Studio: AIR
Dianna Yong 551485 Studio 3, Adam & Finn Semester 2, 2013
Material Choice: Wood Type of Wood I am intereted in : Plywood Advantages of Plywood: -It reduces moisture expansion and contraction. - It is conventionally stable - Control of grain during production processes that reduces waste Wood is organic, it has a life span. Depending on how you treat wood, it can produce different asthetic qualities over time. I am interested in the way wood is able to produce a design based on its properties. There are also many jointing systems that can work as a structiural element, an asthetic quality and as function. These are the qualities I look for to introduce to the Wyndham City Gateway Project.
What can Plywood do? It can be bent, it can be cut into pieces of geometrical shapes. It can joined using othter materals or by creating a mechanism with the material itself to act as an interlocking system
Introduction| 0.1
Dianna Yong I have lived in three countries for 21 years of my life. I was born and raised in an industrial city in Indonesia, called Balikpapan. This was where I spent my childhood days playing around in mud and remains of old, thrown-down buildings. At the age of 6 I moved to Singapore, and this was where I spent most of my life. This included Primary and Secondary education and a complete change in enivornment or living condition. In 2010, I made a big decision to pursue my tertiary education in the University of Melbourne. Currently, I am a thrid year student in the Bachelor of Enivronments, majoring in Architecture. Having to lived in different countries, I would say that I have been exposed (not fully) to the different living conditions, culture, environment and most importantly styles of archiecture. At the time when I was living in Balikpapan, architecture was solely used as a means of shelter. It is, as I would define it, a developing city as seen by the vast amount of on-going commercial and residential projects today. Comparatively, Singapore and Melbounre are the opposite. Architecture is viewed as the identity of the country there and the use of it serves for various purposes. These experiences and exposures triggered my facination with archiecture and how they are represented or inspired in different context. Apart from that, I also love design and art. I find myself incorporating these fields of interest alot in my studios and how I view architecture. Recently, I have been experimenting with digital tools, and I find that though they are tricky, they present to be a useful platform to aid in illustrating my ideas. Thus, I see Studio Air as a great opportunity to develop my skill set, as well as improving my understanding on theorectical knowlegde to design.
Fig. 3
Close Encounters
Virtual Enivronments, Semester 1 2012. The brief for this project was to create a lantern, either wearable or just as a lantern model on its own, by using parametric design.
Fig. 5
Fig. 1: Final lantern model worn on the neck Fig. 2: Details of the panels Fig. 3 & 4: Sketches of flowers for documentation process Fig. 5: Rhinoceros screen grab of lantern model in develoment stage Fig. 1
Fig. 2
Virtual Environments introduced me to digital design. The aim was to contruct a NURBS model in Rhinoceros. The design of my wearable lantern was inspired by phyllotactic patterns formed by the arrangement of petals and leaves from an annular region. My inspiration developed further to tranform phyllotactic patterns into geometry, or phyllotaxis, which is the geometrical arrangement of leaves, flowers and seed. I physically studied flowers and documented them by the sketches. Sketching helped me realise a repetitive circular motion that I constantly did and from there I illustrate flowers and petals geometrically. The end result was represent the stages of petal/leaf growth on my lantern. The first stage of design I adopted the use of traditonal method such as skething and plasticine models. However, it was evident that digital tools allowed me explore the design ideas beyond what tradional methods could achieve. Though I do agree that digital tools present different outcomes, I still enjoy the first few stages of employing traditional method to develop my design. For Studio Air, I hope to combine these tools together to obtain the aim of the brief. However, it is definitely evident that digital tools will help me achieve the end result for the gateway project.
Fig. 4
Introduction| 0.2
Part A
Expression of Interest:
A Case For Innovation
Contents
A.1. Architecture as a Discourse
05-06 07-08 09-12
A.2. Computational Architecture A.2 Precedent Work: ICD/ITKE Pavilion 2010 A.2 Precedent Work: Kerf-Based Com plex Wood Sytem
13 14
A.3. Parametric Modelling A.3 Precendent Work: ICD/ITKE Pavil ion 2011
17-18 19-20
A.4. Conclusion A.5. Learning Outcomes A.6. Appendix - Algorithmic Explorations
21 22 23
A.1 Precedent Work: Dragon Skin Pavilion A.1 Precedent Work: Polymorphic
15-16
A.1. Architecture as Discourse
05
Previously, architecture was seen as art that incorporated other forms of visual art to define the context of a space. [1] Commonly seen by Renaissance architects that treat buildings as an artform through decorative elements. In the quest to move forward, modernist architects focus more on the function of the building and technical side (material and construction) of it. However, it is not to say that architecture is narrowed down to its form or function. Architecture posses both functional aspects and asthetic qualities that are determined by its discourse. [2] Architecture discourse can be looked at as set of ideas that is constantly changing to enable the development of architecture (or for it to move forward). Since the Italian Renaissance, this has led to the studying, researching, testing and critically analysis of architecture. It used to be led by the people involved in this industry, such as architects, builders and engineers. However, the approach towards modern era causes the change of discourse. As a result, it has progressed to include other fields of expertise such as mathematics and science. [3] In addition, it has also resulted to a change in architectural styles.
The continuous advancement in technology has affected not just our lives, but also the discourse of architecture. Aiming to create innovative designs makes sense for the architecture to evolve with technology. This brings in technology, or computers, as a tool to assist architects. This is refered to as computable function, where an algorithm, which are methods or techniques, tells the computer what to do [5]. Consequently, it pushes the boundaries of discourse and introduce new design ideas or outcomes, and a set of new design parameters. Computer programs have significantly changed the discourse, the possibilities of archiecture and the way people view architecture today. Innvovative designs also includes the way it responds to it’s context. The Wyndham City project looks to create a gateway that makes a “statement and arrival experience” and as an “identifier”. [6] I propose to utilise computational design to fulfill the aims of creating a prominent gateway that reflects the social and cultural characteristics of Wyndham City.
Williams stated that architecture defines our how we live, our movements, and even aims to moralise and discipline us. [4] It shows that architecture goes beyond it’s functional purpose as built forms to incalcate social and political aspects. As such, architecture discourse should not be open to just professionals in this fields, but also to people who can contribute or who are affected by it.
A.1 Architecture As A Discourse | 06
F
Precedent Work: Dragon Skin Pavilion Hong Kong, 2012 Fig. 7
Fig. 8
Fig. 9
The way wood is used in this pavilion by architects Emmi Keskisarja, ekka Tynkkynen, Kristof Crolla and Sebastien Delagrange, sparked my interest in the material wood, and it’s properties. This architecture installation is made up of tessellated pieces of post-formable plywood. The connection of each wood piece has a unique slot bent on one single mould. In order to achieve this, parametric modelling is used and a CNC milling machine creates the joins that connect the pieces together. This process of manufacturing creates a very accurate method of construction that would be quite impossible to achieve with tradional methods. Due to the nature of the pieces, an alogrithmis procedure would be used to calculate the placement of the slots. [7]
05
Fig. 10
In addition to its individually designed pieces, the way the material is treated in this project exhibits the qualities of plywood. Heating and pressing the material allows it to form different shapes. For this pavillion, it appears to be that a curve struture is the result of scale like shape pieces and the gradual placement of them.[8] It also appears that no other forms of connection, rather than the slots made, are used. This method of connections creates a self-supporting stable structure. The methodology of the Dragon Skin Pavillion shows new way of designing and constructing For the Gateway project, I think these characteristics can be applicable into the proposed design. From the method of utilizing plywood and the treatment of it adds to the discourse of archiecture.
Fig. 11
Fig. 6
A.1 Architecture As A Discourse | 07
Precedent Work: Polymorphic Columbia University
Fig. 14
Fig. 12
Fig. 15
Polymorphic is kinetic and interative installation that uses Grasshopper script to generate its components. [9] The movement of see-saw was the inspiration behind this project. Polymorpic illustrates how interaction coupled with design and construction solution fosters innovative designs. When weight is applied, the motion changes the shape of the bench. The design idea also puts the limits and capabilities of digital fabrication to test. Due to the kinetic nature of the installation, the use of digital tools would ensure that each piece of plywood fits perfectly in its postion.
Fig. 13
The contruction system adopted should have considered the amount of weight it can withstand and also a solution if any part of the mechanism were to fail. In addition, the size of the bench can be made longer or shorter, depending on availability of resources. [10] Personally, I really like the design idea behind this installation. It has shown how to work others outside the field of architecture into asthetics of the design. It take into account the properties of the material, the users, the technology and used it to respond to the context of its environment. This I feel impacts the discourse of architecture and thinking. This design idea satisfies a number of criterias on the brief that would help in the success of the Gateway project. A.1 Architecture As A Discourse | 09
Fig. 16
Before going into the topic of computational architecture, it is important for one to understand the role of computers. Computers are analytical engines that do no make mistakes. They are able to store data, evaluate information at a very fast pace and present it to in a readible form. However, computers are incapable of creating new instructions, lack creativity and are dependant on the user (humans) to function. [11] In a sense, computers are designed to be compatible for human use as they both make up for the qualities each of them lack. Thus it is essential that the user understands the language needed to communicate with the engine for it to be used effectively. The development of computer aided design (CAD) and computer aided manufacturing (CAM) has created new opportunities that were impossible before.[12] Computerisation and Computation are two design tools or engines that has changed the discourse of architecture in terms of methodoloy and thinking. Computerisation is defined when the user treats computers as medium to illustrate and edit their ideas and designs.
13
A.2 Computational Architecture However, it does not automatically establish the design as innovative. Computation uses computers to produce ideas. It can be viewed as puzzle making instead of problem solving. [13] The role of the architect is to then be selective over the resources available to work with in order to fulfill the task, or not only to invent but to remake. Computation is a useful tool for architects to allow them to assess componenets of the design. They are able to judge and make amendments for a better design solution. As a result, it enables the architect to study the properties of the material so as to use it effectively and efficently in the design. Addiontionally, it allows reconsiderations on the type
l
Precedent work: ICD/ITKE Pavilion 2010 University of Stuttgart
Fig. 17
Fig. 19
Fig. 18
This temporary pavilion was constructed by The Institute of Computational Design (ICD) and The Institute of Building Structures and Structural design (ITKE) at the University of Stuttgart in 2010. The use of computational design to evaluate material elements allows the design to be defined by the bahaviour of the material instead of the form. [14] This explifies how, with design parameters, material behaviour becomes the determining factor of the design and fabrication and result in architectural possibilites.
Fig. 20
that spatially mediate an intricate network of forces” and to produce a unique space. [15]
The design process of this pavilion portrays how computational tools assist in creating innovative designs. It is very much applicable to how I would approach the Gateway Project. Firstly, the use of plywood in the pavilion shows the potential of its’ propertices. There is also a vast amount of information on the test this project conducted on wood, which i would be able to use as a design parameter. Moreover, it has This project was constructed with thin birch introduced ways of using computational tool veneer plywood strips and it looks at the elastic to explore materials, and produce a design bending behaviour of the plywood. that satisfies my material selection and the Using computation to assess the elastic propbrief for the project. erties enabled “a series of behavioural components
A.2 Computational Architecture | 14
Fig. 2
Elaborating on the relationship between material and form, one does not exist without the other. Computational tools also play an important tole in this relationship as a verdict on performance issue such as force of form. [16] However, these forces are apparent in materials that make up the form. As mentioned in before, it is therefore crucial to understand how material works. The material focus of this project that I
15
have chosen is wood. There are many different types of wood and each type has a different set of properties, which are affected by environmental conditions. For instance, trees adapt to lateral forces, such as wind, by growing branches or roots in areas needs to resist the the uplifting caused by the force. [17] Applying this theory to architecture can be done with the use of computers elvaluate the performance criteria and to determine the forces, loads, bending and elasticity of the material.
21
Precedent work: Kerf-Based Complex Wood System Harvard Gsd
Kerf-Based Complex Wood Systems is a research project done by Brad Crane, Andrew McGee, Marshall Prado and Yand Zhao from Hardvard GSD in 2010. It explores complex wood systems made from “free-form wooded slats and formed through strategic accumulative local weakening and disruption of fiber continuity by kerfing�. [18] Kerfing is a fabrication technique of bending wooden parts. This project demonstrates how computer controls are used to test degree of kerf (length, deoth, orientation) to achieve variations of bending and warping structures. [19] To control the parameters of this project, a robot tool is used to carry out the constructing and assembly process. Computational tools produce individual kerf patterns with is communicated to the robot tool. It enables the unique kerf of each piece to be precise and efficient on resources. Similar to the context of the ICD/ITKE Pavilion, the materials taken into consideration during the early stages of design. Both examples have shown the properties of wood has generated complex innovative design. Additionally, I find that having each element of the structure to be unique and act interdependently works to bring out the aim of the project. For the Gateway project, I hope to use this technology as a means of representing the social and cultural aspect of Wyndham City in the design.
Fig. 23
Fig. 22
Fig. 21: Detailed view of kerfing on the wood Fig. 22: The form of the design based on the behaviour of kerfing on each individual component Fig. 23 & 24: Precise cuts on wood made by robot tool Fig 25: Jointing system
Fig. 24
Fig. 25
A.2 Computational Architecture | 16
A.3. Parameteric Modelling
17
Schumacher’s introduces parametricism as a new approach for architectural design, where it changes the thinking about architecture.[20] The most important thing about parametricism is that it concerns relations. It uses nurbs, splines to produce shapes that are controlled by ‘attractors’ with the use of scripting. [21] The communication level of the user and parametric design is based on design components, such as adding (drawing), subtracting (erasing), etc. The user can choose to use any of these tools and the changes will be integrated into the system that represents them visually. An example of this is Grasshopper. The visual representation in through Rhinoceros. The reason why most architects adopt parametric modelling is because of the generative approach that permits the practioner to controll the definition of the relationship between elements. Or as stated by Burry, “Designing the design”. [22]
In addition, parametric design makes it possble for architects to design with high precision, changing the discourse of architecture by the styles and quality parametric design generates. Parametric modelling also aims to improve the way amendments are made with design tools without having to affect undesired parts.[23] However, there are also disadvantages to parametric modelling that needs to be addressed. The user must be fluent with these tools in order to know what they want to achieve. Woodbury also stated that designs using parametric modelling might produce unoriginal designs because of the nature of scripting.[24] For example, a practioner is able to use someone else’s design and manipulte it to call it their own In spite of the points mentioned above, Parametic modelling helps to create new possibilites in architecture and bring to life what architects envision. I also believe that it is a powerful tool to communicate between the built environment and out society. Employing this technology to the Gateway project would achieve the aims of the brief to have a design that is innovative and contributes to the discourse of architecture.
A.3 Parametric Modelling | 18
Precedent work: 2011 ICD/ITKE Research Pavilion University of Stuttgart
Institute for Computational Design, Institute of Building Structures & Structural Design.
The 2011 ICD/ITKE research pavilion showcases a level of innovation by the means of “extending the recognized bionic principles and related performance to a range of different geometries� achieved by computational tools. [25] This is illustrated by the thin sheets of plywood that make up the pavilion. It represents the morphology of a sea urchins skeleton plate. Computational tool and computer-controlled manufacturing by robotic production are implemented into the design process. Again, the choice of material and joint systems caught my attention. How sheets of plywood can be used to create geometrical shapes to form the cells in this precedent is different from how plywood was used in the previous precedent. It also exhibits how using different joint systems can result to form different outcomes.
Fig. 27
To form the geometrical cell shape, the plywood is connected using a dovetail joint. As a result it provides high load bearing capacity. How this form can about also interest it. Interpreting the skeletal form of a sea urchin using different techniques in parametric modelling triggered my curiosity to wonder what other types of structures it can produce. However, I realise that projects like these are normally done in small scale because of the cost or funding. Practicing economical production, similar to this project, and choosing the right materal could make a significant difference. As of now, smaller scale projects could be useful to test the possibilies and potential of parametric modelling, which coud hopefully be used in bigger projects in the future.
Fig. 28
Fig. 26
Fig. 28
A.3 Parametric Modelling | 19
A.4 Algorithmic Explorations
Lofting and Baking
This simple lofting exercise done by Grassgshopper allows the shape to be edited in Rhinoceros.
Grid Shell Different renditions of Grid shell can be obtained by having different base shapes drawn in Rhino and the sequence of setting the curve 20
Curve Menu Creating the arches in Grasshopper. There are a number of ways to form the shape of these arches that will help in fabrication. The number of points can also be edited
Edited in Grasshopper, the script allowed me to pick which end I would like to be rendered and to change the way the line run on the rendered surface.
This is chair and hammock looking thing that I did using Pipes in Grasshopper. I experienced a few problems with this. I was unable to resize the diameter of the pipes.
A.4 Alogorithmic Explorations | 21
After tackling all the readings required and looking through precedents, I realise that as an architect, one needs to understand the purpose of their building/work. Architecture influences our lives, social structure and culture. In the bid to constantly be on the fore front of architecture, it is important to know that computational the capabilities of computational tools that can help us realise our visions. As technology advances at a fast pace, it will affect the pace of architecture discourse. I foresee that parametric modelling, though utilized only on small scale projects now, will be heavily vested in the future. These small projects are just a glimpse of what parametric modelling can do. I believe that with a better literacy and software, one will be able to create the next innovative design that will affect architecture as a discourse. Thus, it it important for us to keep up with these technologies and practices for something out of thing world might just present itself at any moment. For the Wyndham Cury Gateway project, I believe is a great opportunity to put these tools and practices to a test to create a design that will stand against time. What the brief calls for can be satisfied by utilizing parametic modelling tools to generate a design. Furthermore, the use of wood, a material that has been around for more than centuries will show using computational tool can change the way it was conventionally used. It will introduce ways of working and designing with wood that will reflect the community of Wyndham as well
A.5 Conclusion 22
A.6 Learning Outcomes Before this commencement of this subject, I would say that i have not been fully exposed to architecture theories yet. My skills in progams are also limted and I have always thought that computational tools were a way of making our lives easier. I never saw the actual reason, apart from how it is treated a form of help in designing. Through all the research, readings and discussion in studio, I realise that architecture is not just subjective to the individual, but it is a means to show progression, whether you like it or not. The idea and technology used would reflect the time it was designed, and its function. I hope to be able to incoperate what I have learnt and will be learning into my design ideas. Having learnt that there are two types of using computers, computerisation and computation, puts my ideas and learning into better perspective. I would say that different countries have their take on these tools in architecture, and it is fascinating to see how these tools are made to work in different context. It is therefore important to keep your eyes open, for seeing is learning, and learning is believing, and believing is making things possible. I have now a better understanding of architecture around me and i am looking forward to seeing what comes next in this industry. I am not as fluent as I would like to be in Rhinoceros or Grasshopper. However, I think with more practice, I would be able to familiarize myself to the basics needed to work the program. From there, I hope to explore and find out what I can do from learning about architecture, and what these computational tools have to offer me.
A.6 Learning Objectives | 23
A.6 Notes References 1. Williams, R. ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116. 2. Schumacher, P. ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 28. 3. Definition of “algorithm” in Wilson, Robert A. and Frank C. Keil eds(1999) in The Mit Encyclopedia of Cognitive Science (London: The MIT Press) pp.11-12 4. Hill, J.(2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 5. Definition of “algorithm” in Wilson, Robert A. and Frank C. Keil eds(1999) in The Mit Encyclopedia of Cognitive Science (London: The MIT Press) pp.11-12 6. Wyndham City Gateway Design Project, retrieved from https://app.lms.unimelb.edu.au/bbcswebdav/pid-3962725-dt-contentrid-10327484_2/courses/ABPL30048_2012_SM1/Project/Project%20Document%20-%20COMMENTED.pdf. Comments by Stanislav Roudavski v.02 7. Dragon Skin Pavillion, Laboratory Of Explorative Architecture & Design, retrieved on 14 August 2013, from <http://www.l-e-a-d.pro/projects/ dragon-skin-pavilion/2259> 8. Dragon Skin Pavillion, Laboratory Of Explorative Architecture & Design, retrieved on 14 August 2013, from <http://www.l-e-a-d.pro/projects/ dragon-skin-pavilion/2259> 9. Charlieable, 2011. ‘Polymorpihc’. Retrieved on 15 Ausgust, 2013, from <http://www.charlieable.com/Polymorphic> 10. Charlieable, 2011. ‘Polymorpihc’. Retrieved on 15 Ausgust, 2013, from <http://www.charlieable.com/Polymorphic> 11. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 12. Kolarevic, B. Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28 13. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 14. Achim Menges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John Wiley & Sons ), 82. 2. pp. 44-51 15. Achim Menges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John Wiley & Sons ), 82. 2. pp. 44-51 16. Kotnik, T. & Weinstock, M. ‘Material Computation: Material Form’ in Architectural Design (Chichester: John Wiley & Sons ), 82. 2. pp. 104111 17. Kotnik, T. & Weinstock, M. ‘Material Computation: Material Form’ in Architectural Design (Chichester: John Wiley & Sons ), 82. 2. pp. 104111 18Menges, A. 2010. ‘Kerf-Based Complex Wood Systems’ Harvard University Graduate School of Design. Retrieved on 15 August, 2013 from < http://www.achimmenges.net/?p=5006> 19. Menges, A. 2010. ‘Kerf-Based Complex Wood Systems’ Harvard University Graduate School of Design. Retrieved on 15 August, 2013 from < http://www.achimmenges.net/?p=5006> 20. Schumacher, P. 2010. ‘Patrick Schumacher on Parametricism: Let the style wars begin”. Architects Journaln. Retrieved on 16 August, 2013 from < http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> 21. Schumacher, P. 2010. ‘Patrick Schumacher on Parametricism: Let the style wars begin”. Architects Journaln. Retrieved on 16 August, 2013 from < http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> 22. Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 23. Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-22
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Images
Fig. 6: Dragon Skin Pavillion Photograph, 2012, retrieved on 14 August 2013, from <http://www.l-e-a-d.pro/projects/ dragon-skin-pavilion/2259> Fig. 7: Dragon Skin Pavillion Photograph, 2012, retrieved on 14 August 2013, from <http://www.l-e-a-d.pro/projects/ dragon-skin-pavilion/2259> Fig. 8: Dragon Skin Pavillion Photograph, 2012, retrieved on 14 August 2013, from <http://www.l-e-a-d.pro/projects/ dragon-skin-pavilion/2259> Fig. 9 Dragon Skin Pavillion Photograph, 2012, retrieved on 14 August 2013, from <http://www.l-e-a-d.pro/projects/ dragon-skin-pavilion/2259> Fig. 10.Dragon Skin Pavillion Photograph, 2012, retrieved on 14 August 2013, from <http://www.l-e-a-d.pro/projects/ dragon-skin-pavilion/2259> Fig 11. Dragon Skin Pavillion Photograph, 2012, retrieved on 14 August 2013, from <http://www.l-e-a-d.pro/projects/ dragon-skin-pavilion/2259>
Fig. 12: Polymorphic Photograph, 2011, retrieved on 15 August from < http://www.charlieable.com/ Polymorphic> Fig. 13: Polymorphic Photograph, 2011, retrieved on 15 August from < http://www.charlieable.com/ Polymorphic> Fig. 14: Polymorphic Photograph, 2011, retrieved on 15 August from < http://www.charlieable.com/ Polymorphic> Fig 15. Polymorphic Photograph, 2011, retrieved on 15 August from < http://www.charlieable.com/ Polymorphic> Fig. 16: Polymorphic Photograph, 2011, retrieved on 15 August from < http://www.charlieable.com/ Polymorphic> Fig. 17: 2010 ICD Research Project Photograph. Institute of Computational Design, University of Stuttgart. Retrieved on 14 August 2013, from < http://icd.uni-stuttgart.de/?p=4458>
Fig. 19: 2010 Kerf-Based Complex Wood Systems Photograph.
Fig. 18: 2010 ICD Research Project Photograph. Institute of Computational Design, University of Stuttgart. Retrieved on 14 August 2013, from < http://icd.uni-stuttgart.de/?p=4458>
Fig. 20: 2010 Kerf-Based Complex Wood Systems Photograph.
Fig. 19: 2010 ICD Reaearch Project Photograph Fig. 20: 2010 ICD Reaearch Project Photograph Fig. 21: 2010 Kerf-Based Complex Wood Systems Photograph. Harvard GSD. Retrieved on 15 August, 2013 from < http://www.achimmenges.net/?p=5006> Fig. 22: 2010 Kerf-Based Complex Wood Systems Photograph. Fig. 23: 2010 Kerf-Based Complex Wood Systems Photograph.
A.7 Notes
| 24
Part b
Expression Of Interest
B. Expression Of Interest | 25
Contents B.1 Project Proposal B. 1.1 IN-DESIGN Mind Map
27-28 29-30
B. 2 Material Research B. 2.1 Material Research Part 1 B. 2.2 Material Research Part 2
33-34 35-36
B. 3 Design Matrix Approach
38-42
B. 4 Case Studies B. 4.1 Voussoir Cloud B. 4.1.1 Case Study Matrix B. 4.2 ICD Pavillion B. 4.2.2 Case Study Matrix
43-44 45-48 49-50 51-52
B.5 Technique Matrix B. 5.1 Technique Explorations B. 5.2 Final Design Proposal B. 5.3 Final Prototype B. 5.4 Final Prototype Part 2
53-54 55-56 57-60 61-62
B. 6 Leaning Outcomes Feedback Precedent: Parametric Dune
63 64
B. 7 References
65
B. Expression Of Interest | 26
Victoria Connection
W
Wyndham City
Environment
Users
Community Efficient Use Of Materials
Personal Experience
Emerging City Innovative Technique
Design Characteristic
What You See Is What You Perceive It To Be
Bending (Tension & Compression) Material Performace
Kerfing Jointing Systems Shou Sugi Ban Levels of Concentration
B.1 Expression Of Interest | 27
b. 1 Project Proposal
Over the years, Wyndham City has been placing emphasis on itâ&#x20AC;&#x2122;s image. To address this, Wyndham has been taking on projects to reshape the physical image the growing city. [1] The city is proud of its support for the public art and sculpture, which is evident in Wyndham City. Progressively, art has been strongly interwined and used as means of connection for the communtiy and the place itself. [2] Hence, the primary goal of this project is to symbolise Wyndham City as an emerging city in Victoria. In order to convey this message, the design will aspire to form an innovative technique by capitalizing on the material performance of wood and through embracing its different properties. It will also have reverence to the effcient and effective uses of material as we are constantly revolutionizing the method of design. The proposed design will seek to incoperate the element of user interactions by creating views from different angles. These views are susceptible to the userâ&#x20AC;&#x2122;s personal experience with the installation, which would most likely cause them to remember this installation as an icon for Wyndham City.
This proposal will be administered by exhausting all possible outcomes of the idea development to attain the best or most suitable one that illustrates the aim of the project. Thus, a sufficient level of understanding algorithmic processes would be beneficial to this project. These computer tools would be able to perform test that is impossible to do without proper equipments, and would provide a platform to explore effects and practicality of merging material performance into the design. As the brief calls for a design that would stand through the discourse of architecture, it is crucial that this project has reverence to both innovative techniques and social aspects, by potentially creating a new phase in the discource that would influence future designs.
B.1 Expression Of Interest | 28
Creativity
{
Logic Knowledge Literature Control Technique Analyse
Observse Analyse
b 2.1
InDESIGN
Experimentation Control Repeat
Tool Function Insight Trial Personify
Organisation Context Interest Unique
B.1 Expression Of Interest | 30
WOOD Wood itself is a fibrous material that forms that main substance of a tree trunk. Isolating these substances from its main composition, and we obtain individual planks or sheets of wood that have a different and new set of properties. This produces a new collection of wood types, such as plywood or veneer. Wood appears to be solid on the surface, but internally, they are made up of porous grains that can absorb moisture. They can be carved, cut, bent and treated in various ways. These flexible properties of wood that allows the users to investigate with triggered our fascination with this material. What is seen is not exactly what is obtained. By having an understanding on how wood works, we will be able to control the properties to meet our desired effect.
B. 2.1 Material Research pART 1
Fig. 1
One of the reason for using wood, specifically plywood and venner, for the design is because of the manipulative properties wood possess. These properties can be used to enhance, shape or become the drving force for the Wyndham Gateway design.
Fig. 2
Fig. 3
Based on studies, it is found that mechanical properties, such as the modulus of rupture (MOR) and the modulus of elasticity (MOE), are important for building construction. [3] Hence, the ideas generated for the design were centered around the mechanical properties of wood. The experiments and research conducted involved various methods to test the structural capacity of plywood and veneer, as well as looking for ways to control the loads applied and degree of bending that will shape the design. Following this report are the types of experiments undertaken on veneer and plywood.
Fig. 4
The first experiments conducted were on veneer sheets. Veneer is almost paper like (slightly thicker), fragile and is easily ruptured under a certain amount of stress. The reason for selecting this material is because of the flexible quality, which could be easily engineered into different shapes. Having a small understanding to the limitations of this material, the experimentation proceeded on to look specifically on grains, level of absorbance and moulding that the various types of veneer possesses. The experiments are as follows : 1. Looking at the behaviour of long and short grains (Fig. 1) 2. Soaking in water for 24hrs to test level of absorbance and to soften material in order to bend it 3. Moulding as an alternative to bending the sheets into desired shapes. (Fig. 5, 6, 7) The results are as follows (respectively) : 1. Bending againt short grains cause the sheets to break very easily, as compared to long grains. Bending parrallel with the long grains reduces the chances of rupture. (Fig. 8) 2. Some sheets changed its properties after being soaked. They soften and it becomes easier to bend and twist them. Some did not respond well to this experiment and ruptured when bent or twisted. (Fig. 9) 3. Making a mould with wave like shapes and casting it on the sheets. Prior to this stage, the sheets have to be soaked in order for them to get moulded
Fig. 5
Fig. 6
Fig. 7
Fig. 8
Fig. 9
As concluded from the results of the experiments, veneer is a very delicate material to work it. However, there are ways in which the properties can be manipulated for it to work desirably. One of the most important findings from the experiments is the effects of soaking. Moisture is absorbed by the grains, making it swell and it softens the material. Based on this, soaking was used as the first stage in all other experiment. B.2.1 Expression Of Interest | 34
Experiment #1
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Experiment #2
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Experiment #3
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Experiment #4
Fig. 21
Joints are important elements of a design. It can be the success or failure of it. Also for this project, the design is aiming towards using the components of the material itself as joints, instead of using other components such as bolts or screws to construct the design
Experiment #1 :
Experiment #3 :
Based on the studied percedents, a common theme was found, which was the use of a skeletal structure to act as the supporting component. In this experiment, two materials are used. The plywood (center piece) acts as the skeleton to stablise the bend caused by the inserting the veneer sheets (top and bottom) into the slots. This system was rather sturdy and held its shape. However, the veneer pieces began to rupture at the conections (Fig. 10, 12) because of the tension it is trying to resist to snap back into its original straight shape.
Continuing on with the use of moulds, this experiment used moulds to obtain the a fixed form/shape. These two pieces of veneer were then attached together at both ends. Force was applied at both ends in the opposite direction (Fig. 20) to test how the shape is effected and how push/pull force can the veneer take before rupturing.
Experiment #2 : This experiment was focused on the method of layering, where the top piece of veneer relies directly on the bottom piece to withstand its shape (Fig. 13). Similar results to Experiment #1 were collected, where rupture started to present itself at the connection parts of the veneer. This method could have been more successful if a skeletal piece was used as the base, instead of a veneer sheet. In addition, this experiment also looked at the ways veneer can be twisted or bent further (Fig. 17). The sheets can be twisted easily (Fig. 18) , however in order for the twisted sheets to hold its form was a challange. A new collection of jointing systems would be needed to resolve this issue.
Experiment #4 : Before soaking the veneer, som portions were cut out. Initially, this method was thought of as a way to enhance bending. However, the venner started tearing when it was bent (Fig. 21). The tears were seen on the sides and center of the sheets. This could be because of the thin length of veneer left which was not able to support the degree of bending, hence it tore.
B. 2.2 Material Research Part 2
The next set of experiments focused on joint systems and application of load. These experiments illustrates how to work with the MOR and MOE of veneer. Using slots as the a jointing mechanism has forces the degree bending to be in relation to the length of the piece it is joint to below. For instance, if the slots are placed closer, the degree of bend would be hight. However, there is a threshold between the allowable degree of bending the materal has.
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b. 3 Design Approach Develop
Taking what has been learnt from the experiments into Rhinocerous and Grasshopper, formed a path to try different ways of creating concentrated and dispersed segments of differemtn forms of scripts. We have decided to do this because of our aim to exploit the various techniques that can be performed on wood.
Additionally, for the proposed design, to attain the desired effect of different views from different angles, can be achieved by having a variety of different concentration levels on the installation. Hence, with this mindset, we tried to explore ways in which the surfaces can be divided into the concentrated and dispersed parts. This also allow us to deem if the method fabricating is practical.
pment
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b. 3 Design Approach Matrix A3 : I like how the concentration has a gradient effect (from clutter to spread). It is one method that can be used in the design to enhance the potential of the view.
B2: Using attractor points to segregate points from the center. Among the B-collection matrix, this was selected because it resembled on the the experiments we did, where the center was removed
C3: The wave like charateristic of this form creates an interesting illusion to the eye. Combining the concentration levels with various heights can create a unique form that tricks the eye into thinking it is something else.
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D4: Another example t plays with the differen Using a waffle structur be used as a source o ration for methods of j
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that nt depth. re can of inspijoints.
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E3: This Panel Dispatch matrix was aimed at trying to form skeletal structure and to use the cut-outs to allow light to transmit through it, or to create shadows.
5
F2: Though this model looks complicated and everything seems to be clutter on to one and other, I have chosen it because it replicates the way veneer can be formed using moulds.
F3: This model was the most applicable to the design idea and experimentations. By having the panels rotated at 35degs, it creates an opening between each other. There are also sections of the panel are twisted, similar to the experiment done. This matrix can be further developed to test other mechanical proterties of wood.
b. 3 Design Approach Matrix
B. 4.1 Case Study: Voussior Cloud The Voussoir Cloud definition was selected among the other provided Grasshopper definitons. This was due to the way material has been used, the use of internal surface tension of wood, compressive form finding and the jointing system used, which have been achieved with the use of parametric tools and modeling. [4]
Before the scripting any definitons, the architects made a handmade model of to test the compression, tension and flexibility of the material. This was similar to the way this project has been laid out to be, where the very first stages of design was focused on exploring the material. Additionally, the vaults are used as a framework to support the whole structure, which is a method of construction we have been experimenting on
Fig. 22
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Row 1: The Voussoir Cloud without any alterations made to it. 2-4: Small alterations done to the Z-Unit, making it longer or shorter 5-6: Distorting the form of Voussior by moving the point in elevation (Front View) 7-11: Changing the Top view of each Voussoir by moving the points, changing the Extrusion value
B. 4.1 Case Study Matrix
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Initial shape or Vorroni. By changing the radius of the Vorroni, it changes the entire form. Changing the location of the vaults by allocating points. By moving the points around it to create a sections that have concentrated and dispersed vaults. This is clearly illustrated in Collumn B. Collumn D shows the list of Triangulated surfaces (Geometry), which we were interested in.
B. 4.1 Case Study Matrix
Fig. 23
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B. 4.2 Case Study: ICD Pavilion 2010 The ICD Pavilion 2010 was chosen as one the case studies for very obvious reasons. Firstly, it is contrusted by plywood, one of the materials this project has been experimenting with. Secondly, the pavilion is formed by bending wood from the center to the outer edges.
Having the Grasshopper script would permit further exploration on this pavilion, which is applicable to this exploration needed for the proposed design. In addition, it also exemplifies how joinery system is used effectively to hold and support the bending of plywood.
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1A: Original form of ICD pavilion 1B: Creating weaving on the surface by Cull 1C: Increaseing the shaping between the weaves 1D: Offseting weaves 2A: Reverse engineering to create a weaving system 2B: Changing the center shape, making it oval 2C: Decreasing the dismeter of the oval and using weave panels 2D: Reducing diameter of the circle to create a dent in the center. 3A: Isolating the panels and increasing the width 3B: Forming strips withing strips 3c: Increasing width of strips.
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B. 5 Technique Development This technique is formed by the experiments conducted, Design Development Approach and the Case studies selected. From each stage, elements that have been learnt, understood and tested have been placed into this Technique Development.
Illustrated on the right, are a collection of Technique Experimentation done in Rhinocerous and Grasshopper. The basic form of each component has been drawn out. But playing around with the function and script, we are able to obtain different shapes, forms and design.
From the experiments done, the shaped formed by the slotting pieces together is an arc. Thus, forming the geometrical pattern we have chosen to pursue.
By playing around with the script in Grasshopper, the design can be drastically changed, as see by comparing 4C and 1A. This allowed us to exhausted all possible solutions before arriving at a decision.
From the Design Developement Approach, we looked at controlling the level of concentration and dispersal of points, as well as variable depth/height. Taking these elements into consideration, we produces a serious arc that run along the same plane. We have decided to build the arcs vertically upwards (for the prototype) because of the illusive quality seen from the one of the Approaches. In Grasshopper, we are able to control the placement of the next set of arcs (which decreases in number as it continues to stack upwards) and the sizes/shapes. The Case Study has proven the different way wood can work. It also shows the similarity of having a supporting system, much like a skeletal frame, to hold the prevent the structure from collasping. Furthermore, based on out research, we have determined that using a thicker material as the base and supportive element of the structure will result in producing a more stable and sturdy model. Thus, arriving at this form for the prototype.
B. 5.1 Technique Experimentation A
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We decied to select this form as our final prototype because it exhibits the a most study and stable looking form as compared to the others. The variation inarc sizes changes slightly as the layers increase because it would be impossible for the structure to withstand B.5.2 Expression Of Interest | 55
uneven loads that are distributed through and it would not be able to withstand lateral loads. Despite the flaws, this selection embodies the quality of personal perception and uses the material properties to its advantage.
B. 5.2 Final Design Proposal (Prototype)
B. 5.3 Final Prototype
Fig. 24
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After Fabrication, we encountered several problems while assembling the prototype. As our past experiments have soon, soaking the wood would soften the wood and allows it to bend. Despite soaking the fabricated pieces for 24hrs, the small pieces would not bend according to our desired shape. The bigger panels were not as rigid, but still posed some amount to resistance to bending. Thus, we resorted to find an alternative method to bend the wood. Looking at Kerf-Based Complex Wood Systme Precedent in Part A, we decided to incoperate the kerfing technique on the fabricated panels, so that they would bend. Kerfing wokrs in a way where some strips of material is removed to reduce the tension and break the resistance of bending in the material [5].
As seen in Fig. 26, the scores have been added, and the degree of bending would depend on the number of kerfs and spacing between the kerfs, both of which are relative to the surface area of the panel (Fig. 30) Another problem we encounter was the the slots as jointing systems. Slots worked fined on Veneer, however we overlooked the fact that we had changed our material into plywood, which affected a number of our mechanical systems in the design. As a result, we remove a small square on the edges of each end of the panel (Fig. 31), to create a locking system (Fig. 33 & 34). Shou Sugi Ban (Fig 35) is a method of bringing the grain out and perserving the wood. We intend for this effect to act as an asethic quality and ehance the users level of interation.
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Fig. 36
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Final Prototype Fig. 39
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B. 5.4 Final Prototype part 2
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As fabricated model failed to get constructued due to the small panels that make it impossible for it to bend and there are a few pieces that broke. As a result we hand-crafted another model to show the key components of the model. The hand-crafted model features the jointing systems of slots (Fig. 43), the kerfing detaill to bend the plywood (Fig. 46), and the different in size of each panel (Fig. 41 & 47).
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Fig. 45
Fig. 43
Fig. 46
Fig. 44
Fig. 47
B. 6 Learning Outcomes & Feedback
Throughout the course of working on the Expression of Interest and the design development process, I realised that having the kknowledge to work with computational tools are important. My groupmate and I faced a number of challenges while using these design tools and it caused us to to be withstrained by the boundaries of only what we knew on Rhinocerious and Grasshopper. The experiments we have done has helped a fair bit in understanding how wood behaves and performs. However, the results of these experiments are not 100% accurate or reliable. What is tested is just an idea of how the material can behave. From this we would be able to shape our design from the findings, which could increase the possibility of it working. However, computational tools should make up for the lack of informative on materials, that could resolve the problems we face.
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The feedback we received questioned what did we actually developed. Where does it show in the prototype the aims you are trying to achieve. The comments question why we did not develop a more interesting idea that would reflect strongly on the technique what we are trying to display. Reflecting on these feedbacks, I realise how we have overlooked some of the interesting results that we have obtained from the experiments. We focused alot on trying to manipulate wood, instead of focusing on one aspect of it. We got into Rhino/Grasshopper alittle too late to digitally experiment and develop our idea. We took a few steps back to return to the experimental stage, but this time in Rhinocerous an Grasshopper. We decided to develop the on the idea of twisting wood from our experiment and from looking at the Parametric Dune precedent.
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Fig. 51
Precedent: Parametric Dunes
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Fig. 49
Parametric Dunes project illustrates the way wood is bent by utilizing computational tools to design the shelter. [6] It analyses the way wood curves and the elasticity of bending. Parametric Dunes also uses a skeletal system as the supporting rib of the structure to take on loads and to be used to attached the veneer and plywood sheets on to it. [7] However, there is an element that did not work after fabricating. The built model showed a double curve, while the mode ldone in Rhinocerous has a single curve. [8] By refering to this precedent at this stage gives us a brief idea on what we need focus on for the next phase of the design process. Since we intend to develop the twisting effect of wood, we would have to model in Rhino and fabricate it to test how it would turn out. From there would be able to make amendments accordingly to achieve our desired outcome.
Reference 1: Wyndham City Gateway Design Project, retrieved from https:// app.lms.unimelb.edu.au/bbcswebdav/pid-3962725-dt-contentrid-10327484_2/courses/ABPL30048_2012_SM1/Project/Project%20Document%20-%20COMMENTED.pdf. Comments by Stanislav Roudavski v.02
2: Wyndham City Gateway Design Project, retrieved from https:// app.lms.unimelb.edu.au/bbcswebdav/pid-3962725-dt-contentrid-10327484_2/courses/ABPL30048_2012_SM1/Project/Project%20Document%20-%20COMMENTED.pdf. Comments by Stanislav Roudavski v.02
3: Bal, B. C. & Bektas, I. (2012). ‘The effects of wood species, load diection and adhesives on bening properties of laminated weneer lumber”. Bioresources 7(3). pp 3103-3112. 4: Triangulationblog, (2011). Voussior Cloud. Retrieved from < http://www.triangulationblog.com/2011/06/voussoir-cloud. html>, on 20 September 2013. 5: Hoffer, Miranowski, Macke, Crain (ND). Kerf. Retrieved from < http://stuff.mit.edu/afs/athena/dept/cron/project/kerf/7_Presentation/KERF_Documentation_Summary.pdf> on 23 September 2013. 6: SMD Arquitects (2010). Parametric Dunes. Retrieved from < http://www.smdarq.net/parametric-dunes/> on 24 September, 2013. 7: SMD Arquitects (2010). Parametric Dunes. Retrieved from < http://www.smdarq.net/parametric-dunes/> on 24 September,
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