Investigate a Method of Generating a Non-standardized Form through Repeating Standardized Elements by Hizkia Irwanto Gouw

Investigate a method of generating a non-standardized form through repeating standardized elements.

By Hizkia Irwanto Gouw 378785 ABPL 90147 Production of Digital Space Lecturer: Dr. Marcus White Tutor: David Lister Due date: 4th June 2012 1

Investigate a method of generating a non-standardized form through repeating standardized elements. Hizkia Irwanto Gouw

Special thanks to Lecturer : Dr. Marcus White Tutor : David Lister Other Tutors : Jerome Frumar and Daniel Fink Class Members : Geoff Kimm, Francis Fu, Frankie Shu, Frenki, Choong Wai Chong, Ameer Hamzah Khan, Farboud. 3

Table of Contents 1.

Abstract

Critical Background

Research Statement/Aim

Method 4.1. Intersecting 8 4.2. Mapping 10 4.3. Forming 11

Result 5.1. Weekly Esquisses 12 5.1.1. Week 2 Paper Tube Pavilion 13 5.1.2. Week 3 Enneper Pavilion 17 5.1.3. Week 4 Performative Pavilion 22 5.1.4. Week 5 PVC Tube Pavilion 27 5.2. Project Proposal 5.2.1. Week 6 Project Proposal 32 5.2.2. Week 7 Project Development 37 5.3. Final Competition Entry Submitted 5.3.1. Stack Tace I 44 5.3.2. Stack Trace II 48

Discussion and Conclusion 6.1. Reflection 6.2. Areas for futher Research

52 52

Appendices 7.1. How to Guide 7.1.1. Boolean 7.1.2. Boolean + Sweep 7.1.3. The Paper Tube Pavilion 7.1.4. Nurbs Relaxation 7.1.5. The Enneper Pavilion 7.1.6. The Performative Pavilion 7.1.7. The Voxel Pavilion 7.1.8. The PVC Tube Pavilion

53 54 57 61 66 74 79 84 88

7.2.

Bibliography 7.2.1. Books 7.2.2. Journal Articles 7.2.3. Electronic Resources 7.2.4. Images

99 99 99 100

1. Abstract

Nowadays, with the development of digital technologies, architectural form has shifted from the regular to irregular. Non-regular, curved, or organic form of architecture can be seen in every part of the world. However, according to Fabien Scheurer, those â&#x20AC;&#x2DC;blobbyâ&#x20AC;&#x2122; results will face greater challenge during construction and building phase (Scheurer 2010, p. 89). The challenge will be laid in the assembly of parts, where each of them is different in terms of shape as well as size. Another crucial problem in the current trend of fabrication is the life cycle of the material. For the reason of the uniqueness in each element, they cannot be reused for other project. Modularity could be the answered to those problems. Nonetheless, the question would be: How to generate a nonstandardized form using modular or standardized elements? So, this paper will discuss three digital techniques that could give answers to that question, which are intersecting, mapping, and forming. 5

production approaches in parallel with an understanding of

2. Critical Background

There is a radical change in architecture right now, from the modulation, repetition, and mass production that are promoted by modernist, toward differentiation, uniqueness, and variation in this digital era (Barkow 2010, p. 96). Non-standardized form becomes very common in any architectural building. Every parts of the building are designed distinctively. However, this system of design and fabrication also has a big flaw, because each elements of the building can only be used for the respective project, and after that, they will be discarded (Schuerer 2009, p.93). It gives a stigma of unsustainable architecture, especially for temporary architecture, such as installation or pavilion that typically only last for few weeks or months. Serpentine Pavilion 2005 (Fig. 1) by Alvaro Siza and Eduardo Soto de Moura, for instance, the four months pavilion was created out of 427 unique timber beams ,and 348 individually shaped panels of polycarbonate sheets (Serpentine Gallery 2005, p. 126). Then, due to its uniqueness, it cannot be used for other purpose. One of the solutions for this problem is to use standardized material that can be re-used, but on the other hand still keep the organic form. A good example would be Matthias Loebermann Pavilion (Fig. 2) constructed in 2005. It was made out of one thousand and three-hundred reclaimed shipping pallets (Meinhold 2010). These pallets can be recycled again after the pavilion is

Figure 1. Serpentine Pavilion, London 2005.

Interior view of the Serpentine Pavilion designed by Ă lvaro Siza and Eduardo Souto de Moura together with Cecil Balmond of Arup and Partners, London, 2005.

Figure 2. Matthias Loebermann Pavilion, Obertsdorf 2005. 6

closed down. It significantly increases the life span of a material. Then, Fabio Gramazio and Matthias Kohlerâ&#x20AC;&#x2122;s Structural Oscillations (Fig. 3), Venice, 2008, is the example on how digital technology could produce a free-form from the repetition of modular units. By defining precise locations and rotations of each 14,961 bricks in computer software, and combine it with R-O-B mobile, robotic fabrication unit, they successfully realizes a hundred meters long brick wall (DFabArch 2008). They use rotation of bricks as an irreducible component of architecture along continues curve to generate a three-dimensional form.

Figure 3. Structural Oscilation, Venice, 2008

3. Research Statement/ Aim

This paper will try to explore on how to rationalize parts in non-standardized form using digital methods. Rhinoceros and Grasshopper will be used as the software to investigate the ideas in parametric way. In addition, studentâ&#x20AC;&#x2122;s works for the Entry to City of Dreams Pavilion, from Production of Digital Space subject (The University of Melbourne) by Hizkia Irwanto Gouw, Geoff Kimm, Frankie Siu and Francis Fu will be used as the project examples.

4. Method

There are three different digital design techniques that will be explained which are intersecting, mapping, and forming.

Figure 4. Paper Tube Pavilion

1. Subdivide 2 plane surfaces.

2. Connect them with lines.

3. Create an organic surface between those two surfaces.

4. Find the intersection between the line and the surfaces.

4.1. Intersecting

For this method, this paper will look at the Paper Tube Pavilion (Fig. 4) by Gouw. In this project he tries to achieve an organic form through a standardized material, which in this case is paper tube. The method that he uses is to find intersections between surface and lines, then placing the modular object on those intersections (Diagram. 1). The first step is to create ordered lines between two planar surfaces. Afterwards, he places an organic surface (which

5. Extrude a shape from those points.

Diagram 1 8

would be the form of the pavilion) between those planar surfaces. From that lines and the organic surface, he finds the position where they intersect. Those intersection points will be the location for the modular paper tube. This secret of the technique is to meet and combine the regular (the lines/ modular objects) with the irregular (organic surface). For his Pavilion, Gouw utilize Grasshopper plugin to achieve this intersection technique. Moreover, this technique could also be done in 3ds Studio Max Software (using conform plugin), with fairly similar approach. However, in this conform plugin; the steps work on the other way around. Instead of finding the intersection points in the surface; the surface will be used to subtract the modular units (Diagrams 2).

1. Create modular units

2. Build an organic surface

3. Place it between the modular units

4. Run Conform Plugin

Diagram 2 5. Organic modular units

4.2. Mapping

Generally, when people investigating material in fabrication, they always perceive it in three-dimensional way, however in this second method, more two-dimensional approach will be looked at. Mapping is common language in architectural software, it means to map or place a texture of material into an object or surface. The term of mapping also similar with the tessellation techniques that Lisa Iwamoto’s written in his book, Digital Fabrication: Architectural and Material Techniques , which she defines it as ‘a collection of pieces that fit together without gaps to form a plane or surface’ (Iwamoto 2009, p.36). Gouw, Siu and Fu, uses this mapping technique into their PVC Pipe Pavilion (Fig. 5) project. They use that technique to map standardized or modular units into an organic surface (Diagram. 3). First, they unroll the organic surface that they have created. Then, they map four different sizes of PVC pipe units into that flat surface. The circle pattern is generated by digital scripts in Grasshopper. After they got the circle pattern, they run it along the first organic surface and extrude it. This mapping methods, would give architect or designer a flexibility to work on how many modular units they want to apply and how it looks as a pattern.

Figure 5. PVC Pipe Pavilion

1. Create an organic surface.

2. Unroll surface.

3. Map a circle with 4 or more radius.

4. Make the circle pattern flow along the original surface 5. Extrude circles normal to surface

Diagram 3

4.3. Forming Forming that will be discussed in this method is different with the forming techniques that explained by Iwamoto, which refers to high-technology fabrication such as molding and CNC machine. Forming in this section relates more into design process. In Stack Trace I Pavilion (Fig. 6) by Gouw and Kimm, they uses this forming method to rationalize their complex form using standardized bamboos and wood pallets. The construction method of this pavilion is fairly simple, which are by stacking and rotating the recycle wood pallets, then fill the gaps between the pallets with nine mm diameters bamboos. Yet, the challenge is to create an organic form out of those rigid materials. Thus, in order to solve this problem, they create a modular system, which have a structural core (wood pallets), with embedded non-structural protrusion (bamboos) that can be varied in term of length and materiality (Diagram. 4). Next, they just need to build the form of the modular system. Then, by changing form, the script will automatically adjust the protrusion of the bamboos to fill the volume of the form. So, basically it means that from the form; the position, rotation, and protrusion of modular stacks can be determined. Additionally, this method allows endless possibilities and flexibilities in term of outcomes. Two very distinct forms in Stack Trace I and Stack Trace II Pavilion are the examples of its high degree of variability.

Figure 6. Stack Trace 1 Pavilionn

Stack Trace I

Stack Trace II

Diagram 4

5. Result 5.1. Weekly Esquisses

5.1.1 Week 2 Paper Tube Pavilion

Precedents Pickles Pavilion Lift Architect

Design Concept Temporary Art Pavilion Peter Archibald Bodola

Boxel Pavilion Students from the University of Applied Sciences in Detmold

Intersecting Geometries

City of Dreams Pavilion by Hizkia Irwanto Gouw 378785

Design Process

1. Subdivide 2 plane surfaces.

2. Connect them with lines.

3. Create an organic surface between those two surfaces.

4. Find the intersection between the line and the surfaces.

5. Extrude a shape from those points.

Design Proposal

Exterior View

Interior View

Materiality

Paper Tube

Option 1

Option 2 Structure that can hold the paper tube together Hold together with cables

Paper Log House Shigeru Ban

Temporary Pavilion Sydney Architecture Student

5.1.2. Week 3 Enneper Pavilion

Precedents Klein Bottle

Bamboo Forest Ryuchi Ashizawa

St Anneâ&#x20AC;&#x2122;s Primary School MacCormac Jamieson Prichard

Tensile Membrane

City of Dreams Pavilion by Hizkia Irwanto Gouw Geoff Kimm

Design Process Design Iteration 1

Grasshopper Script

Design Proposal

Plan

Perspective View

Side Elevation

Perspective 20 View

Materiality

Bamboo frame under compression

Steel connector to connect two bamboos 6 connectors in total

Membrane (Hessian) under tension

Rope under tension

5.1.3 Week 4 Performative Pavilion

Precedents Changi Terminal 3 (Singapore) Skidmore, Owings & Merrill (2008)

Serpentine Pavilion Frank Gehry (2008)

Decorative/Performative Skin Aqua Tower Jeanne Gang (2010)

City of Dreams Pavilion by Hizkia Irwanto Gouw Geoff Kimm Frenki

Design Process Design Iteration

Screens - Horizontal and Vertical Strips

Screens - Straight

Screens - Blocked

Screens - Horizontal Strips

Screens - Aligned

Frame - Deeper, Wider, More Curved

Frame - Straight

Grasshopper Script

Proposal

6am

9am

12pm

3pm

6pm

Materiality

Reclaim Timber

Scrap Metal Sheet

Steel Plates

5.1.4 Week 5 PVC Tube Pavilion

5.2. Project Proposal

5.2.1 Week 6 Project Proposal

Precedents Sendai Mediatheque Toyo Ito (2001)

Pallet Pavilion Matthias Loebermann (2010)

City of Dreams Pavilion China Pavilion (Shanghai Expo) He Jingtang (2010)

Stack Trace Pavilion

by Hizkia Irwanto Gouw Geoff Kimm

Design Development Design Process

Circle Packing with 4 Radius

Grasshopper Model

Edited Rhino Model

Grasshopper Script

Design Development Design Iteration 1

Grasshopper Script

Perspective View

Design Proposal

Top View

Perspective View

Elevation View

36 Aerial View

Design Development Concept Diagram

Massing Model

Synopsis

5.2.2 Week 7 Project Development

City of Dreams Pavilion

Stack Trace Pavilion

by Hizkia Irwanto Gouw Geoff Kimm

MASSING

Top View

Aerial View

Perspective View

Elevation View

MASSING

Top View

Aerial View

Elevation View

Design Research Question To explore a method of producing from repeating rigid elements a free-from structure. Research Method From precedent and previous design proposals develop through an iterative design process a modular system that is constructable within the specified project parameters yet dynamic in its expression. Initial Results The previous design proposals were explored with intent to develop a synthesis with an organic approach to form. The outcomes were unsatisfactory for reason of rigidity in massing and issues with ease of construction. The proposals were re-examined to explore how the intent of the design could be shown through use of other basic structural elements. A modular system was found that allowed a structural core to be stacked, with embedded non-structural protrusions that can be varied in size, length and materiality to express design intent. The modular system developed allows a high degree of variability in design. Research was undertaken to develop the massing of stacks of modules, the massing of groups of modules, and how the non-structural protrusions can interact to create free-form geometries. Initial Conclusion Experimentation with massing and interaction of modular stacks shows that circulation, performance and seating spaces can be created. Further research will be undertaken to develop a system of conceptual project factors to which can be assigned forces that will be used to create a volume within which modular stacks may be rotated and twisted and thereby interact. The tectonics of interaction between modular stacks of protruding bamboo elements will be considered when doing this. Additionally, the idea of conceptually reversing the process of contouring will be explored.

5.3 Final Competition Entry Submitted

5.3.1 Stack Trace I Pavilion

Exterior Perspective

Elevation View

Aerial View

Plan View

City of Dreams Pavilion

Stack Trace I Pavilion Stack Trace I provides a secluded space for performance and education where the relationship between those â&#x20AC;&#x2DC;containedâ&#x20AC;&#x2122; inside and those outside is reversed. Its radial plan and alternating layers of bamboo manipulate the visual permeability of the pavilion walls; people inside can observe through panorama those outside, while those outside can only glimpse in. The pavilion is based on a synthesis of the architectural concepts of modularity and sectioning expressed through use of recycled pallets and layered sustainable bamboo.

Modularity

Stack Trace produces from repeating structural units a free-form volume. Gramazio & Kohler’s Structural Oscillations, Venice, 2007-2008, explored this concept with the robotic placement and rotation of bricks as an irreducible component of architecture along a continuous curve to generate three-dimensional form. Stack Trace extends this by allowing the repeating structural unit to define through linear extensions a volume beyond itself. Embedded consistencies of assembly procedures facilitate construction by hand; rotation of the modular units is uniform, and the variation in length between nearby linear elements is limited.

Sectioning

Module Stack Trace defines form through horizontal sectioning of a volume. Mafoombey, Helsinki, 2005, by M. Kalliala and E. Ruskeepää, used stacking of inexpensive cardboard to create internal geometries. The volume of material required for this approach at Stack Trace’s larger scale would be impracticable. Lowering the resolution of the section to the thickness of a pallet, and using linear, rather than planar, elements in alternating directions solves this but still allows a form to be read through the rotation of the bamboo around the structural axis.

Exploded View of the Construction Sustainable materials that store carbon are used in the construction. The embodied energy, including that from transport, of the materials is low. Bamboos slotted into the spaces between 2 pallets, and nail them in right position.

The simple, modular construction allows elements to be assembled offsite or onsite, and the pavilion can be disassembled for reuse elsewhere. The pallets and bamboo can be recycled to different purposes, and have end-of-life uses as fuel sources or organic gardening matter.

Budgeting Materials Bamboo 90mm diameter

Quantity 2000 pcs

Price $ 1.00

Total $ 2,000.00

Wood Pallets 1200x1000mm

315 pcs

$ 0.00

Return Flight from Melbourne - New York

Quantity 2 people

Price $ 2,723.00

Total $ 5,446.00

Hotel

7 nights

$ 100.00

$ 700,00

Total

$ 8,145,00

Transported from Changxing Jianyun Bamboo Art Factory (China)

Intent to borrow from a recycle pallet company.

Accomodation for 2 People Use Qantas Airlines

Wood Pallets 1200x1000mm Recycle wood pallets

Bamboo 90mm diameter

Lifecycle Diagram

5.3.2 Stack Trace II Pavilion

Exterior Perspective

Elevation View

Aerial View

Plan View

City of Dreams Pavilion

Stack Trace II Pavilion Stack Trace II gives a reinterpretation of a colonnaded civic space though which people may look or walk to a central intimate arena for educational activities and performance. This perimeter provides a sheltered mediating zone between the general and public external space and the focussed centre. The pavilion is based on a synthesis of the architectural concepts of modularity and sectioning expressed through use of recycled pallets and layered sustainable bamboo.

Modularity

Sectioning

Budgeting Materials Bamboo 90mm diameter

Quantity 2000 pcs

Price $ 1.00

Total $ 2,000.00

Wood Pallets 1200x1000mm

315 pcs

$ 0.00

Return Flight from Melbourne - New York

Quantity 2 people

Price $ 2,723.00

Total $ 5,446.00

Hotel

7 nights

$ 100.00

$ 700,00

Total

$ 8,145,00

Transported from Changxing Jianyun Bamboo Art Factory (China)

Intent to borrow from a recycle pallet company.

Accomodation for 2 People Use Qantas Airlines

Wood Pallets 1200x1000mm Recycle wood pallets

Bamboo 90mm diameter

Lifecycle Diagram

6. Discussion and Conclusion

6. 1. Reflection

After looking at those three methods, which are intersecting, mapping, and forming; it undeniably shows the power of digital computational in architecture. Computer is not only useful to generate complex geometries, but it can also be utilized to rationalize or simplify those geometries. By digitally set-up the arrangement of modular units to create a non-regular form, it could significantly reduce the difficulty during fabrication and construction process. This modularity concept is also embrace the opportunity of lowtechnology fabrication and ‘do-it-yourself’ approach during design process. In top of that, the final outcomes of Stack Trace I and Stack Trace II Pavilion, also demonstrate that computer is able to generate an infinite number of forms from a set of define parameters.

6.2. Areas for further Research

The next area of this research or exploration needs to integrate the ‘do-it-yourself’ attitude. In this global age, the use of digital computational technology seems to exclude the idea of crafts in architecture. ‘The integrity of craftsman had been lost through designer and artist telling them what to do’ (Aitchinson 2009, p.17). So, it would be worthy to analyze on how those methods could use the idea of craftsmanship in the fabrication or construction process. 52

7. Appendices

7.1 How to Guide

7.1.1. Boolean

1. Create 2 different solid objects in rhino. In here, we use sphere and box shape. These object will be used to experiment the boolean option.

2. The first boolean options is â&#x20AC;&#x2DC;boolean unionâ&#x20AC;&#x2122;. It will join those two object together as one object.

3. The next boolean option is the ‘boolean difference’. It will substract the first object selection with the second object selection.

4. The third boolean option is the ‘boolean intersection’. It will give you only the intersection of those two objects.

5. The last boolean options is the ‘boolean split’. It will split them into three separate objects.

7.1.2. Boolean + Sweep

1. Now, we try to use boolean in more interesting way. First create a curve, using â&#x20AC;&#x2DC;curveâ&#x20AC;&#x2122; command. Draw it in top view first.

2. Turn on the control point, by pressing F11. After that pull some of the point in z direction, in order to create more 3d shape.

3. The next step is to draw circle in one of the end point of the path.

4. Then use â&#x20AC;&#x2DC;Sweep 1â&#x20AC;&#x2122; to create a 3d form. Use path as the rail and the circle as the cross section curves.

5. After that â&#x20AC;&#x2DC;Capâ&#x20AC;&#x2122; the ribbon to make a solid 3d object.

6. Then, create a box, which would be the object to boolean with the ribbon.

7. The last step is to use â&#x20AC;&#x2DC;boolean2objectsâ&#x20AC;&#x2122;, to substract the box with the ribbon. You can also experiment the other boolean iteration in boolean2objects.

7.1.3. The Paper Tube Pavilion

1. Create a surface in Rhino model, and refer it in Grasshopper

2. Copy the surface in Z direction. So, right now, we have the floor and roof surfaces.

3. Divide those two surfaces in UV direction.

4. Create lines connecting point subdivisions in those surfaces.

5. Create curves between those two surfaces in rhino model (act as the interior of the pavilion). The loft those curves in Grasshopper

6. Find the intersection between the organic surface and lines using SCX.

7. Put a circle on each intersection point.

8. Extrude circles in Y direction.

9. Build a box that cover the pavilion.

10. Perform a solid difference between tubes and the box. It will substract the tubes that are positioned outside the box.

7.1.4. Nurbs Relaxation

1. Create a box, using ‘box’ command.

2. ‘Explode’ the box into 6 surfaces

3. Duplicate borders of the surfaces using ‘DupBorder’ command

4. Then, select the surface using ‘SelSrf’ command and ‘hide’ it

5. Make a rectangular surface in the middle of the box. Use the ‘Srfpt’ command. Don’t forget to turn the osnap on, so you can snap on the middle point.

6. ‘Rebuild’ the rectangular surface in UV direction. Push F10 to show the point.

7. Move the point in the surface according to shape that you want to achieve.

8. Create 1 â&#x20AC;&#x2DC;curveâ&#x20AC;&#x2122; inside the box, which would be the guide for the relax script later

9. The next step is to load the relaxt script. To load it, just go to tools then click rhinoscript, after that, load. From there, you can load any rhinoscript that you want to use.

11. From that, just pick which surface that you want to relax. Then pick â&#x20AC;&#x2DC;Geometry Links as your relaxation settings.

12. Pick the four corner as the fixe node restraints.

13. Pick the ‘edges’ of the surface that you distorted before

14. ‘Link’ the edges that you select before with the curve that we draw inside the box.

11. Then pick the opposite â&#x20AC;&#x2DC;edgesâ&#x20AC;&#x2122;

12. Finally, just select relax for the relaxation setting, and rhino will do the relaxation automatically.

7.1.5. The Enneper Pavilion

1. Download and open a script for an enneper surface.

2. Reduce the number of surface openings into 3.

3. Explode the surface to extract the surface outline. Pick the surface outline using list item.

4. Connect the surface outline into pipe, just play with the radius using slider.

5. Find the center point of the object using Average (AVR).

6. Define the bamboo connection, by finding the points in the bamboo pipe. Use Divide Curve command to determine it.

7. Create lines connecting the points in bamboo pipe into the center point of the object.

8. To stabilize the form of the pavilion, we need to add another line from the center of the object straight into the earth.

9. Finnally, connecting those lines into pipe, which represent the rope.

7.1.6. The Performative Pavilion

1. Model timber frames in rhino or any other model software and import in rhino.

2. Create the surface for the roof, which would be the basis for our grasshopper modelling.

3. Refer those surfaces in Grasshopper.

4. Divide the surface in UV points.

5. Dowload Ted Ngaiâ&#x20AC;&#x2122;s sun exposure definition, and connect the surfaces to that script.It will create a louver according to location and time.

6. Here you can change it to specific location, such as time zone, longitude, year, and etc. It will give a different shape of louvers.

7. The idea of the pavilion is to create shading for different time during day. You need to copy the sun exposure definition 6 times, and change the time one by one. So you wiill have 6 different shapes of shading in this pavilion.

8. To create more interesting shading. Add amplitude into the grasshopper definition, so it will give you more curvy shape.

9. Now, you need to create the frames of the louvre. First, merge all the surface in one data streams, to make it easier to manage later.

10. Finally, create the frames by using extrude, offsett and loft command, you can change the height and the width of the frames parametrically.

7.1.7. The Voxel Pavilion

1. Draw curves and refer them in grasshopper.

2. The next step is to loft those curves.

3. Create a bounding box for that surface using â&#x20AC;&#x2DC;BBox commandâ&#x20AC;&#x2122;.

4. Select the four corner points of the bounding box.

5. Connect the bottom corner point to â&#x20AC;&#x2DC;RecGridâ&#x20AC;&#x2122;, which would make a planar rectangular grid. Then you define the how many grids that you want to apply. In here, you also define the size of the modular found object that you want to use as the material of your pavilion in xyz size.

6. Then, you create a line in z direction, from the points in the rectangular grid that you have created before.

7. After that, you need to find the intersection between the line and the surface that you made before using â&#x20AC;&#x2DC;SCXâ&#x20AC;&#x2122;. It will give you all the points on that intersection.

8. The last step is creating a box from the points of intersections that you got before. Use the xyz value of the modular found object. Create a function that divide those values by two, because when you creating a box, they count it from the middle instead from the edges. 87

7.1.8. The PVC Tube Pavilion

1. Create two curves in Rhino that will be the basis of the pavilion.

2. Loft those two curves to build a surface. Use the ‘Loft’ command in Rhino. 88

3. Unroll the surface using â&#x20AC;&#x2DC;UnrollSrfâ&#x20AC;&#x2122; command. This surface will be the boundary of the pvc tube pattern that we will do later.

4. Place points inside the outline. These points will influence the pattern or the size of the pvc tubes.

5. Then using ‘Circle Packing’ Grasshopper script, to create the pvc tube pattern. You can download the script online. Then, in that script, you just have to define the outline and the attractor points, that you have made before.

6. The next step is to map the pattern into the surface. First you have to bake the circle pattern in Grasshopper. Then use ‘FlowAlongSrf’ command in Rhino model to map it into the pavilion’s surface. The object is the pattern, base surface is the unroll surface, and the target surface is the loft surface. 90

7. Refer the circle packing pattern in Grasshopper.

8. Divide the pattern into equal length segments using â&#x20AC;&#x2DC;Divide Curveâ&#x20AC;&#x2122;. You also need to put an integer value in it.

9. Refer the loft surface into Grasshopper.

10. Then, we need to find the closest point in that surface. Use â&#x20AC;&#x2DC;Surface CPâ&#x20AC;&#x2122; to do it.

11. After that, we need to evaluate the surface into UV coordinates

12. Set the amplitude (length) of the vectors that we evaluate before.

13. Move the closest points that we got before according to the resulting vector in the amplitude.

14. Create a line between the first closest points and the translates one.

15. Loft those lines. So, now we have the extrusion of the circle packing in same height,

16. To makes the pavilion looks more organic and interesting, we will create attractor to differentiate the height of each pvc tube. First, extrude the circle packing in Z direction.

17. Find all middle points of the tubes using â&#x20AC;&#x2DC;Areaâ&#x20AC;&#x2122;.

18. Create a line in rhino, that will be used as the attractor line

19. Then, find the closest point on the attractor line .

20. Compute the Euclidean distance between the ‘Curve Cp’ and the ‘Area’.

21. Create a mathematical formula, by using division and multiplication. By using those formula, we could handle the extrusion of the pvc tube easier.

22. The last step, is to connect the result of multiplication into the â&#x20AC;&#x2DC;Amplitudeâ&#x20AC;&#x2122; that we used before in step 13. As the outcome, the extrusion of all pvc tubes are different in height. The sizes are according to their distance with attractor line. 98

7. 2. Bibliography

7.2.1. Books Ferre, A & Sakamoto, T 2008, From Control to Design: Parametric/Algorithmic Architecture, Actar-D, Barcelona. Glynn, R & Sheil, B 2011, Fabricate: Making Digital Architecture, Riverside Architectural Press, Toronto. Grobman, J Y & Neuman, E 2012, Performalism: Form and Performance in Digital Architecture, Routledge, London. Iwamoto, L 2009, Digital Fabrications: Architectural and Material Techniques, Princeton Architectural Press, New York. Kolarevic, B 2003, Architecture in the Digital Age: Design and Manufacturing, Spoon Press, New York. Krauel, J 2010, Contemporary Digital Architecture Design & Techniques, Links, Barcelona. McCullough, M 1996, Abstracting Craft: The Practiced Digital Hands, MIT Press, Mass. Serpentine Gallery 2005, Serpentine Gallery Pavilion 2005 designed by Alvaro Siza Eduardo Souto de Moura with Cecil Balmond – Arup, Serpentine Gallery, London.

7.2.2. Journal Articles Barkow, F 2010, ‘Fabricating Design: A Revolution of Choice’, Architectural Design, vol. 80, no. 4, pp. 94-101. Enns, J 2010, ‘Intelligent Wood Assemblies: Incorporating Found Geometry and Natural Material Complexity’, Architectural Design, vol. 80, no.6, pp. 116121. Gramazio, F, Kohler, M & Oesterle, S, ‘Encoding Material’, Architectural Design, vol. 80, no.4, pp. 108-115. Scheurer, F 2010, ‘Materialising Complexity’, Architectural Design, vol.80, no.4, pp. 86-93. 7.2.3. Electronic Resources Aitchinson, J 2009, Craft Thinking & Digital Making: The Role of the Architect in the Digital Era, Freeland Rees Robert Architect, viewed 6 June 2012, < http://www. frrarchitects.co.uk/wp-content/uploads/2011/07/craftthinking-digital-making_Joanne-Aitchison.pdf > DFabArch 2008, Structural Osciallations, Venice, 2007-2008, viewed 6 June 2012, < http://dfab.arch.ethz.ch/ web/e/forschung/142.html > Meinhold, B 2010, Beautiful German Pavilion Made from 1300 Shipping Pallets, Inhabitat, viewed 5 June 2012, < http://inhabitat.com/beautiful-german-pavillion-madefrom-1300-shipping-pallets/ >

7.2.4. Images Fig.1 Menges, A 2006, ‘Manufacturing Diversity’, Architectural Design, vol. 76, no. 2, p. 77. Fig. 2 http://inhabitat.com/wp-content/blogs.dir/1/files/2010/08/ palletpavilion-ed01.jpg Fig. 3 http://static.dezeen.com/uploads/2009/09/Pike-Loop-byGRAMAZIO-KOHLER-2.jpg Fig. 4 Gouw, HI 2012. Fig. 5 Fu, F, Gouw, HI & Siu F 2012. Fig. 6 Gouw, HI & Kimm, G 2012. Diagram. 1 Gouw, HI 2012. Diagram. 2 Gouw, HI 2012. Diagram. 3 Fu, F, Gouw, HI & Siu F 2012. Diagram. 4 Gouw, HI & Kimm, G 2012.

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Nowadays, with the development of digital technologies, architectural form has shifted from the regular to irregular. Non-

regular, curved, or organic form of architecture can be seen in every part of the world. However, according to Fabien Scheurer, those â&#x20AC;&#x2DC;blobbyâ&#x20AC;&#x2122; results will face greater challenge during construction and building phase (Scheurer 2010, p. 89). The challenge will be laid in the assembly of parts, where each of them is different in terms of shape as well as size. Another crucial problem in the current trend of fabrication is the life cycle of the material. For the reason of the uniqueness in each element, they cannot be reused for other project.

Modularity could be the answered to those problems. Nonetheless, the question would be: How to generate a non-

standardized form using modular or standardized elements? So, this book will discuss three digital techniques that could give answers to that question, which are intersecting, mapping, and forming.

Hizkia Irwanto Gouw

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