ARCHITECTURE STUDIO AIR 2013 SEMESTER 1
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CONTENT ABOUT ME PART A. A.1. A.2. A.3. A.4. A.5. A.6. PART B. B.1. B.2. B.3. B.4. PART C. C.1. C.2. C.3. C.4. C.5.
CASE FOR INNOVATION Architecture as a Discourse Computational Architecture Parametric Modelling Algorithmic Explorations Conclusion Learning Outcomes DESIGN APPROACH Design Focus Case Study 1.0 Case study 2.0 Technique: Development PROJECT PROPOSAL Gateway Project: Design Concept Gateway Project: Tectonic Elements Gateway Project: Final Model Algorithmic Sketches Learing objectives and Outcomes
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ABOUT ME
My name is Huimin Xu. I come from China. I am a third year architecture student of the University of Melbourne. I have studied Virtual Environments in my first year and really enjoyed making digital model in Rhino although that was a really hard time for me. Later on I applied the technical and conceptual skills in building 3D digital model in Studio Water and Visual Communications. I think architecture is full of fun and at the same time it is complex with infinite unkonw to explore.
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PART A: CASE FOR INNOVATION
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A.1. ARCHITECTRE AS A DISCOURSE "Architecture, then, as discourse, discipline, and form, operates at the intersection of power, relations of production, culture, and representation and is instrumental to thee construction of our identities and our differences, to shaping how we know the world." ----Dutton, Thomas A. and Lian Hurst Mann, eds (1996)
Architecture has many definitions. It can just be a place protect human beings form wind, rain and the sun as a refuge or a building has its religious, political, residential properties. In Studio AIR, architecture is more interpertated as a discourse. It is not only an expresstion of structures, materials and forms but more in expressing the concept that why people choose these structures, materials and forms according to natural environments and local culture. It is the optimal solution for the architectural project.
imitating the tree trunk to support the roof structure which starts the first page of architecture. In modern society, we explored more and more complex, organic and flexible structure from nature and then got inspired. As a language, architecture use its own way conveying an idea,such as the first precedent: Beijing National Stadium. It adopted the shape of bird nest expressing the concept of cradle that cradle is full of hope in the future.
Architecture should not be isolated Architectures come from nature in by itself. It should be related to the terms of structure, pattern and shape local environments: its context. There becoming a media of culture. In primitive should be a story behind each fabulous society, aborigines construct 'columns' architecture.
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Sydney Opera House The Sydney Opera House designed by Jorn Utzon is another my favorite architecture. I was impressed by its organic shape under such a blue Ausralian sky. It distinguishs from other modern highrise buildings as a modern architecture. It borrows shell-like form inspired by the nature creature which can be seen in shapes. The shell shape is relatively rigid on its own support preventing the ‘roof’ from the wind and rain. The Opera House is situated on Bennelong Point, which reaches out into the harbour. I It becomes the landmark and culture exchange centre in Austalia. Inspired by the non-linearity and creative forces of nature and biological organisms, organic architecture referred to Modernism is visually poetic, radical, idiosyncratic and environmentally
aware and it is multi-faceted and free. The inspiration of organic architecture comes from nature and can be seen in the shapes. Modern information technology and the rapid spread of computer-aided design (CAD) which will be further interpretated in next page referred as computational design, has asisted to free up design and designers’ creative processes. Using the “strength through shape principle”, curved forms such as arches, vaults, domes, and spheres are stronger, more efficient, and more economical than the equivalent rectilinear structures which applied more in modern architecture.
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Beijing National Stadium In terms of discourse aspect, the architecture, Beijing National Stadium is a good percedent project indicating a natural shape and the outer facade of "bird nest" which is inspired by the chinese "crazed pottery".2 Frank Gehry, It is designed by Arup Engineers as well as Herzog and Demeuron. I am interesting in such a bird-nest shape with its cavernous arches using the steel structure as twigs. The exposed non-linear structure can be self supported and also function as a surface. The stadium is characterized by a large concrete structure supporting the tiers laid in an imposing independent steel structure that represents both the façade and the roof that looks like a interweaved net of beams made of steel which regards as a technicle progress. The dynamic geometrical shape is defined by a set of parameters. It is also charting global societal developments as a international stadium to identify urgent societal tasks for architecture’s attention. It had extraordinary function while the Beijing Olypics Game in 2008. While t he Bird's Nest has fewer and fewer visitors these days as few events can fill a stadium built to seat 91,000. The future function of the stadium should be considered.
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A.2. COMPUTATIONAL ARCHITECTURE
Design as an epitome of intelligent is unique in human world. it is a process requiring both rational and creative abilities. And computer as a superb analytical engines can do precise and repetitive procedures which can list and store all the goals and changes. Additionally, it can repres ent the outcome graphically and visually by the programming setting by people. 1 Therefore, changes emerged. people take good use of computer to improve architectural design process instead of only intuition and imagination. The evolution of design process by computation strongly asist the design process and outcome, such as systemize the geometry and transfermation tool which is conventional to operate. With the latest three-dimensional design software it is much easier to design and model sophisticated and complex shapes and forms. The straight line, right angle, and cube are no longer earier and more efficient forms of design and the
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dominant features of architecture. Terzidis claimed that designer's creativity is limited by the very programs that are supposed to free their imagination. 2 It is true that the computational design is just one of the 'infinite' arrangement and alteration of parameters. It really did if we don't define the idea we want to convey from our design. Furthermore, design is a purposeful activity aimed at achieving some well defined goals. The computational design process should start after the initial design concept come up. The parameters should be defined according to and also accomplish the goal. As there may be 'infinite' possibilities defining lines, shapes or planes, it may result an unexpectably conceivalbe geometries which may be beyoud the construction techniques. Consequently, computation leads to technical progress.
Voussair Cloud
The installation ‘Voussoir Cloud’ is a landscape of vaults and columns consisting of clusters of three dimesional petals, which are formed by folding thin wood laminate along curved seams. It is a site specific installation designed for the Southern California Institute of Architecture gallery, Los Angeles. It uses the form of petal as basic element of the structure. The complexity of the composition and installation becomes clear considering that each petal has
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a slightly different geometry where it is difficult to calculate every single piece of petal. A computational script was developed to calculate the curvature of each piece. Each vaults rely on each other and the three walls to present its natural ppure compressive form which need to precisely calculate the edge length, area and curvation of the petals.
"Voussoir Cloud" explores the natural structural precedent of pure overall compression with the initiral material system. Each vault is comprised of a Delaunay tessellation that both capitalizes on and confounds the structural logics — greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity. Delaunay tessellation (the Delaunay triangulation in the plane) is another fundamental computational geometry structure. The Voronoi diagram and its dual Delaunay triangulation are shown on the right.
image resouse: http://www.personal.kent. edu/v~rmuhamma/Compgeometry/MyCG/ CG-Applets/DelaTessel/delacli.htm
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Fibrous Tower From the rearsh last week, I become intersted in the natural structure. Fibrous tower is one of the kokkugia architecture studio's recent project exploring the concept of structures as a skin. It is based on algorithmic design methodoloies, exploring ornamental, structural and spatial order. This project compresses the structural and tectonic hierarchies of contemporary tower design. It is believed that the shell itself is load bearing without columns each floor. It is a good attempt to creat a structural surface instead of just a visual surface, although someone may doubt its rigidity. This skeleton structural surface is designed asisted by computation. The initial topology of the skeleton shell is algorithmically generated though a cell division procedure regarding to the town geometry. It operates as a non-linear structure with load being distributed through a network of paths and light-weight floor plate.
image source: http://www.kokkugia.com/
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A.3. PARAMETRIC MODELLING “Parametric modelling introduces a fundamenal changes: ”marks”, that is, part of a design, relate and change together in a coordinated way.”1 We used pencil, eraser and paper as tool in archetypal design originally. All design comes from addition and subtration from pencil and eraser respectively. And these processes are ‘irreversible’ untill we applied parametric medelling in the design process. Paametric modelling will record the changes and provide us convenience as decisions that should be changed can take too much work to change in conventional design. Parametric modeling also has enabled us to create new complex geometries which becomes the new page of contemporary modern architecture. It is based on the multiple variables and their relations. After input into computer script, computer can then come up a visual geometry result. The complex geometries that were created by computer bring numerous challenges in architecture industry and construction process. With algorithms we can input the defining properties of a component as a parameter
and deliver a computational model as an output. As in previous architectural industry, we produce brick, tile in volume production. While in parametric modelling, each piece got their unique size and shape, which increase the amount of time and money to design and produce. However, it brings us amazing geometries instead of just a solid cube. For example, to make a sphere by parametric modelling is to transfer the curved surface into several flat triangular pieces as shown in the left images. Parameteric design as an emerging concept of design process, it brings a lot possiblities and flexbilities to architecutre. Parameter is a factor that helps to define the overall limits and performance of a system in the use of the specific algorithim. Such algorithm can be regarded as a langauge and a discourse. In Grasshopper, we use a series of containers and constructor to store and operating data which may be some points, lines and geometry.
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Carpenter center puppet theater
Carpenter center puppet theater used parametric modeling to triangulate the exterior surface by creating an algorithm to systematically layout a series of diamond panels across the surface. The diamond panels are now filled with vegetations. The panels were digitally fabricate off site, transported and then assembled on site. There are 500 panels fabricating from a flat sheet of polycarbonate and then folded carefully one by one to create space. Each panel unique in shape as shown in the bottom images. The seams need to be fastened together. The methods of whole installation are completed precisely through computer. There also the changes in design process as a result of parametric modelling.
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Beijing National Aquatics Centre
The design, engineering, and construction of the Beijing National Aquatics Centre, or Water Cube, also depended heavily on parametric design. ArupSport, the designers, based the building’s unique structure on a natural pattern of organic cells and the formation of soap bubbles. Bubbls have its rigid form and stabilities. With parametric modelling in these design elements, the design process would be greatly conceivable and feasible. Designers don't just satisfy the visual outcome of such parameter design. They do think it in an engineering way and make it functionable. The Watercube demonstrates how improvements in technology can affect design in terms of material use and computer software technology employed. The entire geometry is based on a unique lightweight-construction. Behind the totally randomized appearance hides a strict geometry as can be found in natural systems like crystals, cells and molecular structures.
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The bubble cladding lets in more light than glass and thoroughly cleans itself with every rain shower.
A.4. ALGORITHMIC EXPLORATIONS
In my first few week’s exploration in Rhino, I found that grasshopper is such an convenient tool for us to start thinking about parametric design. Grasshopper is a node-based algorithm editor integrated with Rhino’s 3-D modelling tool. It is as functionable as Rhino and related to each other. It consists of input, processing constructor and output after a series of algorithms. As I am interested about the structural form of the Bird Nest, I do some further exploration of the random skeletion structures which might help me further understand the parametric design
process. It uses Bounding Box and then pop3D region to fill box with random points. Also in my research on Voussair Cloud, Delaunay triangulation in the
plane is a fundamental computational geometry structure. The Voronoi diagram and its dual Delaunay triangulation are created a collection of points by the command of Voronoi 3D. Once it comes up a set of voronoi shapes, it is easy to unfold and produce the connecting surfaces for the installation.
Voronoi 3D Grasshopper Exploration
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As there is too many variables in Rhino, not evertime we can do offset to the geometries.
Bird Nest Grasshopper Exploration
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A.5. CONCLUSION
A.6. LEARNING OUTCOMES
It is found that nature has creat all the magical pattern, colour and structures of the creatures. There should be a logic or intelligent rules behind waiting for our exporations. Architecture should learn from nature in terms of structure, the loadbearing ability and also the culture innovations. I understand how points, lines and surface can arrange to create complex geometry. These are the starting point of architecture. My design approach should be inspired from the natural environment or some research regarding biomimicry based on computational modelling.We can use grasshopper to explore some complex organic geometries into our design and increase the accuracy of the deisgn process.
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With the reading from Woodbury, I got an deeper understanding about the mathematical perspective of the new technology of computation. We will use a lot variables - parameter to define our possible outcome. It should have an initial shape and expect before it come out. From the first few week of study, I realized computer really come help us solove a lot probles and save time once we got familiar the set of language it is using. Thus. I found that there still much unkown to learn and next few weeks should put more effort.
REFENRENCE Definition of "algorithm" in Wilson, Robert A. and Frank C. Keil eds(1999) in The Mit Encyclopedia of Cognitive Science (London: The MIT Press) pp.11-12 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48 Yehuda E. Kalay, Architecture's New Media : Principles, Theories, and Methods of ComputerAided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25; Beijing National Stadium, Arup 2012, viewed April 3 2013, <http://www.arup.com/Projects/ Chinese_National_Stadium.aspx> [parametric]design, viewed March 30 2013, <http://www-scf.usc.edu/~eprins/catia.html> â&#x20AC;&#x2DC;Voussoir Cloudâ&#x20AC;&#x2122; by IwamotoScott with Buro Happold, 2013 Archivenue, viewed March 30 2013, <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/> Sydney Opera House Architect, 2012 Sydney Opera House, viewed April 4 2013, <http://www. sydneyoperahouse.com/about/the_architect.aspx>
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PART B: DESIGN APPROACH
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B.1. DESIGN FOCUS In the previous discourse section, I argued that architecture regards nature as a resource rangine from structure, pattern and shape. Nature itself is full of various irregular shape and form which is capable to develop through parametric design. The area of design interest is to explore the self-supported structural skin inspired from tree trunk and the petal of flower. They have relative large span and cantilever-like structure. Way of generating structural skin varies. In this case, I will specialise in Tessellation which is one of the skin generative techniques. Tessellation is a installation approach that breaks up of complex surface into multiple repetitive elements. As a curvy organic geometry is hard to create and out of efficiency, it is feasible to develop a surface using the method of panellization. These segments provide lots of possibilities
and flexibility of creating continuous geometry. Tessellation can generate free-transformed geometry that is twisting, bending or folding. The performance criteria for tessellation skin are seeking the balance of form making and structure optimization. In the Wyndham City Gateway project, we are proposed to design an eye catching installation that provides an obvious contrast to the flat even freeway using uneven geometry which is why we are choosing tessellation as a surface produced method. However, the fabrication of tessellation model requires special consideration of the connection of different panels.
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FERMID by Behnaz Babazadeh
To start with the project, we take some tessellation design as precedent to gain a general concept of what tessellation exactly refers to. Fermid is a kinetic sculpture created by Behnaz Babazadeh that uses technology and parametric design principles to explore the natural movement that can be found in living organisms and its relation to human perception. We found the overall geometry is quite interesting as the surface can be deformed by human movement. It seems like the geometry is breathing. The movement of one small piece leads to the move of adjacent piece is right because it is using tessellation technique. The flexible connection of each small piece gives us a better perception of Tessellation. In parametric design principles, it is efficient to design a panel-based installation. The resulting movement is seducing and engaging a viewer to explore. source: http://designplaygrounds.com/deviants/fermid-by-behnaz-babazadeh/
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ICD/ITKE Research Pavilion 2011
The project explores the architectural transfer of biological principles of the sea urchinâ&#x20AC;&#x2122;s plate skeleton morphology by means of novel computer-based design and simulation methods, along with computer-controlled manufacturing methods for its building implementation. The cell sizes are not constant, but adapt to local curvature and discontinuity. They stretch and orient according to physical stress. The research pavilion offered the opportunity to investigate methods of modular construction using free form surfaces representing different geometric characteristics while developing two distinct spatial entities: one large interior space with a porous inner layer and a big opening. These modular cells give us a great starting point to study.
source: http://icd.uni-stuttgart.de/?p=6553
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B.2. CASE STUDY 1.0
Voussair Cloud
IwamotoScott Los Angeles, CA, USA
The installation â&#x20AC;&#x2DC;Voussoir Cloudâ&#x20AC;&#x2122; is a landscape of vaults and columns consisting of clusters of three dimesional petals, which are formed by light wieght folding thin wood laminate along curved seams. It is a site specific installation designed for the Southern California Institute of Architecture gallery, Los Angeles. The curvature produces a form that relied on the internal surface tension to hold its form testing by Kangaroo in Grasshopper. It uses the form of petal as basic element of the structure. Each vaults rely on each other and the three walls to present its natural compressive form which need
to precisely calculate the edge length, area and curvation of the petals. Also, in the Gateway Project, we are proposed to design an organic surface which is use panelisation parametric tool. Each vault is comprised of a Delaunay tessellation that both capitalizes on and confounds the structural logics â&#x20AC;&#x201D; greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity.
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B.2.1. PARAMETRIC DIAGRAM
B.2.2. DESIGN PROCESS
POINT
CURVE
SURFACE
MESH
In this parametric case study, we focus on the design process of parametric computation. It starts from points to create voronoi pattern which forms the base structure of the design. Then, it uses offset to create the difference between the volume that the section area varies from height. And it turns the lofted surface into mesh where we can apply various pattern on it by weaverbird. We study the parametric design using matrix to explore the similarity and the relationship between each variable. In the initial design intent, it create the base structure first and then apply the pattern on the surface.
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MATRIX EXPLORATION
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Kangaroo is a Live Physics engine for interactive simulation, optimization and form-finding directly within Grasshopper. In this case, we use Kangaroo to imitate natural loads which create deformation of the geometry. Force can be exerted onto the geometry in any direction by changing the variables on x-, y-, z- axis. This definition help us to find the optimizing solution.
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To change the number of selected point can lead to the change of ‘tree trunk’ structure and creating the arch shape which is in two supporting dense base.
Offset all the rectangle to create some possibilities for connection between each ‘panel‘ (negative area)
- Attempt to change the optional cell radius to change the curve. The form e looks like petals.
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Change the offset curve location to create different base structure.
Subdivide the space using a 2D voronoi and trim with a various curve representing the perimeter of the room.
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use the definition of weaverbird to create various pattern which show various effect of light and shadow. Test the uneven surface tessellation.
B.3. CASE STUDY 2.0
RMIT FAB POD In the second part of case study, we take RMIT project called FAB POD as an example to continuously study how design intent control the parametric design. It was initiated in response to anecdotal evidence from musicians that the newly completed interior of Gaudiâ&#x20AC;&#x2122;s Sagrada FamĂlia Church has a surprisingly diffuse acoustic. And we also inspired from the connection and materiality of each module. The idea of the trimmed whole for light can take into further consideration in the later stage. The installation is worthy to explore because it use parametric design technique to break the surface into multiple irregular voronoi modules which is suitable to produce a curvy organic surface. Furth more, it applies the techniques for evaluating reverberation and absorption of sound as it proposed to locate in a study area which is unnecessary to use in gateway project as it locates on the freeway.
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source: http://www.independentsgroup. net/rmit-fab-pod
It is to create a pile of 3D metaball and then extract the hyperbolic surfaces. parametric diagram from FAB POD, RMIT
My first attempt is to create a series of 3D metaball, yet there is just 2D metaball definition in grasshopper. Then I use 2D metaball and 2D voronoi cell to create volume that has hyperbolic surface inside and flat surface outside.
My second attempt is to create three dimensional volume containing sphere which is the hyperbolic surface extract from and 3D voronoi for the collection point. In this case, just a few modules have one hyperbolic surface in one cell.
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Hexigloo Pavilion Bucharest, Romania
Hexigloo is a fully parametrically designed pavilion resulting out of a seven day workshop in Bucharest Romania The design process was based on putting a hexagonal grid on the igloo surface typology, and then extruding the mapped hexagons along the Z axis in order to create a binding surface. It uses attractor point to change the offset size of hexagon. It is the point which we can use in our Gateway Project to create various size cells. And fabrication process is based on each unit of the volumetric cell.
Image Source: http://www.archdaily.com/146764/hexigloo-pavilion-tudor-cosmatu-irina-bogdan-andrei-radacanu/
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HEXIGLOO RE-ENGINEERING CASE STUDY 2.0
We found it difficult to reengineered the FAB POD from RMIT, we started to study the previously mentioned precedent: Hexigloo using the explorative definition we have already explored. While the FAB POD is still worthy for our design project.
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Y
1. create hexagonal grid in rhino and then reference it in grasshopper.
2. set two attractor vector points to the grid surface
3. the hexagonal grid transit according to the vector points
4. loft a surface
5. use the surface morph definition in grasshopper to apply the pattern on the surface and then offset them
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B.4. TECHNIQUE: DEVELOPMENT
Basic Geometry Morph(box morph/surface morph) basic surface
Morph an object which is the basic geometry we want to apply on the surface into a twisted box. But they are some how not connect together
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These two attempts are the rather satisfied iterations so far. They multiple the basic geometry to the surface and each basic geometry can fix each other and vary from the slope of the surface. I aimed to explore the potential of associating form with effect through different grids hell which can create different light manipulation through the variation of sun path. We can manipulate the basic geometry As we may need to carefully consider the connection of each panel of the surface created from box morph, we turned to use surface morph to create continuous pattern.
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B.5. TECHNIQUE: PROTOTYPES
In terms of materiality, to assemble and fabricate in fact is one thing we need to consider. Because the surface doesnâ&#x20AC;&#x2122;t have thickness is rhino, we need to make the thickness of the 3D model to reduce the error while manufacture.
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B.5.1 DETAIL SECTION DRAWING
This model will be fabricated the surface breaking into small cells. We would want to use plywood and steel frame for each hexagon module. We nail and bolt two hexagon together. It is rather difficult to fabricate the 1:100 model because we should make the sequence of each hexagon. We can label the unrolled hexagon surface into number sequence in the rhino. As we choose plywood and steel as structure frame which is not transparent, we will create a very interesting shadow onto the ground which is trying to contrast the bright and dark by the change of the density of the hexagon.
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B.5.1 DETAIL MODEL
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B.6. TECHNIQUE PROPOSAL &B.7.ALGORITHMIC SKETCHES B.6.1. DESIGN PROPOSAL To proposed Gate way project for Wyndham city communicating a sense of exciting and eye-catching. To impress people through this junction of highway, our group wants to highlight the contrast of the organic form and geometry with the even flat ground. To fulfill this curvy form, we use geometry to tessellate the surface by repeated panels. We take the use of double arch structure covering two main freeway connect to Wyndham city and Geelong. It aims to engage as much as possible for people to explore and experience the design. To create a welcome geometry, we enlarge the end of the â&#x20AC;&#x2DC;tunnelâ&#x20AC;&#x2122;. If we want the design to be self supported, we can take advantage of natural structure, such as a petal of flower. It has a dense strong base and relatively light for the upper structure. This refers to the density of the hexagon cells. This overall form is structural driven and dynamic. It uses hexagon tessellation to form a floating surface as a page paper.
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Attempt 3: We were seeking other methods to break up a surface into different types of pattern and geometry. STEP 1 Create planar grid which can be triangular, rectangular or hexagon. These are the basic geometries that is used to form the surface.
STEP 2 Give the regular grid of geometry some variety, such as some defined point and the change around these points by Graph Mapper. As we are proposed to design a structural skin which requires a dense base and a light cover on top. Associate offset with point attractor which locates on the bottom of the geometry. These attractor can lead the cell toward a direction and create dense and loose/different size cells.
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STEP 3 Offset the grid to create the thickness of the hexagon geometry.
STEP 4 Use Surface Morph definition in Grasshopper to morph planar geometry into three dimensional surface. The size of the grid will â&#x20AC;&#x2DC;squeezeâ&#x20AC;&#x2122; according to the curvature of the surface.
thickness
STEP 5 Extrude the surface to gain a volumetric surface. These step provide us the opportunities to manufacture by physical material.
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B.6.3. DESIGN RENDER REPRESENTS THE MATERIALITY
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B.6.3. DESIGN RENDER REPRESENTS ENVIRONMENTAL RELATIONSHIOP
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B.8. LEARNING OBJECTIVES AND OUTCOME
After these weekâ&#x20AC;&#x2122;s research, we found that there is a lot fantastic performance using parametric design technically produce a structural surface with volumetric tessellating geometry. After the mid semester presentation, we commented to apply Kangaroo to test the actual physical load to alter the optimal form performance. We also need to improve the idea of contrast of our Gateway Project which means that the outcome we have now is not enough to express the sense of contrast. We might start with the geometry which can show the contrast from regular to irregular using voronoi cell. And we also can improve the materiality using timber or other artificial material such as reflective paper. We still need to further explore the connection of
each cell which can present the what tessellation exactly is. As a group we are able to develop a prototype of tessellation and give a logical response to the Wyndham CIty development. We now understand how to fabricate a computational model into a physical one. As my personal experiment of parametric design, I found that parametric design is a logical process. The parameter should response to the particular condition. In the following week, we should further develop our group design by using regular and irregular geometry to reinforce the concept of contrast.
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REFERENCE FERMID by Behnaz Babazadeh, designplaygrounds,2013, viewed on May 9, 2013, <http://designplaygrounds.com/deviants/fermid-bybehnaz-babazadeh/> ICD/ITKE Research Pavilion 2011, Universitat Stuttgart, viewed on May 9, 2013,<http://icd.uni-stuttgart.de/?p=6553> Hexigloo Pavilion, ArchDaily 2008-2013, viewed on May 8, 2013, < http://www.archdaily.com/146764/hexigloo-pavilion-tudor-cosmatuirina-bogdan-andrei-radacanu/> ‘Voussoir Cloud’ by IwamotoScott with Buro Happold, 2013 Archivenue, viewed March 30 2013, <http://www.archivenue.com/voussoir-cloudby-iwamotoscott-with-buro-happold/> RMIT Fab Pod, THE INDEPENDENTS GROUP © 2012, viewed on May 9,2013, < http://www.independentsgroup.net/rmit-fab-pod>
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PART C: PROJECT PROPOSAL
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c.1. Gateway Project: Design Concept c.1.1 presentation and feedback We found that the feedback from mid-semester presentations is quite benefitial to the further development of our design. After looking at the feedback of the project so far, we need to concentrate on how to emphasize the sense of â&#x20AC;&#x153;contrastâ&#x20AC;&#x153; that we wanted to convey. That means a distinguishing differentiation should be introduced to our model. First of all, we should use Kangaroo to refine the structural form of the model and produce the precise shape, where some further developments are regretfully abandoned in part B case study 1.0. As Kangaroo is the imitation of the physical world, we can extract a stable rigid structural skin according to some certain condition by this useful grasshopper plugin.
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Furthermore, we should focus more on the idea of contrast instead of just staying on the shallow. We need to refine the definition of the contrast between nature and industry. There should be an obvious differentiation in terms of form, materializtion and the effect. In order to achieve this, we did some further rearch and by the inspiration from the precedents that would be introduced in the later two pages, we decided to develop our structure adoptinging the contrast between curvy edge and sharp edge, solid and transparent, and also soft and hard material.
c.1.2. further research precedent 1.0
Florencia Pita Pulse: Tendril formations SCI-Arc gallery, california, USA, 2006 The installation Pulse: Tendril formations catches our interest in the first sight. It emphasizes the manipulation of color and material with the soft winding walls or structural tendrils which is formulated through mathematical computation. Our group then came up the idea of constructing the winding curve grid pattern which is a distinguishing pattern from the hexigonal grid. Also the materialization is worthy to explore. It allows the building material to be structure itself although it is really soft and light.
You created this PDF from an application that is not licensed to print to novaPDF printer (http://www.no
â&#x20AC;&#x153;Pulse: Tendril formationsâ&#x20AC;&#x153;,Kottas, Dimitris. 2010. Contemporary digital architecture. [Barcelona]: Links Internacional.
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precedent 2.0
Vision Wall Elena Manferdini Alexis Rochas
Vision wall is was also designed following general rules of planar tessellation. The image show the effect that radiant facets interfere with each other to create fantastic disortions of the light colors into an array of different shades. This artificial light effect inspires us that we could take advantage of this kind of material to create contrasting light effect.
â&#x20AC;&#x153;vision Wallâ&#x20AC;&#x153;,Kottas, Dimitris. 2010. Contemporary digital architecture. [Barcelona]: Links Internacional.
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c.1.3. SITE ANALYSIS |BRIEF ANALYSIS|
Wyndham City is seeking responses from design professionals for the design and documentation of an exciting, eye catching installation at Wyndham’s Western Gateway. -WESTERN GATEWAY DESIGN PROJECT, 2011
The design is going to response the design brief of the Western Gateway Design project of Wyndham City located on 45 Princes Highway. Through researches, we evaluated that Wyndham city is under fast development and change although it is not a well-known city. “city, coast, country“ is its three key words. As a natural place compared to the high-urbanized city Melbourne, Wyndham seeks more change. As a result, according to the brief, the concept of “contrast“ came up to be the central concept we wanted to explore. In addition, Wyndham is regarded as an agricultural city and has a number of natural sites/landscapes within its boundary then we hope to use organic form to describe Wyndham’s characteristic. Our group’s response to the Wyndham Gateway design brief mainly focuses on how structural performance of materials affects form-finding process, also, the discussion of materialization influences back to the effects that our design hopes to achieve.
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|small scale| WYNDHAM CITY
SITE B
MELBOURNE CBD
SITE A SITE C
MAIN FREEWAY(PRINCES FREEWAY) DIRECTION OF THE TRAFFIC ALONG THE FREEWAY
GEELONG
The blue circle is the proposed design location. Since we hope to let people experience the site as much as possible, we will focus on the roads going towards Melbourne and going away from Melbourne.
SITE DIVERGENCE
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We chose the major junction of two different direction freeway where our design spans two freeways. This particular space indicates a sense of divergence. It stands on the site A and site C. The design is going to be a double-arches structure that the travelling cars can experience the actual light and shadow projected under.
|Large scale|
URBAN MELBOURNE
SITE
COMMUNICATION
RURAL
TRANSITION
EYE-CATCHING
GEELONG
IMPRESSION
CONTRAST
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BEST RESPONCE TO CENTRAL VALUES
Form Finding
CONTRAST
Materiality
Flat landscape - Curvy organic geometry
Natural - Industrial (Artificial) Timber - Plastic Solid - Transparent
The central idea
Pattern
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Hexigonal grid - woven strips density of the pattern between bottom and top (attractor points)
c.1.4 final model design process
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|Form finding |
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1 The existing landscape is quite flat and smooth 2 Two arrows push the ground line up to create the double arch structure 3 The curvy lines contrast the flat landscape 4 Reviewing our design concern we hope to make organic form, which should be more irregular. The double arch is symmetrical as a result we cut the half of the arch out and free the end of the shape up then we get the shape in diagram 5 5 One complete arch is left and it is placed over the Princess Freeway to the Wyndham City, the space will be more enclosed under this arch and more experience and effect will be displayed. The right end (half arch) becomes more open and we attempt to create shadow effect dominantly. 6 Wyndham is trying to promote the concept of coastal city, so we apply a more fluent curve over the arch curvy, which expressing a sense of flow 7 The dark blue color demonstrates the base of the arch should provide main support to the structure and can not be removed 8 In order to make the design more organic and create a sense of flow our group needs to introduce a different type of material which also has distinct structural property so we remove the top part of the arch and replace another material instead 9 Final form of the design
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|Node Diagram|
material stiffness
mesh select some of points of the list constituting the mesh as the anchor points
spring attractor points change the density of the grid
force
surface
Hexigonal grid surface morph
Duplicate the curve from the stable surface defined by Kangaroo
base curve
surface
extrude
spilt surface
flowing curve trim
volumetic structure with various thickness
replace upper strips of the structure of the woven structure
surface morph
generate a grid of {uv} points on a surface
cull and organize rows of points to create a set of interpolated curve
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woven strip structure
reference the each edge vertexes of the hexigon module to the starting point of the woven structure
|Grasshopper Constructive Description|
large stiffness
small stiffness
Kangaroo provides the physical form-finding technique to create funicular Structure, such as the parabolic arch, tunnel vault, and dome, which act in pure compression. Our design adopted the surface when the system is stable in the certain the z-axis force and stiffness. As a structural skin, we donâ&#x20AC;&#x2122;t provide any supportive frame for the surface and that is why we use Kangaroo to test and decide the optimzed form.
This definition allows the woven script connecting with the hexigonal frame. The end point of the edge can act as a list of parameter input and be the starting points of the woven strips.
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c.2. Gateway Project: Tectonic Elements
As we allow the building material to be structure itself without any loadbearing structure, we donâ&#x20AC;&#x2122;t have a fragment of a load-bearing structure. However, we should consider the joint between the two kind of material we are used (timber and plastic) and also the connection of the material itself.
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c.2.1. JOINTS BETWEEN TIMEBER AND TIMBER
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5 0
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The ICD/ITKE Research Pavilion 2011 used the finger joint for each tessellation panel. Each panel is assembled by timber sheets and fixed with the tooth form like finger joint. We will construct each hexagon panel using 3mm plywood in scale 1:10. After the suggestion from tutor and learning from the precedent, we decided to use finger joint to connect each adjacent timber piece of the volumetric hexagon frame. After using the glue between the gap, it become very tight.
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c.2.2. JOINTS BETWEEN TIMEBER AND PLASTIC
The eyelet punch joint allows different material connected together firmly. It is convenient and light compared to other bolted joint. eyelet punch
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strong compressive capacity
poor compressive capacity
poor compressive capacity
strong compressive capacity
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The discussions of materialization may influence back to the effects that the design can achieve. While we make the prototype of the woven strip, we found that it has different compressive capacity between horizontal and vertical axis of the pattern. This physical property determines the weaving direction when it is applied to the top vaulted surface of the Gateway design.
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c.3. Gateway Project: Final Model c.3.1 Fabrication Process For the overall model making of our design, we separate it into two parts: hexagonal grid and woven strips. As we are making the 1:50 model, for the hexagonal grid frame, the thickness is too small to fabricate so that we just unroll each hexagon without volume. And also the material we chose is 1mm thick white card board which is easy to fold and stick. As the material we chose is not too thick, Card Cutter is quicker and more convenient for us to fabricate the hexagon compared to laser cut in FABLAB. The most important thing we need the pay attention is the sequence of each piece. It is easy to mix as it has the similar shape so we need to lable each piece. And while we are sticking them together, we will have to refer to the digital model to understand the direction and adjacent edges.
UNROLL
CARD CUT
FOLD/STICK
MODEL
one of the unroll pages setup
car cutter
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We found that it is really a time-consuming, It should be regularly organized. The plaster strip is hard to stick to the card board. For these small scale model, we just used transparent stick band to stick them together.
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c.3.2. Materiality physical model
We are using plywood to construct each hexagonal module. Plywood sheet is easy to be reformed and cut into different shapes and sizes. In addition, it is a relatively a light weight material and relatively strong at compression and tension. For the other pattern we chose, we use transparent plastic to weave them together. As we can see, the woven plastic is rather soft and shows certain wavy curvature.
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The final outcome is quite satisfied as the transparent plastic crete the reflective shadows with a sense of flow which is obviously contrasting with the shadow created by the bold edges of the paper framing.
1:50 FINAL MODEL 66
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LIGHT AND SHADOW EFFECT
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PROSPECTIVE RENDER
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c.4. Algorithmic Sketches
the size of hexagonal pattern varied from the attractor vector points
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Offsetting the polylines to get thickness for the patterns
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Trim the surface
Surface morph definition applies the transition patterns on the surface we generated by Kangaroo, and then we trim the patterns according to the pattern of woven strip
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Reference points We set the end of the hexagonal pattern which touches the woven strip. Then we construct and morph the patterns on the same surface and then trim.
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c.5. Learning Objectives and Outcomes
After the final presentation, one of the major concerns about the project is the Materiality. Our 1:50 model did not show the actual materialization. As we produced the model by thin paper whose thickness is alright to neglect, the actual thickness of each module is a big issue to be concerned. If we are using plywood or MDF to construct the model instead of paper, then we will realize that the weight of the hexagon module which might become really heavy if there is heaps of plywood modules lying together should be above suspicion. The finger joint is one the methods we can continuously develop and construct the volumetric surface. Although at this stage that we did the cogged edge manually in rhino,
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not all of the edges of our 1:5 detail model fits each other perfectly due to the thickness of the plywood. However, there is a grasshopper file can do finger joint for us which provide a lot of convenience and efficiency. In addition, the transition between materials (timber and plastic/paper and plastic) should be in more consideration. We might use the bigger eyelet joint to connect different material. Other critique of the project suggested the load of the design itself is going to create a large amount compressive weight and shear force between the bolt joint of each hexagon module. We were suggested to design a special joint that locks the adjacent panels.
ANALYZE
RESEARCH
EVALUATE
DESIGN
REFINE
Throughout this whole semester, I must say that I learned not only the technical skills in Grasshopper but also how design process can affect the outcome of design. I had a lot fun in parametric design and really enjoy it. Parametric design is a research base method as it is relatively new to the design industry but fast growing. The learning objective of studio air is more on the development and refinement of the design. It is logically evidential. Every design change has a reason and aim which becomes a story of our design. The continuous learning progress definitely enriched my skill in computational design. In the first part of the study, Case for innovation, we analysed some precedents and come up the argument
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DESIGN PROCESS
responding to our discourse topic. And then we chose the specific design method which is Tessellation for our group to further explore a few case studies by matrix analysis. To produce a large scale, organic form with pattern, grasshopper helps us a lot in terms of efficiency and accuracy systematically. It reduces the repetitive workload. Sometimes the limitation of skill in Grasshopper constrains the development of design. And computation allow us represent the properties of design elements as input, output through a series of definitions. This subject gives us a fundamental look of future architecture which more or less uses computational design technique.
For such a large workload subject, working in group is mainly helpful for us to produce a comprehensive design project. At the meanwhile we would learn that how to communicate with others and how to explain and convey the argument you support. In addition, we can focus on and devote to the area that we are good at. At last, thanks a lot to my dearear group mates.
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2013 STUDIO AIR SEMESTER 1
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