STUDIO AIR 2016, SEMESTER 1, SONYA HOI YIN HO 662109
Table of Contents About Myself p. 4-5
A. Conceptualisation A.1 Design Futuring p.6-7 A.2 Design Computation p.10-15 A.3 Compostition/Generation p.16-20 A.4 Conclusion p. 21 A.5 Learning Outcome p. 21 A.6 Appendix p. 22-25
B. Criteria Design B.1 Research Feild p.26-27 B.2 Case Study 1.0 p.28-35 B.3 Case Study 2.0 p. 36-41 B.4 Technique Development p. 42-51 B.5 Technique: Prototype p. 52-57 B.6 Technique: Proposal p. 58-59
C. Project Proposal C.1 Design Concept p.70-93 C.2 Prototype p.94-99 C.3 Final Detailed Model p.100-131
About Myself
Being able to design and fabricate, make my ideas and dream realistic is what I enjoy the most. Being a third year student of Architecture studying in a foreign city, I am treasuring every single project as a great learning opportuntiy, and also to explore my potential and myself in general, as a designer. In previous architectural studios I have done, I have been using Rhinoceros as the main 3D medelling tools, and been reaching for simple, organic form and geometry. While in another Digital Design & Fabrication subject, also using Rhino, I explored myself into grid shell geometry and notching sfdystems, which I learnt more about what digital design really is: complex form finding with precision. To me, digital architecture is about using a new and modern type of design process to create and explore the ideal and optimal solution. Also, with the assistant of computational technology, mistakes and failure can be reduced. Before the start of university, I learnt AutoCAD while working in an architecture firm for 3 months, and after years of practice through subjects in university, I gained more confidence in using it. I also had experience with Rhinoceros, V-ray rendering, and also Adobe Photoshop along the way of my design journey. I have experiences in using fabrication tools such as laser cutting and also 3D printing.
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FIG.2: GRID FORM LAZER CUTTING TEMPLATE
FIG.1: DIGITAL DESIGN AND FABRICATION PROJECT WITH EMMA KE
FIG.3: RHINO MESH OBJECT FOR 3D PRINTING
CONCEPTUALISATION 5
A.1 Design Futuring Due to all the deconstruction and overuse of non-renewable resources, worrying issues about human future is raised. As Fry [1] suggested, in order to secure our future through design, designers will need to change their way of thinking and the method of designing. Designers will also need a clear understanding and direction to development sustainment. Architectural design is no longer about the aesthetic or symbolic elements, it is more about improving and linking human-human and human-nature relationship. New systems are needed to satisfy human needs in spatial context, and also in the environmental context to reduce pollution, or even ideally, to contribute to the environment. The following precedents are design examples of how structural and material systems are designed to, or aiming to contribute a better future.
Precedent Project Case 1: The Gherkin - Swiss Re London, 30 St Mary’s Axe, London by Foster + Partners As seen in Fig 1, the Swiss Re tower has an appealing and distinct appearence comparing to it’s surrounded urban context. In fact, it is London’s first ecological tall building. It is designed by Foster + Partners and completed in 2004, aiming to create a humanising workplace, allow people to communicate within the building with a structure that saves energy. [2] It tends to change people’s view on how office buildings can be like, they can be pleasing as well and not just low production cost cubicals. The considerations taken for working and open interactive space for workers in this building contributed to a new pattern of living. It also raised attention on how high-rised office building can be energy concious while providing better interior working environment. This is achieved by its form, steel framing and continuous triangulated skin that allows flexible interior space without columns, greatamount of natural light and also broad views. [3]
1 FRY, T (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1-16 2 LOMHOLT, I., & WELCH, A. (2013). SWISS RE BUILDING - GHERKIN LONDON - E-ARCHITECT. E-ARCHITECT. RETRIEVED 7 MARCH 2016, FROM HTTP://WWW.EARCHITECT.CO.UK/LONDON/SWISS-RE-BUILDING 3 30 ST MARY AXE | FOSTER + PARTNERS. FOSTERANDPARTNERS.COM. RETRIEVED 7 MARCH 2016, FROM HTTP://WWW.FOSTERANDPARTNERS.COM/ PROJECTS/30-ST-MARY-AXE/ 4 MUNRO, D. (2004). SWISS RE BUILDING, LONDON (1ST ED., PP. 1-8). LONDON: MA MISTRUCTE, ASSOCIATE, OVE ARUP AND PARTNERS, LONDON.
FIG.1: THE GHERKIN IN LODON URBAN CONTEXT. F
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In terms of computational approach in order to achieve the requirements and aims, a specific perimeter ‘diagrid’ structure was developed to generate the steel structural solution.By using 3D modelling and parametric approach to the design, not only the building’s unique shape, ventilation system that saves energy, and it’s skin that is different from normal glass glazed building was made happen, but also proved the ability of structural steel. [4] While generating the continuous facade in the 3D model, it is probably a smooth surface composed by curving diamond shaped panels. However, having curved glazing glass surfaces prefabricated is will cost much more than having flat glasses. Therefore in their fabrication process or construction process, adjustments were needed to change the form in order for it to be more cost effective and constructable. This building is making statement and suggestion of the abilities that future high-rised office tower should have: sufficient natural lighting source, ventilation system that reduce energy consumption, have free spcae for people to interact and communitcate.
FROM HTTP://WWW.FOSTERANDPARTNERS.COM/PROJECTS/30-ST-MARY-AXE/
FIG.2: TRIANGULATED GLASS GLAZING ALLOWING VENTILATION FROM HTTP://WWW.FOSTERANDPARTNERS.COM/PROJECTS/30-ST-MARY-AXE/
FIG.3: INTERIOR COMMUNITY SPACE, LIGHT SOURCE AND VIEW. FROM HTTP://WWW.FOSTERANDPARTNERS.COM/PROJECTS/30-ST-MARY-AXE/ CONCEPTUALISATION 7
Precedent Project Case 2: The Japanese Pavilion, EXPO 2000 Hannover, Germany by Shigeru Ban (and Otto Frei) Shigeru Ban, different from the previous presedent, does not prefer form finding unless he has to as said so by himself. His focus is more on how the building material can self sustain and also be reused, hence can minimise the waste production while constructing.[5] Enable for him to achieve his goal, he designed buildings with fabricated paper rolls that is cheap and able to recycle, this new invention and practice in ‘paper architecture’ lead him to win the 2014 Pritzker Price.[6] This pavilion is the world’s biggest paper built architecture built by paper tubes without the use of nails, cement and heavily fabricated joints. Low cost but strong way of tying the tubes together are designed for easy and quick construction on site. It is built and dismantled, meeting his pursuit on producing structure that is easy to assemble and disassemble, and be reused in future projects, such as emergency shelters.[7]
By this pavilion he explored new possibilities of future architecture interms of innovative use of low manufacturing cost material and also the ‘after life’ of architecture, how architecture can be demolished and constructed in an efficient way according to human needs at different situation. It also changed the way of how people assume recycling material built structure might be less aesthetically pleasing. Another project of Shigeru Ban, The Chirstchurch Transitional Cathedral which also used similar material, proved the flexibility of sturcture using paper tubes. Due to the need of large interior space for exhibition, form finding and 3D modelling allowed Shigeru Ban to produce a structure of three 3D gridshells, making sure the geometry is self supporting and reduce the chance of structural failure.[8] With the use of computation, his idea is able to push further to create architecture spending such large area and maximise the structure perfomance of paper tubes.
FIG.4: THE INTERIOR OF THE JAPANESE PAVILION. FROMHTTP://WWW.ARCHITECTMAGAZINE.COM/DESIGN/14-PROJECTS-BY-SHIGERU-BAN-ARCHITECTS_O
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5 ADRIAENSSENS, S., BLOCK, P., VEENENDAAL, D., & WILLIAMS, C. (2014). SHELL STRUCTURES FOR ARCHITECTURE: FORM FINDING AND OPTIMIZATION (P. XIII). ROUTLEDGE. 6 GERFEN, K. (2014). 14 PROJECTS BY SHIGERU BAN ARCHITECTS. THE JOURNAL OF THE AMERICAN INSTITUTE OF ARCHITECTS. RETRIEVED 7 MARCH 2016, FROM HTTP://WWW.ARCHITECTMAGAZINE.COM/DESIGN/14-PROJECTS-BY-SHIGERUBAN-ARCHITECTS_O 7 PUJOL, M. (2014). FRIDAY RECOMMENDS – 28.03.2014. OFFICIAL BLOG OF UIC BARCELONA SCHOOL OF ARCHITECTURE. RETRIEVED 7 MARCH 2016, FROM HTTP:// ARCHITECTURE.UIC.ES/2014/03/28/FRIDAY-RECOMMENDS-28-03-2014/ 8 EEKHOUT, M., VERHEIJEN, F., & VISSER, R. (2008). CARDBOARD IN ARCHITECTURE (PP. 106-107). AMSTERDAM: IOS PRESS.
FIG.5: EXPLOADED STRUCTURE FROM HTTPS://CLAREWASHINGTON.FILES.WORDPRESS. COM/2012/12/JAPANESE-PAVILLION_2.JPG
FIG.6: MODEL OF THE PAVILION FROM HTTP://D13UYGPM1ENFNG.CLOUDFRONT.NET/ARTICLE-IMGS/EN/2013/05/10/AJ201305100015/AJ201305100016M.JPG CONCEPTUALISATION 9
A.2 Design Computation
Computation, one step ahead of computerisation, allows designers to process more information and to generate more complex order and forms as an outcome. In computation, architects not just use softwares and tools, they are developing and creating digital tools themselves have more opportunities in design process, fabrication and construction.[9] This shows that computation is not just the use of a computer, but is a way of thinking and the use of computer as a tool to facilitate and stimulate problem solving. The process of designing is faster and potentially providing more inspirational as more unexpected results will be generated in the design process. Another important feature of computation is that it makes interaction communication with other professionals, such as engineers and the environmentalists, easier with all the data and informations. Quantitative data convert directly to a structure may seems rather emotionless, that is where architects’ creativeness on the desired performance of the design important. If the performance of the design is focused on providing specefic experience for human or contributing to the environment, computation is just a tool to make the idea happen, not necessarily taking away human creativeness or human warmth. The following precedents shows how computation is used to find the optimal form in situation where there are too much information and constrains, and how computation allow the perfect combo of architect and engineer to co-work and create the ideal solution.
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PETERS, B(2013).COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT, PP. 8-15
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Precedent Project Case 1: Beijing National Stadium, Beijing, China by Herzog & de Meuron. The constrains and structural requirements for building a huge public stadium that holds multi competitions and 91,000 audience is much greater than that of a pavilion, therefore, computation definetly came in handy in this project. Firstly, computation softwares are used to study the defined parameters such as environmental criteria and geometric constraints, this must be done before any intial form can be generated. After understanding the requirements and setting the main goals, which is meeting all the standard stadium requirements and providing the best experience for the competitors and audiences, the team, both architects and structural engineers then start working together building 3D model.[10] It facilitated the communication within the team. Other than using as researching tools, building infomation modelling (BIM) and parametric design, the team brought the use of computers into the next level. As the structural steel frame is the facade,
structure and interior all together, the geometry is too complex and complicated that the team developed their won modelling software to calculate the optimal form.[10],[11] Parametric softwares allowed the design team to produce up to 33 versions of design proposal to finalise the form.[10] Being able to change parameters and modify details without the need to redesign and calculate the whole thing definitely saved time and effort or the project. It also allowed the team to search for the best height of each row of seats and angles in order to provide the best experience for the audience to enjoy every moments of the competitions, which shows the project is performance-oriented. Throughout the design process, computated drawings has been the media of communication for architects and engineers. Softwares also allowed the team to explore and test options by adjusting variables to find the optimal solution.
FIG.7: BEIJING NATIONAL STADIUM, FACADE,STRUCTURE AND INTERIOR. FROM HTTP://IMAGES.ADSTTC.COM/MEDIA/IMAGES/5643/52F4/ E58E/CE94/E500/00DE/LARGE_JPG/BEIJINGNATIONALSTADIUM_1__COPYRIGHT_ARUPSPORT.JPG?1447252711 12
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10 BEIJING NATIONAL STADIUM - DESIGNING BUILDINGS WIKI. (2015). DESIGNINGBUILDINGS.CO.UK. RETRIEVED 10 MARCH 2016, FROM HTTP://WWW. DESIGNINGBUILDINGS.CO.UK/WIKI/BEIJING_NATIONAL_STADIUM 11 BEIJING NATIONAL STADIUM, ‘THE BIRD’S NEST’. DESIGN BUILD NETWORK. RETRIEVED 9 MARCH 2016, FROM HTTP://WWW.DESIGNBUILD-NETWORK.COM/
FIG.8: DIGITAL MODELLING AND DETAILS. FROM HTTP://WWW.CIVILAX.ORG/WP-CONTENT/UPLOADS/2014/10/DRAWINGSAND-ANALYSIS-FILES-OF-NATIONAL-STADIUM-BEIJING-CHINA.JPG
FIG.9: CLOSE UP OF STRUCTURAL STEEL CONNECTIONS. HTTP://WWW.BUDGETTRAVEL.COM/PRINT/849/
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Precedent Project Case 2: Sendai Mediatheque, Sendaishi, Japan by Toyo Ito Computation design in architectur is not only about form finding but, is the linkage of form generation and performative form finding in response to environmental context.[12] Sendai, Japan in general is highly prone to have earthquakes, however, given this environmental context, not every single building in Japan is designed to withstand the destruction of the natural force. For this building, Ito aimed to design a high transparancy and light weighted building yet can fight against earthquake, partnering with an equally creative engineer made this happen and the building successfully survived a magnitude9.0. The engineer, Mutsuro Sasaki, was able to transfer Ito’s sketches into a constructable structure by creating innovative systems such as steel sandwich floor plates and structural hollow steel tubes in the form of spiralling lattices that support the whole building.[13] The steel
sandwich floor allows the whole level only needed to be supported at the angles, therefore there is no need of internal and structural walls, allowing free form interior design that simulate people free exploration and movent in each floor.[13] Computational structure deisng supports many new architecture goal to be achievable and generate possibilities for new spatial experience. The amazing ability of the building to survive earthquakes with such tranparent and light structure were able to experiment with softwares. Perfomance test can be constructed through computer software by simulation of the earthquake force and see how the structure are able to shake and respond. Calculation and experiments can be repeated until the optimal solution are found.
FIG.10: SENDAI MEDIATHEQUE AT NIGHT. SHOWING TRANSPARENCY OF BUILDING’S SKIN, HOLLOW AND SPIRAL TUBE ACROSS LAYERS. FROM HTTP://REST.EJ.BY/NEWS/2014/07/16/NATSIONAL_NAYA_BIBLIOTEKA_BELARUSI_PRIZNANA_SAMOY_KRASIVOY_V_MIRE.HTML 14
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12 HUXTABLE, A. (2011). WHY ONE REMAINED STANDING. THE WALL STREET JOURNAL. RETRIEVED 14 MARCH 2016, FROM HTTP://WWW.WSJ.COM/ARTICLES/SB1000 1424052748703859304576305243667119026 13 TOYO ITO ON HOW TO FIX JAPAN | ARCHITECTURE | AGENDA | PHAIDON. PHAIDON. RETRIEVED 14 MARCH 2016, FROM HTTP://AU.PHAIDON.COM/AGENDA/ ARCHITECTURE/ARTICLES/2013/SEPTEMBER/03/TOYO-ITO-ON-HOW-TO-FIX-JAPAN/
Ito’s design analogy of ‘floating seaweed’, the tranportation of air, light, information and also human between between twisted, hollow and light-weight structure in order for the structure to be ‘alive’, was made to reality with the good use of computatio, achieving both ideal performance and form.
FIG.11(TOP) & 12(BOTTOM): FROM FREE HAND SKETCHING TO 3D MODELLING. FROMHTTP://TRAAC.INFO/BLOG/WP-CONTENT/UPLOADS/2010/02/ AAC018_IMG_7.JPG; HTTPS://S-MEDIA-CACHE-AK0.PINIMG.COM/736X/ F8/C4/5A/F8C45ADF4435F550B0504D051E8FE17D.JPG
FIG.13: INTERIOR, EVERY SINGLE HOLLOW COLUMNS ARE DIFFERENT. FROM HTTP://WWW.SMT.JP/EN/
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A.3 Composition/Generation Precedent Project Case 1: Expriss Cafe by Hooba Design Group in Tehran, Iran This project is based on the idea of continuing the exterior facade into the interior in a geometric form with traditional material and elements integrated within.[14] It’s choice of material is inspired by the traditional and cultural elements of Iranian handicrafts shops in it’s surrounding context.[15] 3D spatial diagram is generated to find out the space that the interior architectural form can expand within the existing structure, yet also keeping ventilation and service systems for for the kitchen. The final form generated is a continuous form joining the outer geometry, internal space and the kitchen. Then the design moved on to the morphology of brick and fabricated light fittings onto the generated form. In oder to fix the bricks, which are 1/8 sized to facilitate the ideal effect in limited space, steel frames are fabricated from the contouring the model and made the installation easier.[15] Personally, I think this project can be considered a mixture of composition and generation. The form of the facade, interior ceiling and wall finish that the bricks are being casted on is generation, as the spatial diagram is formed under constrains and has a starting point, from the mezzanine kitchen level to the exterior, with the solution as a single project mass. The mass after morphology of square blocks is the out put of the generation. However, when it came to getting the form constructed, it seemed to ‘step back’ to composition, which has more elements of craftsmanship and computerisation. They casted steel framing and installed the bricks, meaning the brick form at the end is more like a finishing, rather than a complete and self-standing masonry parametric structure, which I found is arguable it is a for of generation or not. This leaded me to think that the shift of composition and generation is not necessarily in a fixed direction, they can co-exist in a project without a fixed sequence. If this is the case, attention should be paid on if the reason why there is such a change in design method and approach. In this case, it might be the limitation of space and budget as it is a project of a small cafe with existing structure, which is different form designing a pavilion in an open space or a high rise building where the design can go up high.
FIG.14: CEILING OF THE CAF
FROM HTTP://ARCHITECTISM.COM/ESPRISS-CAFE-HOOB
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FE, PHOTO TAKEN BY PARHAM TAGHIOFF.
BA-DESIGN-GROUP/ESPRISS-CAFE-00001/
FIG.15(LEFT) & 16(RIGHT): FORM FINDING AND MORPHOLOGY FROM HTTP://WWW.ARCHDAILY.COM/568603/ESPRISS-CAFE-HOOBA-DESIGN-GROUP
14 FRANKLIN, D. (2014). ESPRISS CAFÉ BY HOOBA DESIGN GROUP. ARCHITECTISM - WE LOVE BUILDING. RETRIEVED 17 MARCH 2016, FROM <HTTP://ARCHITECTISM.COM/ESPRISS-CAFE-HOOBA-DESIGN-GROUP/> 15 FRANKLIN, D. (2014). ESPRISS CAFÉ BY HOOBA DESIGN GROUP. ARCHITECTISM - WE LOVE BUILDING. RETRIEVED 17 MARCH 2016, FROM HTTP:// ARCHITECTISM.COM/ESPRISS-CAFE-HOOBA-DESIGN-GROUP/ FIG.18: FACADE. FROM HTTP://ARCHITECTISM.COM/ESPRISSCAFE-HOOBA-DESIGN-GROUP/ESPRISS-CAFE-00002/
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Precedent Project Case 2.1: ICD/ITKE Research Pavilion 2014-15 The second precedent demonstrates very advanced computational design, which are form generating together with innovative simulation and fabrication processes. Inspired by how water spiders construct natural fibre-reinforced air bubbles in order to survive under water, the science researcher, architect and engineered team all together designed and generated almost a replica of that in human scale. [16] After the study and research on water spider, they were able to generate the shell geometry and location of structural fibre bundle through computational form finding. This ‘computational design process’ allows designers to try out different variations of the interrelated parameters to test out the best performative fibre orientations and densities, forming the path for the robot to follow and construct. A ‘prototypical robotic fabrication process’ is then developed for the fibre to be casted on the inner surface of the expanded ETFE film. A robot, which functions like the spider itself, with the import of the previously generated pathway, together with a ‘cyber-physical system’ with allows the robot to react and regenerate solution according to the constructing environment, is designed and use for the fabrication process. [16]
I think this projects successfully achieved the ‘ideal’ extent of computational design and generation, which is very different from composition. From research to fabrication, different new and original softwares are designed and systems are developed according to the natural precedent. A final solution and outcome is purely based on responding researched data and calculating. Composition methods would probably not be able to generate and fabricate structural fibre-reinforcement in such precision that is just like the spiders do to achieve the material effectiveness, therefore the computational design processes that they have been through is no doubt beneficial. However, this project also made me reflect on the creativeness in the design process. With all the technology and understanding of mathematical pattern, they are able to recreate what another natural creature can create that are for the human, but where does creativity comes in? I think their design process explored and also provided a lot of opportunities and potential, such as the robotic system and also the new material system of using fibre as structural members. In order to push the design process even further is to generate and design more functional and performative for human.
FIG.19: ETFE MEMBRANE WITH STRUCTURAL FIBRE-REINFORCING BUNDLES. FROM HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/ICD-ITKE-RESEARCH-PAVILION-2014-15-WATER-SPIDER-07-16-2015/ 18
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16 ICD/ITKE RESEARCH PAVILION 2014-15 « INSTITUTE FOR COMPUTATIONAL DESIGN (ICD). (2016). ICD.UNI-STUTTGART.DE. RETRIEVED 17 MARCH 2016, FROM <HTTP://ICD.UNI-STUTTGART.DE/?P=12965>
FIG.20(LEFT) & 21(RIGHT): COMPUTATIONAL DESIGN ADN FORM FINDING PROCESS FROM HTTP://ICD.UNI-STUTTGART.DE/?P=12965
FIG.22: ROBOT CONSTRUCTING STRUCTURAL FIBRE-REINFORCING BUNDLES. FROM HTTP://COMPOSITESANDARCHITECTURE.COM/?ATTACHMENT_ID=3584 CONCEPTUALISATION 19
Precedent Project Case 2.2: Gantenbein Vineyard Facade, Fläsch, Switzerland by Gramazio Kohler Architects As discussed in precedent 1, it is seemed that is generating forms with traditional material like bricks are less common and possible when comparing with using tensile material such as fibre and timber. However, there are designers that came out with a method to do parametric and computation design using technology similar to precedent 2.1, which is using robotic fabrication. Also getting inspiration from the nature, which also related to itâ&#x20AC;&#x2122;s environmental context, the form is generated by simulating the fall of grapes onto the ground. The robotic production method they developed allowed bricks to be aid precisely, at the perfect angle and exact intervals, according to programmed parameters. [17] The out come is a patterned facade with the desired performance such as allowing light and air penetration. This may also be produced through composition design process, but the accuracy and the speed that a robot can achieve will be very hard for craftsman to achieve nowadays, hence will be less efficient. Comparing this project with precedent 1, this involved more generative design process.
FIG.23(TOP) & 24 (BOTTOM): FORM FINDING AND 3D MODELLING FROM HTTP://GRAMAZIOKOHLER.ARCH.ETHZ.CH/WEB/E/FORSCHUNG/52.HTML
FIG.25: PHOTOGRAPEHD BY RALPH FEINERFROM HTTP://WWW.ARCHDAILY.COM/260612/WINERY-GANTENBEIN-GRAMAZIO-KOHLER-BEARTH-DEPLAZES-ARCHITEKTEN
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A.4 Conclusion In Part A, through lectures, readings and research, I gained knowledge on the directions that changing the way of design thinking can participate in changing and securing human future, advantages and disadvantages of computation design approach. I also got a picture of how the design process is changing to bring benefits to architects, also the whole design industry such as engineers and scientists, and hence contribute to the society.
I am open to get in the trend and learn computation approach as it really provides a lot of opportunities, potential and also efficiency in designing, but at this stage, I would like to keep and appreciate the compositional and traditional approach as I think they can co-exist and need not to totally abandon one of the them.
A.5 Learning Outcome At the beginning of semester, I thought that computation design is cold and extremely difficult that I will not be able to get my hands on, but after understanding the theory behind, I realise that although it is still very complicated, it is still something that everyone can try and learn from it. One of the key things I learnt is that although we are finding forms using computer softwares, it does not mean that as a designer, I do not have to think, I still have to be as engaged as I was drawing with pens or in computerisation, and be open minded to explore.
A past project that I have done, in the subject Digital Design and Fabrication, my partner and I have experienced using contouring in Rhinoceros to form a grid form and fabricated with laser cut MDF, and assemble them by notching system. As it is the first time we handle 3D masses and modelling, we struggled with precision as we did not understand the biggest problem, which is the grid system does not work with the shape of our mass. I think it would be much better if we can design with computational method such as using grasshopper to understand more about the geometry and handle the data in a more detailed way, rather than judging by our eyes looking at the 3D model.1, this involved more generative design process.
17 IGRAMAZIO KOHLER RESEARCH. (2016). GRAMAZIOKOHLER.ARCH. ETHZ.CH. RETRIEVED 17 MARCH 2016, FROM HTTP://GRAMAZIOKOHLER.ARCH. ETHZ.CH/WEB/E/FORSCHUNG/52.HTML
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A.6 Appendix
Exploring connection methods with recycled materials
In this exercise, I was exploring ways to connect plastic cups. The first method I went for is gluing three popsicles sticks pointing to 3 different angles to form a triangular joint. Then I cut holes at the base of the cups and slot them into the joint. Immediatly it became like a modular structure that can be repeated to form. The wider circular and planar surfaces of the cupsâ&#x20AC;&#x2122; opening can easily connect with each other. Another feature I discovered is that the molecule can stand by itself. The variable for this molecule can be the number of popsicle sticks, hence the shape of the molecule, and also the depth of the plastic cups are slotted into the sticks.
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The second method I went for is piercing holes at the bottom of the plasitc cups and linking them with a string, also forming a molecule. Different form the rigid structure of the first method, this is very soft and flexable and cannoot stand by itsel. I intentionally alternate the direction of the cups so that they will not stack together. There are more variables in this molecule, for example the string can be replaced by rigid ring and change the number of cups. Another interesting feature I found is that with the transparant cups, we can see how the string is formed into a shape or geometry in the process of linking the cups.
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Examples from Algorithmic Sketchbook
FIG.1 LIZARD SKIN METHOD 1
2 different methods are used to replicate the lizard skin, which is an organic pattern. The method shown in figure 1 is the surface morth, and the one in figure 2 is orienting geometry to planes on curve intersections. As can be seen, they looked pretty different. Figure 1 has more pointed geometry and also has unavoidable void between each geometry as they are aligned in boxes. Will have to think of how the geometries can be connected if fabricate. Figure 2 has a more compacted structure, although there are still some voids, most of them are intersecting with eachother. I personally think using this method the form looked more organic.
FIG.2 LIZARD SKIN METHOD 2 24
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FIG.3 RECREATING THE AA DRIFTWOOD PAVILION
I found making the base Brep in Rhinoceros first then import into Grasshopper is much easier to me at this stage. I had a fun time altering the number slider for the number of contour lines to see which one looks closest to the orginal. This exercise reminded me of the grid structured wearable architecture with making countour lines in both horizontal and vertical direction. At this stage I have only done the contour lines in one direction, I would like to learn about making notches with grasshopper, or making joints between planes.
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B.1 RESEARCH FEILD -- STRIPS AND FOLDING
Our assigned site as given by the design brief, is around Merry Creek and our design should be somehow related to the water. Within the researched fields, I am firstly drawn to ‘strips and folding’ as I think it has the most relation with water, such as it has sense of continuity, hence will have greater relation to the site. Through looking at case studies, I realised that ‘strips and folding’ is much more than ‘sense of continuity’. One of the greatest possibilities of using folding structure in architecture is the process of defining abstract spaces within the structure, and the process is free and open to interpretation. The Paradise House by HATZ Architects (Fig 26) demonstrates how a linear folding structure, resulting with sets of planes, can be defined into interior and exterior spaces with different function and qualities. Making sense of voids and area within folds to scale is giving more potential for the designer to work with the folding structure. MoMA Fabrication for the Museum of Modern Art (Fig 27), on the other hand, demonstrated another feature for folding, which is it experiments with the quality of the materials and also the effects on the form of the structure. Digital fabrication and advance steel fabrication technology allows the architects to generate foldable metal sheets. The Curved Folding Pavilion (Fig 28) brought folding steel onto the next level as it consist of digital fabricated curved steel sheets, pushing the boundary of steel has to be planar, also achieving complex 3 dimensional geometry. With folding, materiality can be explored, and hence unexpected and new spatial or experiential quality can be explored as well. The Voromur by Office-dA (Fig 29) presents how folding of planar surface can become a modular structure, and the arrangement of the modules can produce transformable, dynamic and evolving form. Folding, in this case study is used differently from the above case studies, reflecting the flexibility of the tectonic, how it can be used differently on it’s own or combining with other tectonics.
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FIG.26 (TOP LEFT): PARADISE HOUSE BY HATZ ARCHITESTS, FROM HTTP://HATZ.CO/PORTFOLIO-VIEW/PARADISE-HOUSE/ FIG. 27 (TOP RIGHT): MOMA FABRICATIONS. FROM HTTP://WWW.MONICAPONCEDELEON.COM/MOMA-FABRICATIONS FIG.28 (BOTTOM LEFT): CURVED FOLDING PAVILION, FROM HTTP://WWW.EVERSMANN.FR/CURVED-FOLDING FIG. 29 (BOTTOM RIGHT): VOROMUR BY OFFICE-DA, FROM HTTP://THEPHOENIX.COM/SECURE/UPLOADEDIMAGES/ THE_PHOENIX/ARTS/MUSEUM_AND_GALLERY_REVIEWS/INSIDEICA_OFFICE-DA_VOROMUR.JPG CRITERIA DESIGN
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B.2 CASE STUDY 1.0 -- BIOTHING The Seroussi Pavilion by Biothing are generated based on vectors with electro-magnetic fields (EMF) arranged in self-modifying patterns, with a sense of the structure is â&#x20AC;&#x2DC;growingâ&#x20AC;&#x2122; out from the vectors. [18] The design is drawn in plan then lifted through microarching sections through different frequencies of sine function. [19] With additional scripting and programming with sine-wave functions, internal cocoon like spatial fabric is generated, and the spaces can be rearranged within the labyrinthine fabric. [18]
This case study provides a basic understanding of how planar strips can be folded and lifted to generate different spatial opportunities by using magnetic fields. With magnetic fields, which is something that can argue will happen in nature, organic and flowly lines can be generated with respond to the creek. There are also many other possibilities to experiment and help the development of my design.
FIG.30: PHYSICAL MODEL/ PROTOTYPE OF THE BIOTHING PAVILION WITH FOLDED STRIPS. FROM HTTP://PAYLOAD.CARGOCOLLECTIVE.COM/1/2/65604/815512/_0001_810.JPG
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BIOTHING(2010). SEROUSSI PAVILLION /PARIS//2007 RETRIEVED 17 APRIL 2016, FROM HTTP://WWW.BIOTHING.ORG/?CAT=5 HASSAN MOHAMMED YAKUBU(N/A). SEROUSSI PAVILLION RETRIEVED 17 APRIL 2016, FROM HTTP://WWW. ARCH2O.COM/SEROUSSI-PAVILION-BIOTHING/
FIG.31: COMPUTATIONAL MODEL OF THE PAVILION. (2-DIMENSIONAL) FROM HTTP://WWW.BIOTHING.ORG/?CAT=5
FIG.32: RENDERING OF THE PAVILION WITH HUMAN SHADOW, MAKING SENSE OF THE SCALE AND SPACE WITHING THE STRICTIRE. (2/3-DIMENSIONAL) FROM HTTP://WWW.BIOTHING.ORG/?CAT=5
FIG.33(LEFT) & 34(RIGHT): COMPUTATIONAL DESIGN ADN FORM FINDING PROCESS FROM HTTP://PORTFOLIO.EZIOBLASETTI.NET/SEROUSSI-PAVILLION
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B.2 CASE STUDY 1.0 -- MATRIX RADIUS
NUMBER OF CIRCLES
ITERATION 1 0.01
1
20
1.5
6
60
6
12
120
20
50
50
ITERATION 2
ITERATION 3
ITERATION 4
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F-LINE
DIVIDE
PCHARGE DECAY
10
-1
30
1
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10
100
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GRAPH MAPPER TYPES
ITERATION 1
ITERATION 2
ITERATION 3
ITERATION 4
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MULTIPAL COMMANDS (GRAPH + OTHERS)
ATTRACTOR POINT
AMPLITUTE 10
AMPLITUE 20
AMPLITUDE 30
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-- SELECTION CRITERIA In the process of making iterations for case study 1, I experienced how changing the smallest thing, for example a single unit in slider, can change the output and it’s possibilities. Potential ideas are documented systematically and wide range of expiration can be done. While analysing successful species among the iterations I have created by changing parameters of existing components and adding in component to the provided script, I have set up some criteria to decide on some successful species that might help developing ideas in further stages. At this stage, the problems I observed during the site visit to Merri Creek are mainly: 1. the pollution of the water, both by rubbish and organic waste (from trees or soil, wet land area, causing the water to be green and muddy) 2. the walking/ bicycle tracks and public space are placed very need to the creek, however, there are not much interaction with the creek itself With these 2 main points in mind, I am assessing the iterations with the following criteria: C1 Interactive responds + Educational purpose How can people and interact with the species? What can people take away with them after interacting with the species?
C2 Porosity Are the species performing filtration properties? Is it porous in someway that can trap or collect litter, then be removed to provide clearer water of the creek?
C3 Relation to Nature Does it interact with nature as well as human, so that it can blend in with surroundings as well? How can the design be placed in the nature without destroying the nature content ?
C4 Construct-ability With all the aims and goals, can the structure be fabricated and installed? Are the species ‘realistic’? What kind of form can be created to allow the species to be fabricated?
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C1 40% | C2 50% | C3 60% | C4 80% This species is created by changing the Pcharge decay to 50. What I found this species different from others is that each set of the curves ‘growing’out form the vectors are curved inwards almost forming a hemisphere. They look very modular and structurally stable if they are fabricated with strong and rigid material such as timber or metal, or recycled material like plastic. It also has average filtering quality. In interactive wise, however, is weaker than other selected species.
SUCCESSFUL SPECIES 1 C1 70% | C2 65% | C3 70% | C4 70%
SUCCESSFUL SPECIES 2
This species has different interactive potential depending on the scale of the structure. If it is in a smaller scale, I can imagine this placed on the water, and the teeth can capture litter or organic waste, people can walk on the flat surfcae on top and observe what is in the creek, and perhaps clear away some captured litter as well. If it is in a larger scale, people walk around the teeth instead of on top and the flat surface can act as shelter. However, in a larger scale, people’s focus on issues of the creek will be less, hence decrease the educational purpose. It also relate to the nature as the form can be mimicking wild weeds and bushes.
C1 50% | C2 50% | C3 75% | C4 60% I can imagine this being hug from cables just as shown in the render image, and the strings can sway with wind or water flow, which makes it highly connected with nature. However, more thoughts are needed on how people can interact with flexible structrue, and also the filtering /educational funtion within the structure.
SUCCESSFUL SPECIES 3 C1 75% | C2 60% | C3 60% | C4 75%
SUCCESSFUL SPECIES 4
With strips arranged in such high-densed method, the structure almost seems like a section and profiling/stacking structure, giving it a high rigidity and constructability. The waves and the curvyness can be relating to the slight waves on the creek, or waves when created by throwing something into the water. For interactiveness, the curves of the structure can allow people lying, sitting, standing and whatever they feel comfortable, like interacting with ‘rigid wave’. As the density of strips is so high, the water filtration works slightly different, the litter will be kept outside, and what people on the structure can see through the gaps are clean and filtered water, raising awareness on water quality in a different way. CRITERIA DESIGN
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B.3 CASE STUDY 2.0 The Xtra Moenia, San Gennaro North Gate by SOFTlab
This sculpture, hanging in between existing historical buildings and street lamps in it’s surrounding, is creating large contrast within it’s context with it’s form and colourfulness. The form is developed by having two oculus on a surface, one pointing up and one pointing down, then blur the boundary between the two oculus and the surface by using minimal surface.[20] The final form is engineered with ARUP, a structural engineer firm, making sure calculations are done right with relation to the site as the installation of the structure (hanging) is highly site specific.[20] The fabric like patterning panels, are digital fabricated and laser cut, and connected with aluminium grommets. Each panels are customised in shape, meaning they are possibly all different in order to achieve the shape of the tensioned structure.[20] The colour of the panels are high-lighting the oculus and referencing to traditional festivals.[21] Using Grasshopper and Kangaroo plug-in, I attemped to reverse-engineer the form and also the patterning panels. Through the process, I got more understanding about finding minimal surface and mesh relaxation. Together with the tessellation of pattern, I am able to explore the possibilities of working with mesh and all the effects caused by different applied pattern.
20 21
BEHANCE(2011). SAN GENNARO NORTH GATE RETRIEVED 17 APRIL 2016, FROM HTTPS://WWW.BEHANCE. NET/GALLERY/2357886/SAN-GENNARO-NORTH-GATE AMANDA COEN(2011). SOFTLAB’S COLOURFUL SCULPTURE BRINGS A MODERN TWIST TO LITTLE ITALY’S SAN GENNARO FESTIVAL. RETRIEVED 17 APRIL 2016, FROM HTTP://INHABITAT.COM/ NYC/SOFTLABS-COLORFUL-SCULPTURE-BRINGS-A-MODERNFIG.35: XTRA MOENIA
FROM HTTP://SOFTLABNYC.COM/2011/09/18/SAN-GENNARO-NORTH-GATE/ 36
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-- REVERSE ENGINEERING
Step 1
Step 2
Step 3
Creating a mesh, one planar surface with two extruded rectangle/cube connected that has openning on both ends, cutting the mesh open as well.
Using Weaverbird plug-in to split mesh to quadrangles and smooth the edges to make edges circular.
Run Kangaroo solution to blur the bo of the extrusions and the surface, find
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oundaries of the connection ding the minimal surface.
Step 4
Step 5
Create the panel with another Kangaroo command. Setting the corners of a square as anchor points and smoothen the edges. by doing this the panel can be strechable. Thicken the mesh surface of the structure and create boxes for both the mesh and around the panel.
Box morph the panels onto the mesh.
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-- FINAL OUTCOME The reason I chose this case study 2.0, which has more relation to tesselation more than folding (case study 1.0), is because I think tesselation is a combination of multiple techtonics, such as folding, patterning and also includes a major feature that I was drawn to from the start, the Kangaroo plug in and mesh relaxation. Choosing this case study, I am opened to even more possibility on both commands exploration and form finding for outcomes. The reverse engineering was challenging for me at first, mostly getting the mesh workable for Weaverbird and Kangaroo as they only works with unified mesh, where as mesh created by Rhino is often a combination of square and triangular mesh. I am amazed by the mesh relaxation Kangaroo solution process, seeing the mesh to change its shapes, sag and settled to itâ&#x20AC;&#x2122;s optimal form, I have never imagined that this can be done with a few commands. Looking at the outcome, I surely think that the process of producing the form, seeing it in motion is more interesting than seeing the solid outcome. With the rendering, the original soft and wavy paneling effect also could not be shown in the final outcome. These may need to add to thoughts and where making prototypes comes in handy, allow me to actually visualise and realise the project.
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B.4 TECHNIQUE DEVELOPMENT -- MATRIX
Weaverbird split quatds
0.1
1
2
Fixed Corners
Fixed
Smooth
Circular Capped
Circular
Hexagonal Capped
Square Patterned
Radius 1
Radius 1 Extruded
Box Morphing of Different Panels
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3
4
wbSplitPolygon
Hexagonal
Rectangular
Radius 1 Extruded 10
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Spring from Mesh Rest Length Factor
Width Count 0
0.1
Width Count 2(2)
Width Count 3
Width Count 0(2)
Width Count 4
Changing Basic Form (Mesh Relaxation)
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Changing Anchor Points of Original Shape
Mesh relaxation + Grid
Mesh relaxation + Box Morph Panels
Square Mesh with 3 Openings
Truncated Cone with remoed surface
Truncated Pyramid
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Width Count 0(3)
Width Count 1
Width Count 2
Width Count 10
Width Count 5 Frame 2 Sub 2
Overlapping 2 Pattern
Cylinder
Naked Edge of Cube
Cube
Tent Surface
Curvy Surface
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Delaunay Plug-In
Weaverbird Bevel Edges
Type: Percent
Type: Paralellogram
Weaverbird CatmullClark
Smooth Naked Edges
Fixed Corners
3
4
Fixed
Anchor Points
2
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-- SUCCESSFUL SPECIES SUCCESSFUL SPECIES 1
PATTERNING: RADIUS 1 (+ EXTRUSION) C1 67% | C2 60% | C3 50% | C4 65% I decide to combine this two iterations together as I think they have greater performance when combined, and also add a lot more interative elements to the pattern that is applied to the panels, giving them meaning. There are wholes on the panels, and I created extrusions with the same radius. The extrusions can be tree branches or stick form natural material, allowing the structure to relate to the site. The interactive aspects come in where people can pick up fallen branches etc. and add them onto the structure, or the other way round, taking away what is captured on or put on. People are actually defining the structure while interacting with it as every step changes the look of the structure.
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SUCCESSFUL SPECIES 2
Mesh Relaxing Polygons(Cube Mesh with Openings) C1 70% | C2 65% | C3 65% | C4 70% Comparing with other species, this iteration stood out as it moved away from the original form. From this form, I see an opportunity of making it as a tunnel,or a pathway with stream and water runnting through and people can walk on top, observing the waterlife and water quality. For the filtration aspects, there can be filters within the tube like structure, so there will be a gradient of water cleanness throughout the pathway and people can observe.
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SUCCESSFUL SPECIES 2
Delaunay wbCatmullCalk C1 55% | C2 60% | C3 70% | C4 65% This Iteration greatly relate to the site as the net like structure can be flexable or fived but mimicking the wave of the creek. In temrs of interactiveness, people can climb around the net if it is in tension enough to hold the weight of people. As it is a net form, it can capture litter, but just like other successful species, it depends on the orientation of the structure.
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SUCCESSFUL SPECIES 3
Anchor Points C1 60% | C2 40% | C3 65% | C4 70% The potential I see in this is how it is like a twisted and folded piece of membrane, and if it is fixed in shape it will form 3-dimensional structure. With different shape of panels, the structure form can be curvy, dynamic and able to be morphed into different shape by external force, like by nature (wind/water) or people, where making it interactive and relating to site. It is relatively lacking in the filtering ability as it largely depends on the form of the structure, which can be always changing, and also the orientation of the structure.
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-- Analysing Outcomes
Through exploring the script, I have realise that with computational parametric design, there are truely numerous solutions that can be found for just one objective. As I am exploring both mesh relaxation and patterning, together with plug-ins such as Weaverbird and Kangaroo, I am exposed to countless opportunities. By far, I have played around with mesh relaxation, changing the force, anchor points, and the shape of the mesh to start with. With Kangaroo, I was able to try out what is truely â&#x20AC;&#x2DC;form-findingâ&#x20AC;&#x2122;. The next stage is box morphing panels, which was basically altering size and shape of the panels.
Other than the iterations I have generated, I also did some rendering with colour to try out the aesthetic, and perhaps experiential effect that colours can be done to structure, just like what SOFTlab put attention on their projects (case study 2). This can be something to further explore. At this stage, what I have realized is that although I was able to create smooth, relaxed surface with panels applied side by side to their corners, the major connection between the panels, and structural support elements for the form is missing. More thinking of connection and supporting details will be benefitial to the future process of my design project.
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B.5 TECHNIQUE: PROTOTYPES -- Rigid Material and Fixed Angle Joints TYPE 1
Moving on from computational design to digital fabrication and prototyping, the first thing I considered on is how to create the smooth and curvy â&#x20AC;&#x2DC;meshâ&#x20AC;&#x2122; surface in real life with rigid planar material. As I want to experiment the creation of curvy surface with rigid planar material, I chose an area where panels are double-curved, align circular panels on the mid-points, then forming notchings on both of the surfaces. It is able to achieve: -rigidity -the desired curve It is not able to achieve: -less interactive becaused of rigidity -aesthetically less soothing with nodes
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TYPE 2
The second set, ratehr than generating by a designed surface, is more of creating a set of standard components to test out material performance and play around to create interesting forms.
It is able to achieve: -rigidity -form finding
It is not able to achieve: -llimited to 3 types of angle between panels -connections less rigit, notches often slide off during and after assembling
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--Bendable Material and Pin Joints TYPE 1
With similar basic idea as Prototype 1, which are also panels, this protoype is fabricated with thin polypropylene from panels of a designed curved surface, and are connected with pin joint. As shown in the line drawing above, in order to achieve the designed surface, each panels are customised in shape. Hence, when connected with other panels, the thin and flexable panels will be curved and hold in place, forming the designed curve.
It is able to achieve: -change in material/testing material performance: flexible and thin, able to curve -still has itâ&#x20AC;&#x2122;s rigidity, hence able to hold the curve (bottom right image) -transparency of material, different aesthetic quality and shadow effect It is not able to achieve: -tend to sag as it is in a linear form, curving direction sometimes uncontrollable -when twisted, joints will loosen
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TYPE 2 1
3
1
2 2
4
3
For polypropylene, I have also produced sets of panels with different surface areas (top right hand image). There can be many different combination of the panels, hence creating surfaces with different quality. 1 The surface created by joining the ‘fattest’ panels are less flexable when twisting, forming a almos box like structure when connecting all angles together. 3 With the ‘thinnest’ panels, the surface created is the most flexible amoung the 3 types of panels while twisting. Then I tried connecting the ends of the panels, together with the strenght of the material, it formed a self-supporting structure that is sqeezable. It is able to achieve: -different forms can be created depending on how the panels are connected, i.e. linear connection/connect every ends to form a modular element -explore the flexibility and plasticity of the material
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--Panels and Strings/Strips
TYPE 1
Another way to trying to achive a designed curved surface is tying panels with strigs and the strings will act as the fabric/mesh. The fabric is different whenever there are changes in the angle of the panels and and the strength that the panels are pulled. The density of the strings are bit low, making the fabric not that clearly visible. The are less control in the structure and it is difficult to get the tying of the strings exactly right.
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TYPE 2
Another type is tying up 3 half circular planes. This the strings are more regular. As the panels are in the same shape, there are more control of it and can be twisted easily. The density of the strings are bit low, making the fabric not that clearly visible. The are less control in the structure and it is difficult to get the tying of the strings exactly right.
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B.6.1 TECHNIQUE: PROPOSAL As we will be working in a group of 2 for Part C, with my partner Naomi Ng, we combined our thoughts and came up with a design proposal for the direction that we are going for the final stages.
-- Site Issues
Based on the observations we had on the site visit, it stood up to us that the polution of the creek, both human polution (litter and junk) and natural polution (accumulation of fallen leaves/animal waste), can be a dominant site issues. Along the track, we spot existing fitration systems but they does not seem to be in function. With cycling and jogging tracks, and open social spaces around, we would also want to add something interactive to add some social and natural experience. Side by side with allowing people have interactive experience, we would also like to have some educational aspects on raising awareness on recycling and keeping the nature clean. Knowing that the project is relatively in small scale and only last for 3 weeks, we narrowed down our focus on mainly achieving social interactiveness, and filtration and educational values are now our secondary focus.
FIG.35: VENN DIAGRAM OF IDEAL DESIGN GOAL. NG&HO, 2016. 58
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-- Site Analysis Our project will be site specific, set on the bridge near the Sumner Park. It was chosen because of the following reasons.
FIG.37: BRIDGE LOCATION. NG&HO, 2016.
Our design will be set around the exisitng bridge over the creek as both of our case study 2.0 may require hanging structure, therefore the bridge has great potential for out design. FIG.36: LOCATION MAP. NG&HO, 2016.
Site Map
FIG.38: NG&HO, 2016.
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Human Flow Diagram
Site Map
FIG.39: NG&HO, 2016.
FIG.40: NG&HO, 2016.
Another reason for choosing this area is because it is a transition spcae connecting community social space on each side of the creek. With all sorts of different activity near by the bridge, there will be circulation of multi groups of people across the site, optimising the interactive goal for our design. 60
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Water Flow Direction
FIG.41: NG&HO, 2016.
Clearness of Water
FIG.42: NG&HO, 2016.
As discussed in our design approach, another goal is to achieve filtration of litter in the creek. By setting our site around the bridge, we can filter the water flowing from North-west to South-east and hoping to make the water flowing to South-east more clear. CRITERIA DESIGN
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After looking at brief site analysis, we discovered possibilities on achieving social and environmental filtration. However, we would like to put more focus on interactive design and reduce the focus on aiming to filter the water.
FIG.43: VENN DIAGRAM OF NARROWED IDEAL DESIGN GOAL. NG&HO, 2016.
So what do we mean by interactive design? We divided it as kinetic, experiential and participatory architecture. Architecture can be interactive where there is kinetic system for the structure to be movable, such as electric forces and circuits, then people interact with the moving structure. This will be very interesting for us but will have technical limitation. For experiential architecture, the structure need not to be movable, and it depends on the emotional experience that people have after interacting with the structure, for example looking, walking through and other activities that can be carried with the structure. We think this is relatively straightforward but we really want our design to be movable. Participatory architecture, where peopleâ&#x20AC;&#x2122;s interaction with the structure is contributing to the design, and peopleâ&#x20AC;&#x2122;s participation is shaping the design as well. We think this is most suitable for merging both of our design approach. FIG.45: VENN DIAGRAM OF IDEAL DESIGN GOAL. NG&HO, 2016.
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Summing up, we would like to design participatory design, allowing people interact directly with the design and changing its form. We might also include kinectic architecture where people activate (part of participatory design) the structure movement if possible.
FIG.46: PHOTO MONTAGE (VANESSA). NG&HO, 2016.
At this stage, we decided that our design should be placed in the threshold of the bridge and touching the water, instead of crossing over or on the bridge, providing interaction with both people and the nature. When people walk through the bridge, they can participate by moving/taking away/ replacing elements , or pulling/lifting/stretching the structure. For Naomiâ&#x20AC;&#x2122;s metaball, our design can be lowered to the water, capture trash and lifted up to the bridge level so people can observe or remove litter.
FIG.47: PHOTO MONTAGE (NAOMI). NG&HO, 2016. CRITERIA DESIGN
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FIG.48: COMBINED MONTAGE. NG&HO, 2016.
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B.6.2 PROTOTYPE AFTER PROPOSAL
Combining the metaball structure of Naomi and the mesh relaxation of my Case Study 2.0, we added hooks onto the joints within the plastic caps, then connected triangular strechable fabric, pulled in most tension as we can. What this prototype does is allowing us to visualise the how mesh actually works inside a frame. Now lookint it in real life, it looks quite different from that in the computer screen. The installation of fabric is quite challenging as we are pulling the fabric in tension manually and cut the fabric in shape without calculation. With computational calculation and design of the fabric inside should provide more precise fabrication.
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The second one is merging the rigid paneled metaball with the soft polypropylene panels, and connecting one of the end of the metaball with a string. Once the string is pulled, the flexible polypropylene part is then pulled into the metaball. Putting this into our site, these metaballs can be floating on the water surface and perhaps capturing something inside the ball. People on the bridge, can pull up the ball, interact with the soft panels (pushing in and out, interacting with the structure), and can also take out what is captured inside the metaballs. After interim presentation, we understood that we were aiming to wide and wanting to achieve to many goals at the same time. Through making these two â&#x20AC;&#x2DC;combined prototypeâ&#x20AC;&#x2122; and discussing with tutor, we decided to follow this direction: Having metaball structure, all in polypropylene so that the structure can have a smooth surface and more morphable structure, and areas of panels can be pulled towards the metaball by people.
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B.7 LEARNING OBJECTIVE AND OUTCOMES
Throughout Part B, the design process accelerated a lot. For Case Study 1.0 and 2.0, I was able to actually create froms out of scripts using grasshopper, and even able to recreate an existing project with my own script. By doing these, I was able to learn and experience what computational design really is, finding forms that can solve problems using computer, trying out numerous iterations, whether they are practical, aesthetically cool and pleasing, or just unexpected outcome, are very interesting and inspiring. By making prototypes using digital fabrication, mainly Grasshopper, Rhinoceros, and laser cutting with different materials, then assemble by hand, we can experience the difference between computational design and the reality. Until the stage of really thinking how components are joined together, material thickness and properties, what we have achieved in computer programms technically â&#x20AC;&#x2DC;does not exsistâ&#x20AC;&#x2122;. In order to realise the designed form, prototypes are needed to try out what is lacking, what is wrong, and act as a marker to tell us what changes are need to be made. Towards the later stage, where were I need to combine my ideas with a groupmate and considering the problems at site, things started to get complicated as we needed to step back from our parametric thinking and computer work and back to architectural design thinking, and after having an idea, combining both thinking.
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B.8 ALGORITHMIC SKETCHES
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C.1 DESIGN CONCEPT C.1.1 FEEDBACK FROM INTERIM PRESENTATION Now that we have narrowed down our focus on interactive design and reducing the focus on water filtration, the next step we need to take in order to come up with the final design form is to vitist the site again to conduct a more specific site analysis. -are there any obstacles, for example, rocks? -direction of water flow? -speed of water flow?
FIG.43 (LEFT): VENN DIAGRAM OF NARROWED IDEAL DESIGN GOAL. NG&HO, 2016. FIG.45 (RIGHT): VENN DIAGRAM OF IDEAL DESIGN GOAL. NG&HO, 2016.
These factors will directly affect the placement, the size and the shape of each metaball structure. Our form, aiming to combine the tectonic metaball and mesh relaxation together, will be metaball frame and nodes plus mexh relaxed surface as panels.
With our last prototype, we also noted that using MDF for part of the panels was not the best idea as it is difficult to create a smooth surface such as how polypropylene can. Using two materials as panel in one structure is also breaking the sense of unity of the whole form and making the form less aesthetically pleasing. Judging by the polypropylene panels and their performance, which we think is strong enough, we decided that we will abandon the use of MDF, and increase the gradient effect instead to create similar visual effect.
We also decided to abandon the patterning on panels as we agree with the fact that it will be too excessive and there will be too many elements to consider in one project. Using the void between the panels will be sufficient for the capturing function of our design as filtration is not our main focus, therefore, a simple filtering system will be enough. A simple panelling system in a complex and carefully designed form, this is the directrion that we are going for.
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C.1.2 FINALIZED DESIGN BRIEND AND PROPOSAL
--“AN INTERACTIVE, PLAFUL SPACE THAT SERVES AS A WATER FILTRATION SYSTEM.”--
ALONG SIDE WITH THE BRIEF ABOVE, WE DEVELOPED OUR FINAL FORM WITH THESE 3 KEYWORDS IN MIND:
GRADIANCE
AMBIANCE
REVELATION
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SITE ANALYSIS 1 --OBSTRUCTIONS The red patches indicate where obstacles, such as rocks and fallen branches, are located. The colour intensity represents the difference in density. With this data mapped, we are able to generate the form of out general form by placing the metaball points in the clear water space, which is indicated with the grey patches.
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SITE ANALYSIS 2 --DIRECTION AND VELOCITY
BRIDGE
We then observed and mapped the direction of the water flow and figured out how will objects flows along in the creek. With this data we know that which area of our structure might capture the most objects inside the water. This helped us to decide which of the metaball structures can be pulled up by the pulleys for direct interaction with the form and the object collected, and which of them are going to be fixed to the bank for observation.
BRIDGE
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SITE ANALYSIS 3 --WATER FLOW SPEED We also conducted the bucket test to check the difference in water flow speed on the right and left hand side of the creek. This data, together with the direction&velocity data, will be the factor to derive the gradience of the panel sizes and shapes/ panel curvature. Gradience in panels shapes/ panels curvature.
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SITE ANALYSIS RESULT Combing all data in one diagram, the reasons behind our form and itâ&#x20AC;&#x2122;s gradience effects on 1)panel size, 2) panel curvature and 3) whole sparsity of the general form, are justified. Panel size: From top to bottom, larger to smaller for structural support at the top and more flexible bottom (interactive movement) and filtering purpose. Panel Curvature: Speed of water flow, to maximise capturing/ filtering ability and flexibility of form Whole Sparsity: Avoid obstructions
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DESIGN INTENTION - REVELATION
DESIGN INTENTIONS Other than the gradience effect, we also have 2 main design intentions: Revelation: As the creek is located a distance below the walking ground level and the bridge, and there are also vegetation like trees and bushes that block the vision to the creek, people will see parts of the design as the approach the bridge but they will not be able to see the whole form until they are on the bridge. With this property, we intend to raise peopleâ&#x20AC;&#x2122;s curiosity by interacting with nature, hence also simulate them to interact with nature through our design. Interactive: This is the most important property that we want to achieve in our design as mentioned in our brief, our goal is to create an interactive and playful experience to the people. People can activate the changing in forms of our design and pull up some of the forms and play with the structure, together with the substance captured inside, by using the pulleys. Each of the pulleys will provide different experience as each of them will create a different effect.
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DESIGN INTENTION - INTERACTIVE + FILTRATION. FIG ABOVE, OBSERVATION OF CAPTURED; FIG BELOW, DYNAMIC INTERACTION WITH DESIGN PROJECT PROPOSAL
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PLAN
ELEVATION
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SECTION - RELAXED
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CLOUD PROJECT PROPOSAL
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BLOB 86
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BALL PROJECT PROPOSAL
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DESIGN DEFINITION SQUARE
METABALL POINTS POSITIONED ACCORDING TO ROCKS OBSTRUCTION
CHANGE SIZE OF RADIUS/ THRESHOLD ACCORDING TO FLOW DIRECTION
RESIZE MESH PANELS INTO GRADIENTED SIZES
TURN TRIANGULATED PANELS INTO QUADRALATERALS
FORM MAKING
PANELS MAING WITH KANGAROO RHINOCEROUS NEW STEPS FOR FABRICATION PURPOSE
Above is the original grasshopper definition that we used to generate our form. The basic idea is having metaball nodes as frames and mesh relaxed panels forms the skin. For the gradient effect, we generated 3 general types of panels in different curvature, morphed on the form separately and then baked the form 3 times and combined the chosen panels to get the desired gradient. For the fabrication progress be feasible and more accurate, we generated another script which also allowed us to generate desired graduation for the size of panels, without the need of creating mesh surfaces that cannot be unrolled for fabrication purpose. Envisaged construction process: -fabrication process: 1)Balls and bloc are assembled before taking on site. 2)Cloud, which is larger and may be difficult for transportation, will be separated into 2 or 3 parts, and finishing on site. -site work: 1)install pulley system on the bridge 2)connect the forms to the pulley system with fishing wires. 92
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TURN TRIANGULATED PANELS INTO QUADRALATERALS
SET CORNERS AS ANCHOR POINT
SLIMMEST
FIND POINTS OF FACES
MESH RELAX TO GET CURVATURE ACCORDING TO STRENGTH
MEDIUM
MORPHED ONTO ECH METABALL FACE
BROADEST
FINAL FORM WITH GRADIENTED PANELS
SELECT 6 POINTS FORM THE BOTTOM OF ALL THE FORMS
CONNET POINTS TO PULLEYS TO FORM LINE CONNECTION
DESIGN PULLY SYSTEM USING RHINOCEROUS
GET BOUNDARY LINES OF EACH QUADRALATERALS
END POINTS AND MID POINTS OF EACH BOUNDARY LINES
DRAW LINES JOINING POINTS TO FORM BOUNDARIES FOR PANELS
PATCH SURFACE
ATTACTOR POINT (CLOSEST DISTANCE) TO CONTROL MID POINTS
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C.2 PROTOTYPE
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PULLEY SYSTEM
The pulleys and the frame are laser cut in 3mm MDF and spray painted black for a better aesthetic finish. Pieces of the pulley are connected with wooden stick, and the handle is also wooden stick. It is quite smooth at the beginning.
After a few try, one of the pulleys started to malfunction as the handle part can be rotated and but the part connected with strings can not. We think this may be caused by the shrinkage of wood after the paint. For a smoother pulley system, we should slightly tune the dimensions and probably the material as well (for example perspex). It is also noticeable that the base plate bended a lot with the weight of the pulley, doubling the thickness is considered for final model.
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The customised shape and the property of the polypropylene are able to perform the designed shape of the mataball forms. The eyelet joints are also providing sufficient structure support despite the difficulty and inconvenience to alter when mistakes are made.
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String passing through the extra panel
Extra panels connected to 5 nodes at the base
Instead of just tying the strings to the nodes only, we wanted to have another connection detail, which is a separate panels connected several nodes at the base of the form. The string from the pulley, will pass through one of the 2 holes and back to the pulley on the other one.
The size of the extra panel needs more accuracy to fit perfectly. Is this system the best solution? Is there any method that is more practical? More refinement is needed.
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TESTING INTERACTIVE EFFECT
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Gradience in panels shape and size can be seen. The material, polypropylene, and the eyelet joints are behaving as expected. Joints are rigid enough to hold the structure and withstand the movement of the form. The flexibility of the panels and the joints allows the form to be changed and panels to flip inwards while the string is pulled. Polypropylene is flexible yet strong so even in parts that are very thin, it is still able to keep its shape and not break. The extra panels hides the sting connection well but itâ&#x20AC;&#x2122;s connection with the nodes is causing the form to fold in slightly even though its in relaxed form. Redesigning of connection system is neede. In nodes where there are more than 5 panels, the eyelets are starting to be not long enough for the thickness.
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C.3 FINAL DETAILED MODEL
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CONNECTION DETAIL
PULLEY
This diagram shows how the pulley is constructed. With the experience of the prototype model, we changed the material from MDF to clear perspex for a smoother finish. We also doubled the thickness of each of the components for stronger support, again for the pulley to run as smooth as possible without the components being loose or malfunction.
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-washer -papercraft brad with holes punched on top -eyelet cap to secure brad
-eyelet cap to secure brad -papercraft brad with holes punched on top -bead
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After the experience of making the prototype model, we decided to change back into using paper-craft brads which I used in the prototypes for Part B. We think that brads is more flexible and convenient for construction than eyelets. It is firstly easier to fix panels with brads than eyelets and it requires less strength. Secondly, the connection is also reversible, which also makes the construction process more easy as temporary connections can be made and mistakes can be fixed easily. Although the connection may not be as strong as the permanent eyelet joints, but this problem is solved by using an eyelet as a base cap for stronger joint fixing. Aesthetically, brads provides a cleaner finish as its smaller in size. It also gives a more unify finish as no extra holds will be made on each connections, which might be chaotic to look at with the voids between panels. The voids at the base of the forms are for litter (leaves/ branches/ rubbish) filtration, and also captures material for humannature interaction through interacting with our design.
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Larger brads for 5 or more panels connection
Smaller brads for 3 & 4 panels connection
There are 2 sizes of brads. For connection point with 5 or more panels, the thicknexx exceeds the length of the small brads, therefore brads with longer ends, hence bigger heads, are used. At connection points where curvature of form is located, or where we find easy to break due to movement, larger brads are also used.
We abandoned the â&#x20AC;&#x2DC;extra panelsâ&#x20AC;&#x2122; method for the string connection with the pulley as we think accuracy is hard to achieve and we designed a simpler yet more defined system. At the top, there will be washer locating it is different from other joints, and a hole is punched on the larger brad. At the bottom, the string the goes through another brad with hole on it, and through a bead, and goes the same way back up to the pulley. PROJECT PROPOSAL
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FABRICATION PROCESS
- Lazer cutting of the panels in polypropylene - Lazer cutting of the pulley pieves in 3mm perspex
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- Organising the panels into piles according to labeled nnumbers, making the seembling provess of around 300 panels easier
- Unrolled metaball surfaces with labels the same as those on the panels, printed out in A0.
- Layout panels on the template to ensure the orientation of the panels are correct. - The template is crucial for us as there is no frontality for polypropylene, hence labels are not enough to ensure orientation, and one fault on orientation may cause the whole form to be wrong.
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- The form start to curve from 2D (on the template) to 3D - Temporary connections with brads make this transformation from 2D to 3D more easy as we can tie the panels according to template first, then reconnect with corresponding panels.
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- The wa togethe
ay the digital form is unrolled is what we do not know, therefore we also needed to refer back to the digital model in order to connect the separated parts we assembled er correctly.
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- Lazer cutting of the pulley pieves in 3mm perspex - Sawing of wooden stick into desired length
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- Sandpaper is used to roughen the surface of perspex for the reaction between plastic surfaces to occur with the application of cement.
- As we doubled the thickness of the each of the pulley componenets, before assembling them we joined the purspex first. Tools are used to make sure the two layers are stuck accurately.
- Assemble the pulley components togeter and fix to base place. - Connect the cloud, blob and ball with fishing wire to the pulleys.
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SITE MODEL 114
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While the clo interaction wi gradience in p in and take ou
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ud and the blob are more decorative public art objects for capturing objects in the creek for observation purpose with interactive feature, the ball allows direct ith our design. When the ball is pulled by the wire, itâ&#x20AC;&#x2122;s form will change as it is being pulled up (1st interaction), then the person can hold the ball, observe its form, panels and objects captured; also play around with the form such as squishing and pulling from different direction, play with itâ&#x20AC;&#x2122;s flexibility. The person can even reach ut objects captured through the void.
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C.4 LEARNING OBJECTIVES AND OUTCOMES FEEDBACK AND FUTURE DEVELOPMENT We are reminded that we should only be including points that is directly related to design intention in the presentation, so that everything we include and say is there for a reason and is tying with each other. This is a really good reminder and will help me for my future presentations.
The stress analysis diagram and the lighting effect demonstration at the end of presentation created an â&#x20AC;&#x2DC;idea gapâ&#x20AC;&#x2122; for the presentation. With more time, we might have explained the reason behind better: - The stress analysis diagrma is to show we considered that the panels are in tention/stress to sustain pulling motion.
Stress analysis diagram
- Demonstration of the lighting and shadow effect of the design is to suggest that our design could also be customised to other functions and purposes such as light design as our design is flexible in term of size. It may be better if we just include these points in our journal instead of in the presentation as it might break the cohesiveness of it.
Another feedback is that the filtration property of our design is not that strong. We definitely understand this as we mentioned it ourselves at the end of part B and beginning of part C when we were justifying our design goals and intentions. As the aim of our design is to provide an interactive experience for people passing the bridge or the site, the filtration property, more like capturing property of our design is just forming part of the experience, rather than acting like a filter itself. Rephrasing of our presentation or our brief might deliver a clearer message.
Lighting effect 128
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FIG.49: ‘COMMON WEATHERS’ BY SOFTLAB. FROM HTTP://WWW.DESIGNBOOM.COM/DESIGN/COMMON-WEATHERS/
We also got an interesting question at the back: Have we thought of recreating the form by only a set of panels so our design can be mass produced and the construction process will be much easier? For our design now, almost every single panels are different and customised, and each of hem are of same importance as others because the designed form can only be constructed in one and only way. With large number of panels, the construction time is very long and labour intensive, and seems like only the designers or who involved directly in the fabrication process will be able to assemble the design. The fabrication process is complex and time consuming.
Reducing the shapes of panels into a set of universal panels, and generate forms only using those panels may be a good idea for a simpler, hence shorter fabrication process. However, as our design is site derived and highly customised, it might not be suitable designing with universal panels. Rather than morphing panels on surfaces or drawing outline of panels directly according to nodes, a new system of defining form might need to be developed. As shown in the ‘Common Weathers’ project by SOFTlab, gradient panels in stretchable panels are hung from a wooden frame like fabric. With stretchable panels, the design is letting gravity, tensile stress and other force factor to define its form, like minimal surface. With this system, the panels can be reduced a fixed gradient set. But with a design like ours where the materiality is providing structural support as well (metaball, closed structure), it seems to me that doing this will restrain the design freedom. However, this will be a good way to increase the constructability of design. PROJECT PROPOSAL
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LEARNING OUTCOMES
Throughout the subject, I learnt a new design approach that is different from past studios. Firstly, we did a long period of researching about parametric design and computation in design, at the same time learning a new software. Then, with the new knowledge we gained through research and trial, we developed our design brief on analysis of site issues and observations, then generate and fabricate our design with digital tools involving parametric design. In past experience, I usually design by hand first, after developing a clear image and idea, I then draw it out with computer (computerisation of thoughts and ideas). This studio allowed me to experience computational design, to design with the computer software like designing with a new language. I experienced the numerous amount of possibilities that this method provide and also the efficiency in using Grasshopper than manually draw by hand or mouse. During Part B, I developed skills in baking iterations and digital 3D models and transforming them into 2D drawings and renderings. Then in Part C, my group mate and I developed skills using Grasshopper to generate form and to figure out digital fabrication method. Finally, using our hands again, to assemble the digitally fabricated elements and making our idea 3D in real life. Although the final product of our project is an interactive public art form rather than architectural structure such as a pathway or pavilion, with computation in design process, the idea can be iterated into anything as computation can easily generate many possibilities. Iterations of original form, materiality and connection detail can transform and explore a simple original idea to an unexpected but also developed final form. Such as our project, although it is presented as interactive cloud/blob/ ball right now, it still has the potential and possibility to be a lighting design, a furniture or even a shelter or building. Computation allows the transformation of a tectonic into a real life object, and is the designer’s job to define and justify it’s idea behind and it’s use, be that a piece of public art, a furniture, or architecture.
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Although we struggled at the fabrication process, my group mate and I are able to design using parametric modelling and generated our final design using almost purely grasshopper. Grasshopper made our fabrication process easier as it allows us to handle 300 or more pieces together to create connection points and fillet, which will way too time consuming if have to do by hand.
To conclude, I learnt about computation design and experienced both benefits and difficulties in using computation in design process. It changed my perception on computation designed forms are complicated form but lack of ‘warmth’ and thoughts, and actually appreciate the possibilities that it generate and is bringing design to another era where hand/computer drawing might not be able to achieve.
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