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PART B B.1. RESEARCH FIELD
... 3-4
B.2. CASE STUDY 1.0
... 5-10
B.3. CASE STUDY 2.0
... 11-16
B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPES B.6. TECHNIQUE: PROPOSAL
... 17-30 ... 31-38 ...39-50
B.7. LEARNING OBJECTIVES AND OUTCOMES B.8. APPENDIX : ALGORITHMIC SKETCHES
...51-52 ...53-55
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3
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
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5
case study
1.0
MATSYS SG2012 GRIDSHELL MARK CABRINHA, ANDREW KUDLESS & DAVID SHOOK
2012
T
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/
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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.
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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
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B.2 Case Study 1.0 Selection Specie A.5
NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY
Specie C.8
NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY
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Specie B.6
NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY
Specie D.8
NOVELTY COMFORTABILITY SUPERFICIALISM INTIMACY FABRICABILITY
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case study
2.0
CANTON TOWER INFORMATION BASED ARCHITECTURE
2010
T
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
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B.3 Case Study 2.0 Reverse Engineering
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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.
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B.3 Case Study 2.0 Step by Step Algorithm
STEP 1
STEP 3 STEP 4
STEP 2
CONSTRUCT POINT CIRCLE CONSTRUCT POINT
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DIVIDE CURVE
EXPLODE TREE
SHIFT LIST
LIN
NE
STEP 5
STEP 7
STEP 6
DIVIDE CURVE
FLIP MATRIX
INTERPOLATE CURVE
BOUNDARY SURFACES
PIPE
BREB JOIN
BREB
STEP 8
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B.4
technique development
4
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.
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B.4 Case Study 2.0 Iteration Series A Recreation of Base Form
A.1
A.2
A.
Circle, R1=10; R2=45 Shift=6; 6
Circle, R1=22; R2=51 Shift=4; 6
Re Div Shi
A.6
A.7
A.
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.
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.3
A.4
A.5
Ellipse R1=23; 80 R2=19; 64 Divide=28
Circle, R1=94; R2=45 Shift=3; -7 Divide=94
.8
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
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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.
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Av an sur flex
3
B.4
B.5
Lunchbox Triangular Panels B U=15; V=15 Random split Srf 1, Seed=38
Popgeo Count=250 Delaunay Mesh Loft
8
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.
Average point on surface and offset towards normal of surface to achieve a more flexible triangulation.
nchbox angular Panels B =15; V=15
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B.4 Case Study 2.0 Iteration Series C Natural Deformities
C.1
C.2
C.
Pop3D, Count=54 Voronoi 3D Polyline
Pop3D, Count=300 Voronoi 3D Polyline
Po Vo Po Av Sca
C.6
C.7
C.
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.
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.3
op3D, Count=54 oronoi 3D olyline verage ale factor=0.767
.8
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
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B.4 Case Study 2.0 Iteration Series D Surface Panellisation
D.1
D.2
D.
Staggered Quad Panels U=4; V=24
Staggered Quad Panels U=16; V=44
Of Ra Srf Cir
D.6
D.7
D.
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.
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.3
ffset, D=35 andom split f 2, Seed=33 rcle, R1=49; R2=39
.8
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
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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.
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3
box omain end=111 vide, U=15; V=24
8
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
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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.
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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.
T e a o c s T m t
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.
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B.5
technique prototypes
5
T
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.
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SLEEPING COCOON STRIPPING TECHNIQUE / TEETH JOINTS
T
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.
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TRI PANELISATION TRIANGULATION TECHNIQUE / 3D PRINTED JOINTS
A
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.
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ASSESSORY BOX LASER CUTTING / TAB JOINTS
O
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.
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B.6
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.
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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.
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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
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TARGET C MANAMI NISHIUE
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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
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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.
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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.
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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.
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Elevation
Section
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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.
T
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
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appendix
Image source: https://i.pinimg.com/736x/41/b6/fc/41b6fc3ecd4af7a74302da3cc88a6718.jpg
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BIBLIOGRAPHY 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: https://ih1.redbubble.net/image.15671425.5754/flat,800x800,075,f.u3.jpg http://matsysdesign.com/2012/04/13/sg2012-gridshell/ https://pre02.deviantart.net/6c54/th/pre/i/2012/265/e/8/canton_tower_by_jonsonox-d5fkr1k.jpg http://jpn-premium.com/assets/img/beauty/ReFa_Crystal_cover.jpg 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 http://www.funnyjunk.com/funny_gifs/3241776/This+one+guy/23#23 https://i.pinimg.com/736x/41/b6/fc/41b6fc3ecd4af7a74302da3cc88a6718.jpg
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