs are practised today as the resources on Earth are finite.2 Due to excessive focus on the aesthetic value and in denial of problems, designers have mistreated architecture, which then leads to defuturing of the world. Thus, the positive growth of design plays an important role as a decisive factor for a better tomorrow. Having the uncertainty of the future in mind, design, needs to be redefined and analyse ideas critically that instigate challenges as well as a possible sustainable future.

1 Anthony Dune & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45 2 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16 Image source: http://wallpapercave.com/wp/hMwO9WT.jpg

CASE STUDY 1

CENTRE POMPIDOU - METZ SHIGERU BAN ARCHITECTS

s mentioned by Anthony and Fiona, futures are not a destination or something to be strived for but a medium to aid imaginative thoughts.3 The fact that human values and needs change actively over time due to anthropocentric way of living, designers should reflect critically on their design practices to prevent more defuturing events from happening. Fry asserted that not only the design process should be changed, but also the ideology of the entire mindset in order to achieve sustainability.4 By redirecting towards advancement of the design process, it would provide more potentials and possibilities on the design.

2010

ne good example of design futuring would be the Centre Pompidou-Metz in terms of generating complex forms and experience. There is a continuation of interior and exterior spaces, which then forms a sequence of spaces that accommodate the programs.5 However, the curved roof structure that encloses the entire building defines the circulation space. It was quite a radical project at that time, resulted from the use of sophisticated programming techniques that allowed more design possibilities. This project definitely delivered some contributions architecturally and also to the inhabitants. Using only timer as material for the roof structure, the building displays strong collaboration between the natural and artificial. With the roof functioning as an extension of the surrounding park, it becomes more approachable to the inhabitants, hence encourages them to cross-pollinate.

3 Anthony Dune & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45 4 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16 5 Archdaily, Centre Pompidou-Metz/ Shigeru Ban Architects < http://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects> [accessed 9 August 2017] Image source: https://s-media-cache-ak0.pinimg.com/originals/70/bf/73/70bf731e9af56390a08685f69a76d54f.jpg http://www.huftonandcrow.com/images/uploads/Arup_Pompidou_Metz_013.jpg

CASE STUDY 2

ORGANIC SKYSCRAPER THOMAS CORBASSON

ccording to Fry, inhabitants should have a much greater power in deciding the form of the environments they wish to live, and that this way of life should enhance the environment.6 Nevertheless, democratic design should also be practised first, assuring all good decisions are critically informed.7 While the anthropocentric lifestyle continues depleting resources, us inhabitants should bare in mind that, as a part of the ecological system, we can also afford to disrupt the equilibrium of other species. Hence, designers and architects need to start changing their values and beliefs first, redefining their perception on design, followed by spreading of awareness through their products.

a. Facade panel

2014

nbuilt conceptual design such as this Organic Skyscraper is a great example to demonstrate the effectiveness of designers on promising a more sustainable lifestyle to the inhabitants. Inspired by the bamboo scaffolding technique found in most Asian countries, this project can grow according to the waste from its residents as demand for floors increases.8(b) All residents will participate in building the skyscraper since their waste will be processed into the floor and facade panel of the building.(a) Although this project have not been built yet, it was considered as a revolutionary and radical project at that time. Currently, it was not inspired by any projects but the theory engaged in it will definitely expand future possibilities. Most vertical building or skyscrapers today focus on growing greeneries on facade panels. However, this project recycles the waste and use them to create more vegetation. Furthermore, residents are somehow programmed to accomplish the task that will soon turn into a sustainable habit.

b. Growing process

6 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16 7 Tony Fry, pp. 1-16 8 Connor Walker, Organic London Skyscraper Grows as Residents Recycle <http://www.archdaily.com/524225/organic-london-skyscraper-grows-as-residents-recycle > [accessed 9 August 2017] Image source: http://images.adsttc.com/media/images/53b6/d8cd/c07a/80a3/4300/0203/large_jpg/globaboostl.jpg?1404491956 http://images.adsttc.com/media/images/53b6/d903/c07a/8005/ce00/01d4/large_jpg/1_2_3.jpg?1404491980 http://images.adsttc.com/media/images/53b6/d850/c07a/8005/ce00/01d2/large_jpg/coupe_chantier.jpg?1404491762

A.2

design computation

n the early ages, building techniques were derived through sketches on grids, mathematical calculations, estimations with physical objects and more. These traditional methods have made humans more intelligent but limited by time and design possibilities. After the evolution of digital technologies, things changed. Design becomes the thinking of architectural generation through the logic of the algorithm.9 Parametric design has made a huge impact on architecture by developing as a new form of style or design logic. Through simulation, designs are now more time-efficient, cost-effective and capable of testing a broader range of variation. Therefore, the rise of computation in Architecture have taken the upper hand of the endless geometrical possibilities, higher efficiency in fabrication, as well as performance.

8 Rivka Oxman and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1-10 Image source: https://s-media-cache-ak0.pinimg.com/736x/b3/0a/cd/b30acd14c2fd4d1bb812679b14682c24--dope-wallpapers.jpg

CASE STUDY 1

DONGDAEMUN DESIGN PLAZA ZAHA HADID ARCHITECTS

nly parametricism can adequately organise and articulate contemporary social assemblages at the level of complexity called for today.9 Parametric design has become a new architectural style, a style that is very difficult to surpass due to its endless possibilities and capabilities in the design world. However, Oxman asserted that while the digital in architecture does support the emergence of certain distinctive geometric preferences and aesthetic effects it cannot be said to be deterministic with respect to architectural form.10 The Dongdaemun Design Plaza will demonstrate the advantages of parametric application and how it can be accepted as an architectural form.

2013

hrough parametric design, the digital design model could be refined at any time throughout the design and construction.11 Thus, this assures more control of the design and details, with much greater precision than a conventional construction process. Next, by applying parametric design methods, the cladding system of over 45000 panels were made possible by the use of parametric modelling with an advanced metal-forming and fabrication process to develop a mass-customization system.12 Also, Parametric modelling enabled the cladding system to be designed and engineered with much greater cost and quality control.13 The completed faĂ§ade incorporates a field of pixilation and perforation patterns, which creates dynamic visual effect depending on the lighting conditions and seasonal changes.14 Hence, it can be concluded that parametric design will soon replace other design technique and can be accepted as an architectural form.

9 Patrik Schumacher (2016), Special Issue: Parametricism 2.0: Rethinking Architectureâ&#x20AC;&#x2122;s Agenda for the 21st Century, 86: pp. 16 10 Rivka Oxman and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1-10 11 Archdaily, Dongdaemun Design Plaza, Zaha Hadid Architects< http://www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects> [accessed 9 August 2017] 12 Archdaily, Dongdaemun Design Plaza 13 Archdaily, Dongdaemun Design Plaza 14 Archdaily, Dongdaemun Design Plaza Image source: http://3.bp.blogspot.com/_7Vt66UxO7os/TROz2uBL6UI/AAAAAAAAAaM/MLIQoFxgTmE/s1600/panelization.jpg http://static.thousandwonders.net/Dongdaemun.Design.Plaza.original.16326.jpg

CASE STUDY 2

ICD/ITKE RESEARCH PAVILION ACHIM MENGES & JAN KNIPPERS

hrough design computation, architecture can now have a high level of structural performance and novel tectonic opportunities.15 This is well demonstrated through the design process of this Research Pavilion. The ICD and ITKE have managed to gain a deeper understanding of the characteristics of fibre-reinforced composite materials by experimenting a range of computational materials over a series of pavilions. With the aid of robotic computation, the fibres were winded onto the scaffold based on the applied algorithm, forming a self-supportive composite shell.16 Therefore, computation design instigates architects to design in a more formative way.

2012

eing knowledgeable about the properties and characteristics of materials is essential as they challenge the design process especially during fabrication. Materials often limit our design geometries, structural stability, constructibility and sometimes alter the initial concept of our design. However, through computational design practises, it not only allow us to fabricate our design quickly, but also testing the materials used by adjustment of dimension, thickness, weight and more. Research pavilion has been an excellent example for illustrating the potential of the computation practices and reaching new heights in form complexity that is impossible for traditional design method to achieve.

15 University of Stuttgart : ICD/ITKE Research Pavilion 2012 < http://icd.uni-stuttgart.de/?p=8807> [accessed 9 August 2017] 16 University of Stuttgart : ICD/ITKE Research Pavilion 2012 Image source: http://images.adsttc.com/media/images/5136/a950/b3fc/4ba6/6300/022d/large_jpg/ICD-ITKE_RP12_Image11.jpg?1362536768 http://images.adsttc.com/media/images/5136/aa04/b3fc/4b82/8e00/0238/large_jpg/ICD-ITKE_RP12_Image21.jpg?1362536950

composition / generation A

s computation enters the realm of architectural practice, the transition from designing composition to generation becomes evident. Although majority of the design population practice computerisation immensely, but I strongly believe that computation would be practised widely in the near future as this method has more pros than cons in terms of architecture. For instance, according to Brady, through computation, the digital architectural design environment has both the ability to construct complex models of buildings and give performance feedback on these models.17

17 Brady Peters (2013), Computation Works: The Building of Algorithmic Thought, Architectural Design, 83, 2, pp. 8-15 Image source: https://s-media-cache-ak0.pinimg.com/originals/75/c1/ff/75c1ff01440ef8c0b8aecc175f31353e.jpg

CASE STUDY 1

LA SAGRADA FAMILIA ANTONI GAUDI

1882 - ONGOING

ased on common architectural practice, a design process usually start of from conceptual sketches then into structural defined form. Nonetheless, even without measurements and calculations, the sketches would still show some sense of constructibility. Similarly, computation provokes capabilities for designers to solve sophisticated issues.

n the process of constructing La Sagrada Familia, Antoni Gaudi demonstrated the importance of parametric thinking and generative concepts through his plaster models of Sagrada Familia and hanging model of the Colonia Guell chapel.18 However, testing and modelling out these different outcomes would be a waste of time and energy due to the lack of technological advancement. Regardless, with his knowledge and commitment of the buildingâ&#x20AC;&#x2122;s materials and structure, he embraced computation by extending parametric variables beyond the scope of the current context.19 Hence, the existing scripting and digital modelling tools present today would allow us to achieve better results. From this, we can conclude that computation practises allow designers to push their limits in terms of algorithmic thinking to greater heights and have more effective feedbacks.

18 Mark Burry, Antoni Gaudi and Frei Otto: Essential Precursors To The Parametricism Manifesto, Architectural Design, 86.2 (2016), pp. 30-35 19 Mark Burry, pp. 30-35 Image source: https://upload.wikimedia.org/wikipedia/commons/b/ba/Sagrada_Familia_nave_roof_detail.jpg https://www.designboom.com/wp-content/uploads/2012/12/losttime02.jpg http://dataphys.org/list/wp-content/uploads/2015/01/DSC00764.jpg

CASE STUDY 2

DAL CANOPY DESIGN DIGITAL ARCHITECTURAL LAB

rady mentioned that computation makes possible the experience and the creation of meaning.20 There is no doubt that computation not only introduced form-finding techniques that is revolutionary, but also brings design to life. Even though starting a design process with computation can come with lots of uncertainties. However, it improves architects in many different aspects, such as thinking abilities, algorithmic skills, material understanding and so on.

2011

enerative designing can be seen in the DAL Canopy Design in a way that biomimetic form was explored with the help of algorithms. The Canopy started from a flat surface and gradually adjusted to best fit that offers a shaded area and a seating bench underneath.21 The organic growth of the canopy suggests that computation has given life to a design. The hexagonal panels generated seems to have a high capacity to generate complex form and order but the algorithmic sequences and joints should be understood clearly in order to attain its function and the opportunity for more explorations of possible permutation. Hence, by involving in computation within a design process, one could understand its importance towards a better design outcome.

20 Brady Peters (2013), Computation Works: The Building of Algorithmic Thought, Architectural Design, 83, 2, pp. 8-15 21 Archdaily, DAL Canopy Design/ Digital Architectural Lab < http://www.archdaily.com/165298/dal-canopy-design-digital-architectural-lab>[accessed 9 August 2017] Image source: http://images.adsttc.com/media/images/5015/8a0d/28ba/0d5a/4b00/0157/large_jpg/stringio.jpg?1414414776 http://images.adsttc.com/media/images/5015/89ee/28ba/0d5a/4b00/014f/large_jpg/stringio.jpg?1414414806 http://images.adsttc.com/media/images/5015/89f5/28ba/0d5a/4b00/0151/large_jpg/stringio.jpg?1414414803

conclusion I

n week one, design futuring has been an ongoing topic that questioned our views on common design practices and taking a step towards a more sustainable future. Architects and designers are the representation of our future. They hold the responsibility to deliver positive values and shape society to construct a better future for the people through their manipulative design. Therefore, understanding the ethical implications of and issues of designing is extremely important so that designers can be critical of their design and work towards sustainability.

he rise of digital technologies such as computation have put to a stop in traditional design methods. This certainly has open up more potential and possibilities in terms of materiality and complex geometrical forms. Computation have not only overcome the limitations faced by conventional design approach, but also go beyond the intelligence of human and rules of parametric. The design world slowly move towards a new form of style and logic. Hence, computation have raised the standards in Architecture as it offers limitless possibilities of design outcomes. In the third week, computation and computerisation are critically analysed in terms of their contribution and effectiveness in design. There have been noticeable shifts from composition and generation since computation was introduced. Generation design approach is exceptionally beneficial to architectural practice. However, designers need a certain level of skills and knowledge in the parametric field in order to make full use of this approach. Looking at how generation has been practiced today, I personally believe that our cityâ&#x20AC;&#x2122;s future would be shaped entirely by parametric design.

Image source: https://s-media-cache-ak0.pinimg.com/736x/a6/c4/3d/a6c43debe10175996652f2133ecd4839--albert-einstein-mc.jpg

A.5

learning outcomes

fter three weeks of study and research, I realised that there are still so much more to learn about digital design. These methods have definitely affected how architects and designers design and think in the current era. Part A gave me the opportunity to have a better understanding of the theoretical background and general concept of digital design. I was exposed to concepts and ideas such as design democracy, computation, generation and more. I used to practice immensely with conventional design methods due to the lack of knowledge in computation. Now that I have understood the basic techniques on computation design approach, I start to think about the possibilities of my design. Learning digital design softwares have been a challenge for me but I believe that parametric tools would be really useful and efficient for me in the present and future.

Image source: http://68.media.tumblr.com/138852790c40e28c0e9728ed93827bd0/tumblr_ncgyq5J7ie1tgqvsio2_r1_1280.jpg

appendix

Image source: http://yesale.ru/wp-content/uploads/2016/09/2-35.jpg

PART B B.1. RESEARCH FIELD

... 35-36

B.2. CASE STUDY 1.0

... 37-42

B.3. CASE STUDY 2.0

... 43-48

B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPES B.6. TECHNIQUE: PROPOSAL

... 49-62 ... 63-70 ...71-82

B.7. LEARNING OBJECTIVES AND OUTCOMES B.8. APPENDIX : ALGORITHMIC SKETCHES

...83-84 ...85-88

research field G

eometry, a mathematically based design approach, has always been a very important component in the architectural world and evolving significantly throughout the years. As discussed by Woodbury, knowing that conventional design tools have used the ubiquitous generic concepts of copy, cut and paste,1 geometrical design aims to challenge these practises. According to its definition, geometrical design has a broad potential application and act as a solution generator for complex design ideas. However, the research field required a deep understanding of materiality in order to be successful. This is because the possibilities of fabrication are dictated by the capabilities and limitations of the materials. This research field will respond effectively to the brief by pushing the limits of achievable geometries through manipulation of forms and their relationship with the materials applied.

1 Robert F. Woodbury, How Designers Use Parameters (London; New York: Routledge, 2014), pp. 153-170 Image source: https://ih1.redbubble.net/image.15671425.5754/flat,800x800,075,f.u3.jpg

case study

1.0

MATSYS SG2012 GRIDSHELL MARK CABRINHA, ANDREW KUDLESS & DAVID SHOOK

2012

he SG2012 Gridshell by MATSYS was a project that inspired me the most in terms of geometrical design. Although it appeared to be a simple gridshell project, the design challenged the material limitation by only using straight wooden members bent along geodesic lines on a relaxed surface.2 With the use of parametric tools, the design was developed and analysed to have a more efficient use of materials, fabrication and short construction period, while maximising its architectural presence in the space.3 The curved space provided a new spatial experience of security but also openness at the same time.

2 MATSYS, SG2012 Gridshell, < http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 9 September 2017] 3 MATSYS Image source: http://matsysdesign.com/2012/04/13/sg2012-gridshell/

B.2 Case Study 1.0 Iteration Series A Surface Curves

A.I

A.2

A.3

A.4

Divide= 7

Divide= 50

Arc 3pts Explode Tree {0;0} B, {0;1} C, {0;2} A

Arc SED Explode Tree {0;0} S, {0;1} D

B.I

B.2

B.3

B.4

PopGeo Count= 200 Seed= 239 Delaunay Edges

Popgeo Delaunay Edges Pipe R= 80

TriB U=30; V=3

TriB U=60; V=3

C.I

C.2

C.3

C.4

Lunchbox Staggered Quad Panels U=23; V=23

Lunchbox Random Quad Panels U=68; V=81

Random split Srf 1, Seed=38

Random split Srf 1, Seed=3 Offset, D=334

D.I

D.2

D.3

D.4

SBox Divide, U=18; V=3 Domain start= 808 Domain end= 1516

SBox Divide, U=8; V=7 Domain start= 2472 Domain end= 0

SBox Divide, U=100; V=1 Domain start= 2841 Domain end= 0

SBox Divide, U=55; Domain start Domain end=

Testing out different methods of manipulating the base shape of the gridshell by changing the direction of the geodesic flow.

Series B Triangulation & Voronoi Using triangulation and voronoi method to generate more complex mesh geometries. Also with the help of Weaverbird plugin.

Series C Panelling Surfaces Experimentation of different panelling methods to acheive better surfaces with Lunchbox anelling tools.

Series D Volume Extrusion Using the basic surface of the gridshell, mass and volume could be generated through box morphing method.

e D, {0;2} E

t 38 48

; V=3 t= 0 = 4400

A.5

A.6

A.7

A.8

Arc Count=15 Geodesic

Geodesic

Geodesic Offset=347

DIvide Srf U=36 ; V=19 Delaunay Edges

B.5

B.6

B.7

B.8

TriB U=83; V=78

WbFrame, D= 10 WbThicken, D= 21 WbLoop

Pop3D Count=4750 Voronoi 3D Offset

Pop3D Count=4750 Voronoi 3D Pipe R=100

C.5

C.6

C.7

C.8

Random Quad Panels Random split Srf 1, Seed=72

Random split Offset, D=1000 Loft

Random split Srf 1&2 Offset Srf 1, D=3000

Random split Srf 1 Offset, D=10000

D.5

D.6

D.7

D.8

SBox Divide, U=46; V=3 Domain start= 2710 Domain end= 2710

SBox Divide, U=33; V=9 Domain start= 1704 Domain end= 0

SBox Divide, U=100; V=12 Domain start= 5790 Domain end= 0

SBox Divide, U=100; V=32 Domain start= 0 Domain end= 10000

B.2 Case Study 1.0 Selection Specie A.5

NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY

Specie C.8

NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY

Specie B.6

NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY

Specie D.8

NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY

case study

2.0

CANTON TOWER INFORMATION BASED ARCHITECTURE

2010

he design intent of Canton Tower was to construct a free form tower that is rich in human identity, which caught my attention to further my research on the project. With prior knowledge of gridshells in terms of geometry, this tower fascinated me more when it took a step further in order to achieve a more complex form. By using rotational movement of the two ellipses, the body of the tower tightens and forms a waist structure that acts as densification of materials.4 Within our group, we decided to use this example as a case study because we are interested in how geometry develops a strong relationship with biomimicry as demonstrated. This way, we will be able to further explore and expand the possibility of designing a space that uses both natural and mathematical logics. 4 Archdaily, Canton Tower/ Information Based Architects <http://www.archdaily.com/89849/canton-tower-information-based-architecture> [accessed 9 September 2017] Image source: https://pre02.deviantart.net/6c54/th/pre/i/2012/265/e/8/canton_tower_by_jonsonox-d5fkr1k.jpg

B.3 Case Study 2.0 Reverse Engineering

Step 1: Construct 2 points in grasshopper.

Step 2: Connect points to circle.

Step 5: Divide curve and flip matix into equal distance layers.

Step 6: Interpolate curve to connect points together to close curve.

Step 3: Divide curve into equal distance points.

Step 4: Explode tree into start and end points, then shift list to offset points.

Step 7: Boundary surface the layers to create platforms.

Step 8: Pipe boundary surfaces and curves.

B.3 Case Study 2.0 Step by Step Algorithm

STEP 1

STEP 3 STEP 4

STEP 2

CONSTRUCT POINT CIRCLE CONSTRUCT POINT

DIVIDE CURVE

EXPLODE TREE

SHIFT LIST

LIN

STEP 5

STEP 7

STEP 6

DIVIDE CURVE

FLIP MATRIX

INTERPOLATE CURVE

BOUNDARY SURFACES

PIPE

BREB JOIN

BREB

STEP 8

B.4

technique development

Species Selection Criteria T

hese selection rubric helps me identify the choice of design iterations during the design process. By analysing these iterations, I could successfully determine the qualities that benefits my design concept.

Novelty

Comfortability

Superficialism

More than just a representation of aesthetics, novelty is a quality that demonstrates the uniqueness of a design. Most products that stood out from the crowd generally have a higher novelty from the rest and this certainly corelates with the use of materials for a design.

Comfortability is essential to most design, especially when there are interactions between the users and the design itself. Emotion comes to play when users start to associate themsleves with comfort . Therefore, the level of comfortability of a design will influence the emotional state of the users.

The superficiality of a design is often related to the user for having irrational desire or seeking approval by the society due to the strong urge to feel accepted. Thus, this in a way developed and encouraged more exaggerated and superficial products.

Intimacy

Fabricability

Having intimacy as a quale for design is important because it helps to strengthen a closer bond or relationship of users and the product . However, this bond comes in two different approaches, our personal space being invaded through design or we get a clear form of intimate relations with the design.

Fabricability is the most essential part of design in general as it is ultimately the quality to make digital design into reality. The selection of materiality also influence the ability of a design to be fabricated and built successfully.

B.4 Case Study 2.0 Iteration Series A Recreation of Base Form

A.1

A.2

Circle, R1=10; R2=45 Shift=6; 6

Circle, R1=22; R2=51 Shift=4; 6

Re Div Shi

A.6

A.7

ArcSED Start, {0;1} End, {0;0} Divide= 36 Circle, R1=2; R2=100

ArcSED Start, {0;0} End, {0;1} Divide= 36 Circle, R1=2; R2=100

Cir

Changing the initial form by shifting (twisting), application of different base shape and arc components.

A.4

A.5

Ellipse R1=23; 80 R2=19; 64 Divide=28

Circle, R1=94; R2=45 Shift=3; -7 Divide=94

A.9

A.10

rcle, R1=19; R2=45

2 ArcSED Circle, R1=70; R2=37 Shift=7; 6 Divide= 24

ArcPRA R=180 Circle, R1=30; R2=30

ectangle, x=50; y=50 vide=25 ift= 7; 7

B.4 Case Study 2.0 Iteration Series B Surface Geometry

B.1

B.2

B.3

Lunchbox Triangular Panels A U=15; V=15

Lunchbox Triangular Panels A U=15; V=15 Random split Srf 1, Seed= 38

Lun Tria U=

B.6

B.7

B.8

Popgeo Count=250 Delaunay Mesh Pipe, R=0.6 Plane XZ, YZ

Popgeo Count=126 Delaunay Mesh Pipe, R=0.6 Plane XY

Div Mo

Testing out various methods of surface geometry through triangular panellisation, delaunay mesh, and average point on surface.

Av an sur flex

B.4

B.5

Lunchbox Triangular Panels B U=15; V=15 Random split Srf 1, Seed=38

Popgeo Count=250 Delaunay Mesh Loft

B.9

B.10

vide, Count=10 ove, Distance=4.403

Divide, Count=10 Move, Distance=8.863

DIvide, Count=4 Amplitude=4

verage point on surface nd offset towards normal of rface to achieve a more xible triangulation.

Average point on surface and offset towards normal of surface to achieve a more flexible triangulation.

nchbox angular Panels B =15; V=15

B.4 Case Study 2.0 Iteration Series C Natural Deformities

C.1

C.2

Pop3D, Count=54 Voronoi 3D Polyline

Pop3D, Count=300 Voronoi 3D Polyline

Po Vo Po Av Sca

C.6

C.7

Pop3D, Count=300 Voronoi 3D Scale factor=0.754 WbThicken Thickness=4

Voronoi 3D Scale factor=0.865 WbThicken Thickness=1 Wb Catmull=3

Vo Sca Wb Thi Wb

This is an experimentation of the generation of deformed or a more natural approach of digital design by the aid of voronoi 3d and Weaverbird.

op3D, Count=54 oronoi 3D olyline verage ale factor=0.767

oronoi 3D ale factor=0.587 bThicken ickness=2 b Catmull=3

C.4

C.5

Pop3D, Count=300 Voronoi 3D Polyline Average Scale factor=0.761

Pop3D, Count=54 Voronoi 3D Scale factor=0.488 WbThicken Thickness=4

C.9

C.10

Voronoi 3D Scale factor=0.865 WbThicken Thickness=28

Voronoi 3D Scale factor=0.857 WbThicken Thickness=29

B.4 Case Study 2.0 Iteration Series D Surface Panellisation

D.1

D.2

Staggered Quad Panels U=4; V=24

Staggered Quad Panels U=16; V=44

Of Ra Srf Cir

D.6

D.7

Offset, D=35 Random split Srf 2, Seed=37 Circle, R1=33; R2=89

Offset, D=104 Random split Srf 2, Seed=37 Circle, R1&2=55 Loft

Of Ra Srf Shi

Experimenting different approach to surface panellisation through various panelling tools including lunchbox.

ffset, D=35 andom split f 2, Seed=33 rcle, R1=49; R2=39

ffset, D=80 andom split f 2, Seed=37 ift=4

D.4

D.5

Offset, D=50 Random split Srf 2, Seed=33

Offset, D=35 Random split Srf 2, Seed=37 Shift=9

D.9

D.10

Staggered Quad Panels U=51; V=54 Offset, D=56 Eclipse

Eclipse Random split Srf 2, Seed=37 Offset, D=56 Shift=8

B.4 Case Study 2.0 Iteration Series E Volumetric Extrusions

E.1

E.2

E.3

Sbox Circle, R1=42; R2=49 Divide, U=14; V=14

Sbox Domain start=64 Divide, U=60; V=12

Sb Do Div

E.6

E.7

E.8

Sbox Domain start=76 Domain end=116 Divide, U=15; V=9

Sbox Domain start=110 Domain end=90 Divide, U=38; V=38

Sb Do Div

Generating volume from surface through surfacebox to test out the randomised growth of ornamentation.

box omain end=111 vide, U=15; V=24

box omain start=187 vide, U=62; V=39

E.4

E.5

Sbox Domain start=77 Divide, U=10; V=16

Sbox Domain start=64 Domain end=101 Divide, U=25; V=22

E.9

E.10

Sbox Domain start=111 Divide, U=3; V=6

Sbox Circle, R1=100; R2=37

B.4 Case Study 2.0 Selection Specie A.9

NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY Achieving multiple surfaces within one loft could potentially be useful for our design. The geodesic curve on the inside should give a decent level of comfortability towards the design. Following the knowledge of gridshell, this form should be relatively easy to fabricate.

Specie B.10

NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY The use of triangulation in altering the original form promotes a natural growth form towards the top by addition of formulas. The sharpness of the geometry definitely informs a more intimate space, which is quite suitable for our desgin.

Specie C.7

NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY This is an experimentation of the generation of deformed or a more natural approach of digital design by the aid of voronoi 3d and Weaverbird. The form created by voronoi could be a representation of style and ornamentation. The slimming of the center portrays human characteristic that we would like to work on.

Specie E.10

NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY The volumetirc extrusion of the form took a parasitic approach that has a strong sense of novelty. The fabricability of this iteration could be quite difficult to fabricate, considering the randomised angle of extrusion.

B.5

technique prototypes

he prototyping process is evidently the most crucial part for understanding the potential of materials and its workability with our design. The design intends to add an assessory on the Cabanon house to provide a form of lifestyle. We aim to explore the possibilities and the most logical approach in fabricating our concept through series of prototypes. In this part, we tested on different methods to fabrication such as laser cutting and 3D pritning, using materials that best portray our design concept.

SLEEPING COCOON STRIPPING TECHNIQUE / TEETH JOINTS

he sleeping coccon is designed to speak in the language of paracitic architecture and developed a new form of ornamentation through teeth joints. During the design porcess, we ran through the teeth joint algorithm and used stripping technique to layout the parts for easier assemblage. To our dismay, the laser cutter tends to contribute minimal errors towards the dimension of the teeth, thus we faced difficulties joining parts together. We resolved the issue by glueing the parts together. Through prototyping, we could identify and solve problems so that we are prepared for the actual fabrication.

TRI PANELISATION TRIANGULATION TECHNIQUE / 3D PRINTED JOINTS

lthough small hinges can be bought from the market, we decided to 3D print the hinge joints for more potential and control through digital design methods. By fabricating and testing them, I developed a deeper understanding of the size and mechanism of the hinges. This method of joints created some problems of its own and their relationship with the panels. In order to fit them on the joints, they must be alligned in the same position, hence having to make precise calculations when designing the holes. The mechanism that should work similar to slip hinges failed to be executed as it could not stay in position, thus we are still figuring out a solution to this.

ASSESSORY BOX LASER CUTTING / TAB JOINTS

ne of the design task was to fabricate a container as packaging for the assessory. We decided to go with voronoi as it promotes a high level of novelty and luxurious sense of style. Out of all three prototypes, the box was the most successful one as we did not encounter any problem through the whole fabrication process. So incorporating the techniques used in making the box, parts of the cells were laser cut at a scale of 1:1 to test out the workability of the actual fabrication. As voronoi is a method that reflects strongly on natural growth, the tabs were quite challenging to design. Up to this point, only staplers were used as the connection for the tabs.

B.6

technique proposal T

he studioâ&#x20AC;&#x2122;s brief aims to define a space where celebrities have control over style. It will operate under a predicted future where architects no longer have an authority to dictate the style. Whatever the celebrities wear is what defines trend, regardless whether or not it is accepted by everyone. Hence, we are assigned to design an assessory that promotes a kind of lifestyle that satisfies the context in this imaginary world. The concept is developed through an analysis of a trendy product and how it relates to the characteristics of celebrities by analysing the desire and dark side of the product.

REF NOVELTY

COMFORTABILITY

SUPERFICIALISM

INTIMACY

The product that we chose is called Refa Carat, a Platinum electronic face roller, which uses small electric current to tighten your skin. After analysing the product, we discovered some really interesting quale that the product could offer to our design concept later on.

23 73

FA CARAT PRODUCT : REFA CARAT

PRODUCT ANALYSIS: KEY PERFORMANCE INDICATOR DESIRE

DARK SIDE

NOVELTY

SUPERFICIALISM

- use of rare materials.

- despite its novelty, does Refa truly satisfy its purpose?

Platinum

Detailed Craftsmanship

- attention to detail and quality.

Reimagination

- reimagine the function of existing product.

COMFORTABILITY

INTIMACY

- now everybody can own a Refa.

- an intimate relationship between the user and

Personal Ownership

product through carressing.

Smooth

- pleasant and soothing sensation.

Intergrated Shape

- ideal fit and balance of applied pressure.

UNCONVENTIONAL

INDOLENCE

- using todays tools for a better experience.

- pampers the user with technological convenience.

High-Tech

Function

“Will technology replace the world?”

- goes to great lengths in fulfilling its function.

Innovative

- problem solving with innovative solutions.

Image source: http://jpn-premium.com/assets/img/beauty/ReFa_Crystal_cover.jpg http://jpn-premium.com/assets/img/beauty/ReFa_Crystal_cover.jpg

24 74

TARGET C MANAMI NISHIUE

CLIENT O

ur target clients are the rich milleniums who needs to match their wealth and identity to gain respect and attention, such as this instagram celebrity. From the photos, she portrayed herself as living the luxurious lifestyle that everyone desires to have. However, the truth is that she does not have an friends and also live in a messy and dirty room. All the photos posted were fake, and they were possible with her money, which ultimately helped her to gain public attention.

Image source: https://www.instagram.com/p/BRrymQXgmTM/?hl=en&taken-by=xxmanachalxx https://www.instagram.com/p/BX83yHig4Es/?hl=en&taken-by=xxmanachalxx https://www.instagram.com/p/BUTgcYUgVrb/?hl=en&taken-by=xxmanachalxx https://www.instagram.com/p/BLd3mWpBhln/?hl=en&taken-by=xxmanachalxx

DESIGN CONCEPT Based on the qualities of our target client, our goal is to design a product that is luxurious, beautiful and persuasive to make them believe that it is relatively good and expensive enough, but could also be used to express their real self inside without having insecurities of leaking their little secret.

In a group, we designed a jacuzzi attached to the exterior of the Cabanon. It has a golden shell as the outer layer, and an irregular triangular panels as the inner layer, which adapted the geometry of the Refa face roller. The panels are made of refelctive materials not only to show the luxuriousness of the product, but also protect the userâ&#x20AC;&#x2122;s privacy. These matrices are the four most successful models that best represent the key performance criteria that we aim to achieve.

MORNING DEW

AFTERNOON DEW

EVENING DEW

NIGHT DEW

e t a m i t . n t I r o f m o C

e h t l fee

DESIRE NOVELTY Use of Rare Materials The use of expensive materials such as gold that showcase the luxuriousness of the product definitely draws attention of the crowd.

Reimagination The product is reimagined from the existing to hyped up its uniqueness and also functionality. Why go for the dull and overused style of jacuzzi when you can have this new slick parametric designed jacuzzi.

COMFORTABILITY Parametric surfaces Similar to Refa face roller, the parametic surfaces on the interior curves and folds in a particular way that provide extreme comfort as it takes to form of the human body to ensure the best relaxation moment.

DARK SUPERFICIALISM Social Capitalism The superficiality of the product allows users to display the expensive lifestyle to the audience to feel socially accepted and admired by them. The use of relective material as the exterior prevent the audience from looking into the product. However, the users from the inside are able to look at the audience as a way to recognise their worth and value. This is similar to how people are able to check who liked or commented on the social media.

INTIMACY Intimate Attention The user experience a intimate relationship with the product as they have to break their personal space to use it. The edges of the parametric design caresses the users naked body sensationally. To increase the level of intimacy, the people walking by or admiring the product from the outside would affect the users emotionally as their personal space is being invaded through eye contact.

Plan

SITE ANALYSIS T

he product is placed in an open space along the river in merri creek. This is a strategically planned location as it would allow the user to gain more attention from passerby and they could also enjoy the view of both creek and the nature around. It could also be interpreted as a monument, which becomes a part of the creek. People could possibly stop by to take a few photos and move on for another.

Elevation

Section

learning outcomes T

o a large extent, I think that the matrix exercise has helped me to expand on, and utilise, the algorithmic definition in order to address a wide range of design possibilities under the given brief. In the beginning I was skeptical about my choice of research field as it was too general and there are plenty of possible approaches. Nonetheless, B2 has been helpful me in categorising the type of parametric design that would be useful for my design concept. Instead of generating ideas of my own, the outcome of the task surprised me with forms that I have never thought would be possible to generate. As for B3, it was a crucial part that informed me on the techniques to generate fabricatable possibilities. To have a better understanding of the logic for a more successful outcome, I have spent a lot of time editing and altering the algorithm. The process of B4 was quite similar to B2, thus I did not struggle that much when I have the foundation of the logic. However, the selection of the best specie took me awhile to figure it out as one of the criteria was fabricability. It might be easy to design something digitally but bringing it into reality is another matter to think about.

he design process does not end at getting digitally ready for fabrication. Instead, it is experimentation of the workability of the model, with consideration of the choice of materials. A good example would be the process of prototype, where we faced difficulties assembling the dismatched joints due to errors during fabrication, material performance or even in digital model. As for the presentation, the tutors gave us some useful feedbacks regarding our ideas on our product. The two research field on geometry and biomimicry should have a stronger relationship with each other and represented in a more abstract perspective. One of the good example of precedent was Neri Oxman, where she explored parametric design on a human body.

Image source: http://www.funnyjunk.com/funny_gifs/3241776/This+one+guy/23#23

appendix

Image source: https://i.pinimg.com/736x/41/b6/fc/41b6fc3ecd4af7a74302da3cc88a6718.jpg

87 23

PART C

C.1. DESIGN CONCEPT

... 91-110

C.2. TECTONIC ELEMENTS & PROTOTYPES C.3. FINAL DETAIL MODEL

... 111-122

... 123-136

C.4. LEARNING OBJECTIVES AND OUTCOMES

... 137-140

design concept

FEEDBACK INTERIM DESIGN F

rom the feedback of part B, it is suggested that we have overlooked the potential of the refa handle and it could be a good idea to develop it as a part of our final product. The crits gave some precedents that we could pursue to demonstrate its design capabilities. Hence, we have decided to develop the handle in relation to feminine characteristics and its structural support of the massager.

he voronoi shell might be a good representation of luxuriousness due to its iconic appearance as blings and jewelries, but it might not be a strong quality that can be deciphered within the product. However, as our tutor recommended, the triangular geometry could be brought forward into our final design. Based on the feedback, we will start to develop fractal patterning and biomorph them into a new transformation.

RELATIONSHI CABANON HOUSE

JACUZZI AREA

IP SPECTATORS Spectators are only allowed to view and admire from the exterior as the design intends to provide this luxurious lifestyle for those who can afford, the user.

CONVENIENCE The bathroom situated next to the door provides user convenience such as changing of clothes, pass motion and etc. It also prevents a larger floor area from getting wet since it only takes a few steps from the jacuzzi to the bathroom.

SECURITY The location of the accessory forces the user to go through the cabanon house first as a mean of approval to cross from public to private.

SKIN T

he exploration of skin is rather a good start to discover and learn more about biomimetic architecture. In general, human skin might look the same throughout the whole body. However, the skin does far more than the obvious task of keeping your insides on the insides. Its a washable, stretchable, self repairing fabric that lasts a lifetime with minimal care. Different parts of our skin functions differently due to variation of external condition. Going back to refa, does the product also respond differently when applied on different parts of the skin? A good way to identify skin differentiation is by looking at the crocodile skin. The top bony and massive parts are called scutes, scales that develops on its own. As it moves towards the belly part, the scutes slowly diminishes and flattens out. It is because the belly is mostly exposed to water, thus having a different external condition alters their shapes and structure. Therefore, the design aims to have these responsive qualities in the product and becomes the style of our design.

PRECEDENT STUDY 1

BAO BAO ISSEY MIYAKE

2010

ao Bao by Issey Miyake made good use of triangular tessellation, transforming a flat surface into a rather fascinating 3D volumetric geometry. Its both light and soft, its folds accommodates and transforms itself.1 The theme ,â&#x20AC;?shapes made by chanceâ&#x20AC;? certainly caught our attention to research it further. Visually, the form gives the impression of rigid to flexible due to the triangular panels attached onto the fabric. However, we suggested that the panels used limit the flexibility of the fabric to achieve the desired movement of geometries. The fabric could also be a representation of joints. This strong relationship between the panels and fabric is the idea that we think its worth implementing into our final design.

1 Issey Miyake, Bao Bao Concept < https://www.shopbaobaoisseymiyake.com/concept>[accessed 1 N

November 2017]

100

PRECEDENT STUDY 2

ICD/ITKE RESEARCH PAVILION ACHIM MENGES & JAN KNIPPERS

2010

he pavilion is constructed by radial arrangement of plywood strips, which are extremely thin and elastic, bended to arch shapes. These structures intersect while not losing its bending momentum. Each strips are maintained by the corresponding tensioned region of neighbouring strips.2 The parametric principles and fabrication techniques used in this project are what we were most interested in. The structural strips rely on each other as a form of support mechanism, which might be a useful joint method for our project. Also, the natural bending behaviour of the plywood in a radial arrangement suggest a possible candidate for the expression of feminine traits.

101

2 ICD/ITKE Research Pavilion 2010 < http://icd.uni-stuttgart.de/?p=4458 >[accessed 1 November 20

017]

102

TRIANGULAR GEOMETRY Iterations

sing the field component in grasshopper, the points connected were able to generate depth of curves based on its movements and direction on the triangular grid panels. The design faced limitations when the form can hardly be controlled to achieve the desired geometry. Thus, the algorithm needed more adjustments and complexity to have more flexibility and responsiveness.

BIOMIMICRY Iterations

he form of the ICD/ITKE Research Pavilion was reverse engineered and modified thus deriving the form of structural support and feminine quale. The iterations successfully addressed flow and natural behaviour through shifting. However, the direction of flow and thickness of the strips clearly diminished the feminine characteristics of the design.

103

104

PRECEDENT STUDY 3

ORIGAMI TESSELLATION RON RESCH

1963

on Resch demonstrated the shape diversity of a single folded sheet to create a curved surface tessellated with a fabric of triangular panels and hinge based folding technique. The principle of his folding creates a repetitive effect, encompassing like scales of a reptile. Hence, in response to our concept of skin exploration, we strongly believed that Ron Reschâ&#x20AC;&#x2122;s folding techniques could be the key to our form finding. The expansion and contraction of the surface illustrates the biomorphic growth of nature and how it changes are dependent on the surrounding environment.

105

106

PRECEDENT STUDY 4

SEROUSSI PAVILION ALISA ANDRASEK

2004

n relation to biomimicry, Alisa Andrasek has created a refreshing language of form and structure through a series of infrastructural cocoons.These cocoons squeeze and blush together forming a series of volumes and inner courtyard.3 The flow in the system is designed through an extensive series of scripts able to adapt to changes in the program and its surroundings. This flow is the key towards our design outcome not only for a more feminine characteristics, but also a rigid structural system that supports itself and the surroundings through adaptation. The Seroussi Pavilion fades away from individuations as subject or form and focus more on the design understood as a genetic inscription, which means having more control through algorithmic articulation.4

107

3 Sucker Punch, Seroussi Pavilion < http://www.suckerpunchdaily.com/2009/12/19/seroussi-pavillion/ 4 Scriptedbypurpose, Biothing < https://scriptedbypurpose.wordpress.com/participants/biothing/ >[

/ >[accessed 1 November 2017] [accessed 1 November 2017]

108

ORIGAMI Pseudo code Description CURVE

WB WEAVE

MESH

WB JO

-PI/2 VALLEY

ORIG

PI MOUNTAIN

RESPONSIVE SYSTEM Kangaroo Simulation

N = 0.00

N = 0.25

nspired by Ron Reschâ&#x20AC;&#x2122;s idea of origami tessellation, it sets as guiding influence in exploring the flexibility of surface, and its responsiveness to external forces. The origami and kangaroo component played an essential part in the construction of the algorithm script. Curves are set as valleys and mountains according to the folding logic and simulated with kangaroo physics before fabrication. Based on the simulation, the system allowed expansion and contraction all happening on a single surface. Hence, it has proven to have more control of the form than the previous method.

109

N=0

OIN

GAMI

0.50

KANGAROO

N = 0.75

MESH EDGES

N = 1.00

110

tectonic elements & prototypes F

ive prototypes were made before the presentation model. During the prototyping process, we noticed that there is a big difference between the digital and physical world. Through prototyping, we learn to understand the limitation of materials, fabrication defects and tolerance. The prototypes were not only used for testing and representation of ideas, but were also part of idea generation.

112

PROTOTYPE 1

he first prototype was made of 0.6mm thick polypropylene sheet laser cut into triangular panels of multiple size. While we were unable to decide on our form due to difficulties encountered in grasshopper, this prototype was made as a form finding process to test on possible solutions to our design. The choice of material was because of its flexibility to curve and the use of bolts was easy to control and disassemble easily.

113

114

PROTOTYPE 2

ollowing Issey Miyakeâ&#x20AC;&#x2122;s footsteps, prototype 2 was built with similar idea of triangular tessellation attached onto a cloth but different in sizes. The model is made of reflective perspex with a hole on every corners of the triangles for easier attachment. Still at the stage of form finding, we discovered that the scale of the triangular panels critically affects the flexibility of the design. From this prototype, it is evident that the triangles of the same size flow accordingly with the fabric but the bigger triangles clash with the smaller ones, creating an interlocking effect, which limit the design flexibility.

115

116

PROTOTYPE 3

fter our form was finalised, prototype 3 was fabricated in response to our design intent. It was made of 1mm box board and reflective perspex, both laser cut into the assigned shapes. Ron Reschâ&#x20AC;&#x2122;s idea of tessellation was to have similar dimension of triangles for it to work. However, to achieve fractal design, different sizes were tested in this prototype. The mirror perspex were attached individually onto the side of each folding panels with glue. After completion, the prototype was unable to move due to size differences and hardness of the material.

117

118

PROTOTYPE 4

rototype four planed to test on the field algorithm generated to support the triangular structure. 0.6mm polypropylene was used because the properties of the material allowed the form to bend according to how it was designed digitally. Despite the rings securing and holding the strips together, it failed because the strips are not strongly connected to each other. Hence, the fabrication logic needs to be revised again to attain a more rigid support.

119

120

PROTOTYPE 5

fter learning from our mistakes from prototype 3, the materials was switched to 200gsm white paper. The digital model was unrolled and printed on the paper and folded based on the valleys and mountains assigned. This method appeared to be faster and more effective. Nonetheless, it took the longest time to build out of all prototypes. This might be due to the paper being too soft and flexible, making it more difficult to fold precisely.

121

122

C.3

final detail model

re you tired of small, dark and empty spaces? Are you sick of flat screen walls you stare to kill boring bath time? Are you done with cheap plastic tub in your neighbourâ&#x20AC;&#x2122;s backyard? Wait no more and get our brand new Jacuzzi. Its visually stunning, functional, and most importantly, the best accessory that makes your neighbours jealous. Start your natural spa in your very own jacuzzi right now. We provide the three most extraordinary benefits for you : - A natural open view during your bath hours. - A responsive wall that follows your movement, allowing more relaxation and exercising environment. - The elegant form that boosts your status.

124

125

126

127

128

129

130

SEQUENCE T

he design and fabrication methods have changed since the last prototype. For the final model, we used 0.6mm polypropylene as the triangular tessellation in a single sheet. We believed that instead of making individual panels and connect them, the final model should be folded from a flat surface that could demonstrate the natural folding of origami. The mountain lines were etched as it would be folded outwards while the valley lines were cut with dashed lines. The fold might be more difficult than paper but the results was very successful in terms of flexibility and structural integrity. For the strips, 1mm clear perspex was used instead of polypropylene. We discovered that polypropylene best reflect the digital model but its properties discouraged it as a structural element. Hence, perspex was a better choice of material for this particular model because it is quite small and the polypropylene is light enough to be supported. After completion, the tessellation was placed securely on the strips. Glue was also used to attach the tessellation and the cabanon house together for more rigidity.

131

132

HANGING DEW feel the ultimate comfort.

134

ASSEMBLY

135

SCALE BIG The fold of the big parts forms a mini tub for a person at a time. As the users sit in it, it engulfs the whole body.

SMALL The small parts create a tingling feeling on the userâ&#x20AC;&#x2122;s feet, giving them a massaging sensation.

MICRO This micro surface is extremely tiny that the pressure applied on the body is still within the comfort zone.

FLEXI The flexibility of the material to expand and contract allows user to exercise or other active movements in the space.

136

C.4

learning outcomes

138

139

140

BIBLIOGRAPHY

PART A Archdaily, Centre Pompidou-Metz/ Shigeru Ban Architects < http://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects> Archdaily, DAL Canopy Design/ Digital Architectural Lab < http://www.archdaily.com/165298/dal-canopy-design-digital-architectural-lab> Archdaily, Dongdaemun Design Plaza, Zaha Hadid Architects< http://www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects> Burry, Mark, “Antoni Gaudi and Frei Otto: Essential Precursors To The Parametricism Manifesto”, Architectural Design, 86.2 (2016), pp. 30-35 Dune, Anthony& Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45 Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16 Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1-10 Peters, Brady, “Computation Works: The Building of Algorithmic Thought, Architectural Design, 83, 2 (2013), pp. 8-15 Schumacher, Patrik, “Special Issue: Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century”, 86(2016), pp. 16 University of Stuttgart, ICD/ITKE Research Pavilion 2012 < http://icd.uni-stuttgart.de/?p=8807> Walker, Connor, Organic London Skyscraper Grows as Residents Recycle <http://www.archdaily.com/524225/organic-london-skyscraper-grows-as-residents-recycle>

Image source:

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PART B Archdaily, Canton Tower/ Information Based Architects <http://www.archdaily.com/89849/canton-tower-information-based-architecture> MATSYS, SG2012 Gridshell, < http://matsysdesign.com/2012/04/13/sg2012-gridshell/> Woodbury, Robert F., How Designers Use Parameters (London; New York: Routledge, 2014), pp. 153-170

Image source:

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PART C ICD/ITKE Research Pavilion 2010 < http://icd.uni-stuttgart.de/?p=4458 > Issey Miyake, Bao Bao Concept < https://www.shopbaobaoisseymiyake.com/concept> Scriptedbypurpose, Biothing < https://scriptedbypurpose.wordpress.com/participants/biothing/ > Sucker Punch, Seroussi Pavilion < http://www.suckerpunchdaily.com/2009/12/19/seroussi-pavillion/ >

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