Studio : Air

STUDIO

AIR 2017 | SEMESTER 2 | DAN

H UI YUA N KO H

TABLE CONTENTS Introduction 5

Part B: Criteria Design

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B1. Research Field

26

Case Study 1 8

B2. Case Study 1.0

28

Case Study 2 10

B3. Case Study 2.0

36

B4. Technique: Development

40

Case Study 1 12

B5. Technique: Prototypes

50

Case Study 2 14

B6. Technique: Proposal

54

B7. Learning Objectives

Part A: Conceptualisation

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A1. Design Futuring

A2. Design Computational

A3. Composition/Generation

Case Study 1 16 Case Study 2 18

and Outcomes

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B8. Appendix 56

A4. Conclusion 20

A5. Learning Outcome

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List of Figures 58

A6. Algorithmic sketches

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Bibliography 58

List of Figures

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Bibliography 23

Part C: Detailed Design

61

C1. Design Concept

62

C2. Tectonic Elements &

Prototypes

70

C3. Final Detail Model

78

C4. Learning Objectives

and Outcomes

94

List of Figures 99 Bibliography 99

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Introduction I am HuiYuan, some people call me Rachel.

Currently a second year student in University of Melbourne.

I am from Malaysia, where is equator lies.

I like to eat sushi, you might find me visiting the sushi shop in Union house every Monday during lunch time.

Like to travel and explore unknown places but I am bad with direction.

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CONCEPT UALISATION

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A1. Design Futuring

Case Study 1

HARBIN OPERA HOUSE

MAD ARCHITECTS, 2015.

Located on a small island in the northern bank of Songhua River, this exceptionally beautiful structure holds two theater which can accommodate 1600 patrons and 400 patrons in each theater. Its form is greatly influenced by the city’s culture and history, surrounding topography and the extreme climate conditions1. In response to the nature’s play, MAD Architects had designed an undulating facade that matches the surrounding dynamic landscape.

The theater is a good example to demonstrate the combination of traditional and modern design technique.

Firstly, the design ideas began with a few hand sketches of Ma Yansong, founder of MAD Architects and then evolved organically during the design process through 3D modelling software2. This suggest that, traditional hand sketching can produce ideas quicker but digital modelling are used to create the accurate physical forms of the raw ideas and improve them to a better version. During the making of Harbin Opera House, new fabrication process is invented in order to realise the sculptural wooden elements in the design. To construct these timber composition, they had to relied on the collaboration of highly control digital fabrication techniques and an intensive handcrafted approach3.

Fig.2: Section and Plan of Harbin Opera House

In my opinion, the residents will think their design is radical at the time because it is rare to have building with curvilinear surfaces in the still developing rural cities.

Even MAD Architects principal partner expressed, ‘We’ve dropped an alien in Harbin.’ 4

1 “Harbin Opera House By MAD Architects | Yellowtrace”, Yellowtrace, 2017 <http://www.yellowtrace.com.au/harbin-operahouse-mad-architects/> [accessed 10 August 2017].

3 AZ Awards For Design Excellence, 2016 <https://af4-sydney-production. s3-ap-southeast-2.amazonaws.com/files/8/N/5/x/H/t/8aupvp0ci1/ entry-BQpayPNx-59161.pdf> [accessed 10 August 2017].

2 Richard Garber, “Sinuous Workflows: MAD Architects, The Harbin Opera House”, Architectural Design, 87.3 (2017), 128-135 <https://doi.org/10.1002/ad.2183>.

4 Manon Mollard, “‘Does The Harbin Opera House Really Question The Status Quo?’”, Architectural Review, 2017 <https://www.architecturalreview.com/today/does-the-harbin-opera-house-really-questionthe-status-quo/8691096.article> [accessed 11 August 2017].

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Fig.3-6: Photographs of exterior and interior of Harbin Opera House by Hufton + Crow & Adam Mork.

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Case Study 2

CITY BEYOND THE CITY

GWYLLIM JAHN, 2013

This is a project that participated in Rio Cityvision ideas competition and received an honorable mention and the second highest cumulative score from the exceptional jury panel. It shows the possible future for the urban cities in Rio provocatively with digital images in the purpose of acknowledging the inadequacy of traditional approaches of design and planning1.

In the recent years, the usage of digital tools in architectural design is increasing exponentially and digital simulation is used to improves our design outcomes. Using their highly sophisticated digital simulations, this project had contributed to the field of digital designing by showing us how such powerful conceptual ‘props’ and narrative to allow us to understand our built environment critically and imagine possible futures2.

Fry stated that human centredness design had lead us to an ‘accelerating defuturing condition of unsustainability’3.

In my opinion, the concept of this project is revolutionary because instead of creating a future anthropocentrically, Jahn had shows consequences of design operations that are not fully under human control using a representation of ambiguous mass that are situated at the center of the urban megapolis4.

Fig.7: Entry poster of The City Beyond the City for the Rio Cityvision Ideas.

It is not a ‘built’ project but a project that uses digital simulation to predict the future of design and planning of built environment. Using computational simulation we will be able to create design that redirect us towards a more sustainable modes of living5.

Computational simulation can be used to create living models as a device that expresses possible future6 but the question is, how can computers create a human world that has so many uncertain and surprise events when human who did not predict their occurence are the one that programs the computers? I think even if a vast amount of data regarding to human world is obtained, we will still never be able to create a 100% accurate living model using digital simulation.

1 “The City Beyond The City - RMIT Architecture And Urban Design”, RMIT Architecture And Urban Design, 2017 <http://architecture.rmit. edu.au/projects/city-beyond-city/> [accessed 10 August 2017].

4 Stanislav Roudavski and Gwyllim Jahn, “Activist Systems: Futuring With Living Models”, International Journal Of Architectural Computing, 14.2 (2016), 182-196 <https://doi.org/10.1177/1478077116638946>.

2 “The City Beyond The City - RMIT Architecture And Urban Design”, RMIT Architecture And Urban Design, 2017

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Fry, Design Futuring

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Roudavski and Jahn, “Activist Systems: Futuring With Living Models”

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Tony Fry, Design Futuring (London: Bloomsbury Academic, 2014).

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Fig.8: Entry poster of The City Beyond the City for the Rio Cityvision Ideas.

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A2. Design Computation Computation has definitely redefined the practice of architecture. New approaches are being created in design process, fabrication and construction. Design Computation allow designers to extend their abilities to work in highly complex situations with large input of information. Architect these days not only needs to have the ability to draw but also needs to have the knowledge in algorithm thinking.1

Case study 1

Digital Grotesque ii

michael hansmeyer & benjamin dillenburger, 2017.

In architectural design process, computer are tool that help us in exploring ideas because unexpected results can always be seen when designing with computer. By merely defining procedures to generate form in computational design software, architect can develop complex and unexpected forms that are impossible to hand draw.

Digital Grotesque II which is a full-scale 3D printed grotto project premiered at Centre Pompidou’s ‘Imprimer le monde’ exhibition is designed entirely by algorithm. In this project, a subdivision algorithm was formulated to exploit the 3D printer’s full potential by creating topologically complex, porous, multi-layered structures with spatial depth. One can change the geometry of the form by altering the division ratios parameter. With the combination of computational design and additive manufacturing, the highly ornamental and elaborate grotto was created from 7 tons of printed sandstone.2 In this project, computer is not viewed as a parametric system of control but rather as a design partner who proposed infinite number of alterations, many of them which were unforeseeable. Moreover, by evaluate its

1 Brady Peters, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83.2 (2013), 8-15 <https://doi.org/10.1002/ad.1545>.

2 “Michael Hansmeyer - Computational Architecture: Digital Grotesque II”, Michael-Hansmeyer.Com, 2017 <http://www.michael-hansmeyer.com/ projects/digital_grotesque_2_info.html> [accessed 11 August 2017].

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generated forms referring to an observer’s spatial experience the computer was able to learn and improve their richness in detail3. This will result in the revival of detail and ornamentation in architecture but in a different sense of aesthetic created by robot craftsmen4.

3D printing technology in architecture has many limitation such as expensive material costs, machines with limited scales and lack of material which is suitable for construction but recently emerged sand-printing technology which was used in this project can overcome these limitations. It allows the production of large-scale elements with high resolution at reasonable price and short period of time5. Therefore, I will not be surprise if it will be used to construct buildings in the future.

Fig.9: Detail of Digital Grotesque II.

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“Michael Hansmeyer - Computational Architecture: Digital Grotesque II”

“The Architecture Of Artificial Intelligence”, Archinect, 2017 <http:// archinect.com/features/article/149995618/the-architectureof-artificial-intelligence> [accessed 11 August 2017].

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“Michael Hansmeyer - Computational Architecture: Digital Grotesque II”

Fig.10: Full view of Digital Grotesque II.

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Case Study 2

National Bank of Kuwait headquarters

FOSTER + PARTNERS 2013.

Using computer, we can also develop forms that are responsive to the environment. This can be carried out by creating a parametric model that was capable of incorporating various performance parameters.

Located in Kuwait City, this project combines structural innovation with highly efficient passive form to shield the offices from extreme climate, where temperatures are an average of 40 degrees in the summer time1. The design of the building was mainly driven by the local climate, result in vertical shading structural fins of the western facade and open up at the north side to bring in natural light and views. In the earlier stage, they had came to a design by developing various chosen geometrical solution generated by a parametric model that would combine different performance parameters. A fully rational shape is then formed after the initial design were fixed with serious consideration of the various performance parameters and integrating the architectural aspirations, structural, environmental, functional and operational requirements.2 From the design process of this building, we can understand that computation had tightly link the geometric relationship

1 “National Bank Of Kuwait | Foster + Partners”, Fosterandpartners.

Com, 2017 <http://www.fosterandpartners.com/projects/ national-bank-of-kuwait/> [accessed 11 August 2017].

2 Dusanka Popovska, “Integrated Computational Design: National Bank Of Kuwait Headquarters”, Architectural Design,

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between the building’s elements. Conceivable and achievable complex geometries can easily produce with the help of parametric modelling software, in this case it will be Bentley Systems’ GenerativeComponents™ (GC).

Parametricism can be clearly seen from this project as the designer were in control of topological relationships enables the creation and modulation of the differentiation of the design elements3.

If this design process that uses parametric model to generate environmentally responsive form are applied to every buiding and housing in this world, imagine how much carbon foot print we can save and how this can slow down the ‘defuturing condition of unsustainability4’.

Fig.11: Overall tower geometry showing the different levels of development, from wireframe model to a more detailed model.

83.2 (2013), 34-35 <https://doi.org/10.1002/ad.1550>.

3 Robert Oxman and Rivka Oxman, The Theories Of Digital In Architecture (London; New York: Routledge, 2014), pp. 1-10.4 “Michael Hansmeyer - Computational Architecture: Digital Grotesque II” 4

Tony Fry, Design Futuring

Fig.12-13: Foster + Partners. 2013. Interior and exterior of National Bank of Kuwait Headquarters.

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A3. Composition / Generation

Case Study 1

INTERSECTIVE LAMINATES

Etien Santiago, 2009.

Intersective Laminates is a studio project that investigate the generative computational design techniques relating to materiality which is still an aspect that are hardly considered by designers.1 This is a project carried out in Performative Wood Studio (Achim Menges), Harvard Graduate School of Design.

Based on in-depth anatomical studies of hardwood, the project used computational design to examine lamination techniques combined with the anisotropic properties of quarter-sawn maple veneer to construct complex surface morphologies utilising the behavioural characteristics of initially simple yet geometrically varied interconnected elements.2 Satiago believes that if the spontaneous performative responses of material is harnessed correctly, this design process may play a significant and productive parts in architecture form.3 Until recently, the function of materials in design processes was considered as secondary to form itself. Therefore, I think this is an interesting generative design approaches which focus on material itself as the primary factor of designing.

Fig.14: Design Process of Intersective Laminates.

1 Achim Menges, “Material Resourcefulness: Activating Material Information In Computational Design”, Architectural Design, 82.2 (2012), 34-43 <https://doi.org/10.1002/ad.1377>.2 “Michael Hansmeyer - Computational Architecture: Digital Grotesque II” 3

Achim Menges, “Material Resourcefulness: Activating

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Material Information In Computational Design” “Intersective Laminates | Achimmenges.Net”, Achimmenges.Net, 2017 <http://www.achimmenges.net/?p=4354> [accessed 12 August 2017].

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Fig.15-17: Final design of Intersective Laminates.

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Case Study 2

L-Systems in Architecture

Michael Hamsmeyer 2003

We have always gather inspiration from the nature so it’s not surprise to say that architects has design based on her structures, proportions, colors, patterns, and textures. In 1960, the biologist Aristid Lindenmayer proposed a stringrewriting algorithm that can model simplified plants and their growth processes and this theory is now known as L-Systems.1 This project had look into whether this algorithm can be integrated in the field of architecture. The project consists of two parts: the first part explores methods for visualizing L-Systems through the use of mapping schemes and turtle graphics; the second part expands the L-Systems language to incorporate aspects of parametric systems which allows L-Systems to respond to environmental influences and to accommodate to a wider range of architectural design requirements.2 In my opinion, this generative approaches can be used to evaluate the response of ‘growing’ building when different situation occur. What direction will the architecture takes when the climate changes, when disaster occur, when the thinking of the society changes?

1 “Michael Hansmeyer - Computational Architecture: L-Systems”, MichaelHansmeyer.Com, 2017 <http://www.michael-hansmeyer.com/projects/lsystems_info2.html?screenSize=1&color=1> [accessed 12 August 2017].

2 “Michael Hansmeyer - Computational Architecture: L-Systems”, Michael-Hansmeyer.Com, 2017

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Fig.18: L-System using three modules as leaves.

Fig 19: (top left) Parametric L-System with sub-system.

Fig 20: (top right) Stochastic L-System with modules.

Fig 21: (bottom) Parametric L-system with sub-system.

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A4. Conclusion

Fig.22: Digital Grotesque I.

Eventhough the trait of human centredness are still there, we have start to consider the consequences of our design.

Using computer to simulate the contextual condition while making the building helps us understand and think critically of the design.

In the past decades, the term ‘computation’ and ‘algorithm’ can frequently be seen in architecture field. Computer has becoming a very important tool in designing because not only it helps the designer to explore idea, it helps architect in generating the form of a building in relation to the environment. Further more with the advance technology of 3D printing architects are able to move more freely and directly between designing and fabricating.

With the knowledge of algorithm and computing, architects are able to use the generative computational techniques with different purpose in the design process.

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A5. Learning Outcome

Fig.23: ICD-ITKE Research Pavilion 2013-14.

From Part A, I realised that architectural computing is a very large area to explore. With the help of computer in generating form and design, architect are able to produce variation of very complex form and environmentally responsive architecture for sustainability. Eventhough computer can do everything, I think some traditional way of doing architecture should be preserve. For example, sketching by hand. Computer are not able to capture emotion.

Learning Grasshopper is a time consuming thing to do but I believe it will bring me great reward when I mastered it. If I have the knowledge of grasshopper and algorithm I will be able to do better in Digital Design Fabrication subject last semester. With Grasshopper, I would be able to spent less time but produce more variation in the form of our second skin project.

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A6. Appendix - Algorithm Sketches

The Week 1 sketch on the right is call Smooth Camelback Shoulderpad. It is has two function: first, a decorative fashion accessory; second, you can get hydrated by sticking your mouth on the shoulderpad because it is also a water storage.

The Week 2 sketch on the left is call the Glitching Shoulder, it is made using voronoid component. The glitching shoulder will blink and make your shoulder disappear once in a while.

These sketches shows how variation in models can be easily make with the use of algorithm and computating tools. With some understanding and practice, anyone can pick up computational design.

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LIST OF FIGURES Fig.1: Parametric design model of SOHO Galaxy, Beijing, China.

Retrieved from < http://www.arch2o.com/10-parametricplugins-every-architect-should-know/> on August 11, 2017.

Fig.2: MAD Architects. Plan and Section of Harbin Opera House Retrieved from <http://www.yellowtrace.com.au/harbinopera-house-mad-architects/> on August 11, 2017.

Fig.3-6: Hufton + Crow & Adam Mork. Photographs of exterior and interior of Harbin Opera House. Retrieved from <http://www.yellowtrace. com.au/harbin-opera-house-mad-architects/> on August 11, 2017.

Fig.7-8: Entry poster of The City Beyond the City for the Rio Cityvision Ideas Competition 2013. Retrieved from <http://architecture. rmit.edu.au/projects/city-beyond-city/> on August 11, 2017.

Bibliography AZ Awards For Design Excellence, 2016 <https://af4-sydney-production. s3-ap-southeast-2.amazonaws.com/files/8/N/5/x/H/t/8aupvp0ci1/ entry-BQpayPNx-59161.pdf> [accessed 10 August 2017] Fry, Tony, Design Futuring (London: Bloomsbury Academic, 2014) Garber, Richard, “Sinuous Workflows: MAD Architects, The Harbin Opera House”, Architectural Design, 87 (2017), 128-135 <https://doi.org/10.1002/ad.2183> “Harbin Opera House By MAD Architects | Yellowtrace”, Yellowtrace, 2017 <http://www.yellowtrace.com.au/harbinopera-house-mad-architects/> [accessed 10 August 2017] “Intersective Laminates | Achimmenges.Net”, Achimmenges.Net, 2017 <http://www.achimmenges.net/?p=4354> [accessed 12 August 2017]

Fig.9: Hansmeyer, Michael. 2017. Detail of Digital Grotesque II. Retrieved from <http://michael-hansmeyer.com/mobile/ digital_grotesque_2.html> on August 11, 2017.

Menges, Achim, “Material Resourcefulness: Activating Material Information In Computational Design”, Architectural Design, 82 (2012), 34-43 <https://doi.org/10.1002/ad.1377>

Fig.10: Hansmeyer, Michael. 2017. Full view of Digital Grotesque II. Retrieved from <http://michael-hansmeyer.com/mobile/ digital_grotesque_2.html> on August 11, 2017.

“Michael Hansmeyer - Computational Architecture: Digital Grotesque II”, Michael-Hansmeyer.Com, 2017 <http://www.michael-hansmeyer.com/ projects/digital_grotesque_2_info.html> [accessed 11 August 2017]

Fig.11: Foster + Partners. 2013. Overall tower geometry showing the different levels of development, from wireframe model to a more detailed model. Photography. Sourced from: Popovska, Dusanka, “Integrated Computational Design: National Bank Of Kuwait Headquarters”, Architectural Design, 83 (2013), 34-35 https://doi.org/10.1002/ad.1550

“Michael Hansmeyer - Computational Architecture: L-Systems”, MichaelHansmeyer.Com, 2017 <http://www.michael-hansmeyer.com/projects/lsystems_info2.html?screenSize=1&color=1> [accessed 12 August 2017]

Fig.12-13: Foster + Partners. 2013. Interior and exterior of National Bank of Kuwait Headquarters. Retrieved from <http://www.fosterandpartners. com/projects/national-bank-of-kuwait/> on August 11, 2017.

Fig.14: Santiago, Etien. 2009. Design Process of Intersective Laminates. Retrieved from <http://www. achimmenges.net/?p=4354> on August 11, 2017.

Fig.15-17: Santiago, Etien. 2009. Final design of Intersective Laminates. Retrieved from <http://www. achimmenges.net/?p=4354> on August 11, 2017.

Fig 18: Hansmeyer, Michael. 2003. L-System using three modules as leaves. Retrieved from <http://www.michael-hansmeyer. com/projects/l-systems.html#7> on August 11, 2017.

Fig 19: Hansmeyer, Michael. 2003. Parametric L-System with sub-system. Retrieved from <http://www.michael-hansmeyer. com/projects/l-systems.html#7> on August 11, 2017.

Fig 20: Hansmeyer, Michael. 2003. Stochastic L-System with modules. Retrieved from <http://www.michael-hansmeyer. com/projects/l-systems.html#7> on August 11, 2017.

Fig 21: Hansmeyer, Michael. 2003. Parametric L-system with sub-system. Retrieved from <http://www.michael-hansmeyer. com/projects/l-systems.html#7> on August 11, 2017.

Fig.22: Hansmeyer, Michael. 2013. Digital Grotesque I. Retrieved from http://www.michael-hansmeyer.com/projects/digital_ grotesque.html?screenSize=1&color=1 on August 11, 2017.

Mollard, Manon, “‘Does The Harbin Opera House Really Question The Status Quo?’”, Architectural Review, 2017 <https://www.architecturalreview.com/today/does-the-harbin-opera-house-really-questionthe-status-quo/8691096.article> [accessed 11 August 2017] “National Bank Of Kuwait | Foster + Partners”, Fosterandpartners.

Com, 2017 <http://www.fosterandpartners.com/projects/ national-bank-of-kuwait/> [accessed 11 August 2017] Oxman, Robert, and Rivka Oxman, The Theories Of Digital In Architecture (London; New York: Routledge, 2014), pp. 1-10 Peters, Brady, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83 (2013), 8-15 <https://doi.org/10.1002/ad.1545> Popovska, Dusanka, “Integrated Computational Design: National Bank Of Kuwait Headquarters”, Architectural Design, 83 (2013), 34-35 https://doi.org/10.1002/ad.1550 Roudavski, Stanislav, and Gwyllim Jahn, “Activist Systems: Futuring With Living Models”, International Journal Of Architectural Computing, 14 (2016), 182-196 <https://doi.org/10.1177/1478077116638946> “The City Beyond The City - RMIT Architecture And Urban Design”, RMIT Architecture And Urban Design, 2017 <http://architecture.rmit. edu.au/projects/city-beyond-city/> [accessed 10 August 2017] “The Architecture Of Artificial Intelligence”, Archinect, 2017 <http:// archinect.com/features/article/149995618/the-architectureof-artificial-intelligence> [accessed 11 August 2017]

Fig.23: ICD-ITKE University of Stuttgart. 2014. ICD-ITKE Research Pavilion 2013-14. Retrieved from <http://www. archdaily.com/522408/icd-itke-research-pavilion-2015icd-itke-university-of-stuttgart> on August 11, 2017.

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CRITERIA

DESIGN

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B1. Research Field

BIOMIMICRY What is biomimicry? Janine Benyus, president of Biomimicry Institution stated that, ‘Biomimicry is innovation inspired by nature.’ As the world moving towards to a more sustainable design future, designers are starting to find solutions from the nature. The improvement of bullet train which increases the speed of train and reduces energy consumption was inspired by kingfisher; the innovation of using carbon dioxide as the building block in cement was inspired by structure of coral; The invention of new solar cell which is inspired by how leaf work. Designers are not using the organisms but adapting their blueprint and recipe to create.1 Biomorphic design might take on a new significance if, instead of ignorantly copying the shapes of animals and plants, we were to acknowledge that biomimetics teaches that shape is the most important parameter of all. Biomorphic design might take on a new significance if, instead of ignorantly copying the shapes of animals and plants, we were to acknowledge that biomimetics teaches that shape is the most important parameter of all.2 Biomimicry is a useful and interesting way for form finding in architecture but its potential is far beyond the stylistic imitation of natural forms. Benyus believes that biomimetic approach is one that favours ecological performance investigation and metrics. As ecological performances standard are different from each site, architects should

1 Janine Benyus, Biomimicry In Action, 2017 <https://www.ted.com/talks/janine_ benyus_biomimicry_in_action#t-508185> [accessed 10 September 2017].

Terri Peters, “Nature As Measure: The Biomimicry Guild”, Architectural Design, 81.6 (2011), 44-47 <https://doi.org/10.1002/ad.1318>.

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3 “V&A · About The Elytra Filament Pavilion”, Victoria And Albert Museum, 2017 <https://www.vam.ac.uk/articles/about-the-

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undergo thorough ecosystem and biological research on existing site and reconsider optimisation and efficiency as the main goals of building design.

Elytra Filament Pavilion created by experimental German architect Achim Menges with Moritz Dörstelmann, structural engineer Jan Knippers and climate engineer Thomas Auer in 2016 is a responsive shelter that grew over a period of time. Its designed structure and fibre system is inspired by the filament structures of the forewing shells of flying bees known as elytra and each component of the pavilion is produced by an innovative robotic winding technique using material such as glass and carbon fibre3.

This project not only suggested an idea of future urban green space that evolve and adapt based on the use of the space but it also explored the possibility of robotic construction technique and the use of new combination of structural material.

“Biomorphic design might take on a new significance if, instead of ignorantly copying the shapes of animals and plants, we were to acknowledege that biomimetic teaches that shape is the most important parameter of all.”

– Julian Vincent, Professor of Biomimetic and Director of the Centre of Biomimetic and Natural Technologies4

elytra-filament-pavilion> [accessed 10 September 2017].

4 Julian Vincent, “Biomimetic Patterns In Architectural Design”, Architectural Design, 79.6 (2009), 74-81 <https://doi.org/10.1002/ad.982>.

Fig.2: (top left) Computational design of the forewing of Elytra.

Fig.3: (top right) Elytra Filament Pavilion cells.

Fig.4: (bottom) Elytra Filament Pavilion.

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B2. Case Study 1.0

PROJECT:

The Morning Line

Aranda\Lasch and Matthew Ritchie, 2008-13.

This project was produced as a collaborative platform to explore the interplay of art, architecture, cosmology and music. The concept of the installation is to let people experience a sense of movements around multiple centers that together trace out a dense connection of ideas regarding the history and structure of the universe and our place in it. Speakers will be sophisticatedly layout on the structure and guest curators will invite composers to produce site-specific music and sound performances for the visitors that move through the installation.5 What is interesting is architecture aspect is the fractal building blocks that formed the whole structure are interchangeable, demountable, portable and recyclable which allows it to adapt the surrounding environment 6.

The fractals are the shape of truncated tetrahedron, which is a pyramid with the corners cut off. As each corner of the fractals are connected to another corner of the fractal, the geometries become an infinitely recursive form which moves through the space 7. The engineer who design this geometric system explained that the system results to a more self-support structure and also a structure which made of single shape 8.

5 “- Work - The Morning Line”, Aranda\Lasch, 2017 <http://arandalasch. com/works/the-morning-line/> [accessed 10 September 2017].

“- Work - The Morning Line”, Aranda\Lasch, 2017 <http://arandalasch. com/works/the-morning-line/> [accessed 10 September 2017].

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Wesley Miller and Go articles, “Matthew Ritchie | “The Morning Line” | Art21 Magazine”, Art21 Magazine, 2017 <http://magazine.art21.org/2008/09/04/matthew-

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Fig.5: The Morning Line design process.

ritchie-the-morning-line/#.WbUCQcgjFPY> [accessed 10 September 2017].

8 “Engineering “The Morning Line” — Art21”, Art21, 2017 <https://art21.org/read/ benjamin-aranda-engineering-the-morning-line/> [accessed 10 September 2017].

Fig.6: (top): The Morning Line by Aranda Lasch and Matthew Ritchie.

Fig.7: (bottom) Visitors going through the sculptural space of The Morning Line.

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Iterations From the given grasshopper script of the particular project, we are encourage to explore the possible outcomes freely and record them down..

Number of sides of polygon

3

4

5

0.25 0

1

2

0.33 0

Scale of Fractals

Number of Fractals

1

2

0.40 0

1

2

30

Number of sides of polygon

0

3

4

5

0.50

1

2

0.60 2

Scale of Fractals

Number of Fractals

0.70 2

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Best Iterations Other than adjusting the parameter of existing grasshopper script, I also tried to explored geometrical pattern by deleting some surfaces of the baked designs as shown in the last section when the scale of fractal is 0.70. The series of design formed are originally from the same baked shape but by deleting different surface, it create voids on different area. It is especially interesting when they are looked on plan view.

From the list of iterations, I have chose the four best ones based on three criteria: 1) Complexity: Does it contain quality of being intricated? Will people look at the design closely to understand the pattern logic behind it? Is there a hierachy in the design?

2) Functionality: Can the geometry created be potentially used in any way? Eg. pattern, structure form.

3) Fabrication: Will the design able to be fabricated in real life? Does the fabricated design achieve the effect of digital design model? Difficulty of fabrication?

In my opinion, this grasshopper script is rather basic and it only allow us to adjust a few parameter that has some significant effect on the outcomes. To me who just started learning grasshopper, I feel constrained because I have little knowledge on making successful add-on script to produce high complexity geometry. One of the example of

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B2

4-sided Truncated Brick B2

Rose Pyramid

Complexity Complexity Functionality Functionality

Complexity Complexity Functionality Functionality

Fabrication Fabrication

Fabrication Fabrication

Complexity Complexity Functionality Functionality Fabrication Fabrication

Complexity Complexity Functionality Functionality

Penttern

8-bit Diamond

B2

Complexity Complexity Functionality Functionality Fabrication Fabrication

Complexity Complexity Functionality Functionality Fabrication Fabrication

Complexity Complexity Functionality Functionality Fabrication Fabrication

Complexity Complexity Functionality Functionality Fabrication Fabrication

B4

B2

B4

Concept Concept Complexity Complexity Wearability Wearability Structure Stability Structure Stability Fabrication Fabrication Concept Concept Complexity Complexity Wearability Wearability Structure Stability Structure Stability Fabrication Fabrication

Concept Concept Complexity Complexity Wearability Wearability Structure Stability Structure Stability Fabrication Fabrication Concept Concept Complexity Complexity Wearability Wearability

B4

Fabrication Fabrication

B4

ConceptConcept Complexity Complexity Wearability Wearability

ConceptConcept Complexity Complexity Wearability Wearability

Structure StabilityStability Structure Fabrication Fabrication

Structure StabilityStability Structure Fabrication Fabrication

ConceptConcept Complexity Complexity Wearability Wearability Structure StabilityStability Structure

ConceptConcept Complexity Complexity Wearability Wearability

Fabrication Fabrication

Structure StabilityStability Structure Fabrication Fabrication

Structure Stability Structure Stability Fabrication Fabrication

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B3. Case Study 2.0

Project:

CLJ02 - za11 pavilion

Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan, 2011.

I chose this project as my case study which is being categorized in biomimicry research field but I had some reflection after reversed engineered the project: Is it counted as biomimicry just because has hexagonal shapes? What is the biology logic behind this project?

This Pavilion was designed and fabricated entirely by students for the flagship pavilion of the ZA11 Speaking Architecture event in Cluj, Romania. Not only did it strongly showcase the ontology of computational architecture in both design and design process, it also fulfilled the pavilion’s objective of attracting passer-by to the event.

During the period of exhibiting, the pavilion had become a sheltered space for different social events relating to the architecture festival. It is a successful architecture example of parametric design which proved that avant-garde design can be created with a low budget and sceptical professional context. 9 I think this is a good precedent to practice my newly learned modelling skill using grasshopper plug-in in Rhinoceros because it is quite straight forward and flexible to play around with which we will be doing in next section of this journal. Eventhough the design of the project is not very sophisticated, it prompted me on thinking how to form connections between each elements in a design, hence fabricate and assemble them to become what it look like in its digital form.

Fig.8: Diagrams from ZA11 Pavilion project.

“ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan”, Archdaily, 2017 <http://www.archdaily.com/147948/za11-pavilion-dimitriestefanescu-patrick-bedarf-bogdan-hambasan> [accessed 14 September 2017].

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Fig.9: ZA11 Pavilion.

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Reverse-Engineer

CURVE

LOFT

EXPLODE

HEXAGONAL CELLS U DIVISIONS V DIVISIONS

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method 3

CURVE

method 1

Based on our knowledge on grasshopper, we are given the task of reverse engineer our selected project in Case Study 2.0 and record the process down. I have recorded methods which I failed and succeeded with some explaination why I think it is a fail or success method.

I created circle instead of hexagon connections. I could not find the solution to remove duplicate points which leads to created duplicate connectors at one point. I have to manually delete the unwanted surfaces after ithey are baked in rhino.

Number of segments

DECONSTRUCT LOFT

original cell curves

REMOVE DUPLICATE LINES

SCALE

SURFACE

(Create connections between the edges)

circle

Divide

EDGES FACES

SURFACE MORPH

loft scaled cell curves

(Create overall form)

cull pattern method 1 (Fail)

Overlapping surfaces are created because hexagonal grid is formed by putting individual cells together.

method 2 (FAIL)

It is hard to determine the cull pattern so we can see some overlapping surface and also missing surfaces that are suppose to be there.

method 3 (SUCCESS)

By exploding and deleting the duplicated cellsâ&#x20AC;&#x2122; curves, I manage to create surface that did not overlap.

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B4. Technique Development SELECTION CRITERIA In this part of the journal, we are assigned to develop the definition we created for Case Study 2.0 and it to the limit.Previously in Case Study 1.0, the selection criteria are complexity, functionality and fabrication. I have reconsider and changed the criteria as I started to relate the design brief of this studio with my design. The design brief of my studio is to design a wearable architecture that augment a part of our body. The 5 selection criteria is as following: 1) Concept: Is the concept given to the iterations outcome relevant to the design brief? Is it original? Is it insightful? Is it evocative?

2) Complexity: Does it contain quality of being intricated? Will people look at the design closely to understand the pattern logic behind it? Is there a hierachy in the design?

3) Wearability: Will the prosthetic easy to wear? How comfortable is it for the user?

4) Structure Stability: How stable is the structural performance? How much movement will it takes to break it apart?

5) Fabrication: Will the design able to be fabricated in real life? Does the fabricated design achieve the effect of digital design model? Difficulty of fabrication?

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Chosen site

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Iterations

Hexagon U V: 4, 28 random Seed: 0.271 Scale Factor: 1.5

U V: 20, 20 random Seed: 0.831 Scale Factor: 1.5

Cull Pattern: TFTF

U V: 10, 10 Scale Factor: 1.5

U V: 4, 28 Scale Factor: 1.5

U V: 20, 20 Scale Factor: 1.5

Cull Pattern: FFT

U V: 10, 10 random Seed: 1.580 Scale Factor: 1.5

U V: 4, 28 random Seed: 2.900 Scale Factor: 1.5

U V: 20, 20 random Seed: 0.276 Scale Factor: 1.5

Cull Pattern: TF

U V: 10, 10 Scale Factor: 1.5

U V: 4, 28 Scale Factor: 1.5

U V: 20, 20 Scale Factor: 1.5

Cull Pattern: TFTF

Diamond Skew Quad

Pattern Variation (using Lunchbox)

U V: 10, 10 random Seed: 0.271 Scale Factor: 1.5

Triangular Panel

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Surface pattern Variation (using Weaverbird) Picture Frame

Sierpin-ski Triangle subdivision

Level: 3

Distance: 20

Level: 1

Level: 2

Distance: 20

Level: 1

Level: 3

Distance: 20

Level: 1

Level: 3

Distance: 20

Level: 1

Height Variation (using 1 point attractor)

Hexagon

Catmull-Clark Subdivision

Diamond Skew Quad

Pattern Variation (using Lunchbox)

Triangular Panel

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Pipe

Pipe with Sphere Connectors

Hexagon Radii: 3.843

Radii: 3.147

Radii: 2.531 Sphere radius: 7.823

Radii: 1.513

Radii: 2.339 Sphere radius: 5.765

Radii: 2.399

Radii: 2.399 Sphere radius: 5.891

Diamond

Further Exploration

Skew Quad

Pattern Variation (using Lunchbox)

Radii: 3.843

Triangular Panel

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Further Exploration

In further exploration, instead of altering the same definition I have created in Case Study 2.0, I added and also changed some part of the script to create other variation such as the variation in height and surface pattern. Voronoi and circles are used because this are shapes that can find more often in the nature.

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Best Iterations

B2

B2

Complexity Functionality Fabrication

Complexity Complexity Functionality Functionality Fabrication Fabrication

Complexity Functionality Fabrication

Complexity Functionality Fabrication

Complexity Complexity Functionality Functionality Fabrication Fabrication

Complexity Functionality Fabrication

B4 Concept Complexity Wearability Structure Stability Fabrication

B4 Concept Concept Complexity Complexity Wearability Wearability Structure Stability Structure Stability Fabrication Fabrication

Concept Complexity Wearability Structure Stability Fabrication

Concept Concept Concept Concept Living Battery Hexagonal DNA-like Armsleeve Complexity Complexity Complexity Complexity This design which look like a cluster of plant cells can generate This design is a mixture of beehive and DNA molecule structural Wearability Wearability Wearability Wearability electricity under the Sun. The store power in the product can shape. It is designed as a upper arm decorative fashion Structure Stability Stability be used to chargeStructure electrical devices.

With this wearable living Structure Stability Structure Stability accessory where each sphere on the structure can come with battery, user will not need to worry about problem of phone different size and colour.

Fabrication Fabrication Fabrication Fabrication being low battery.

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B2

B2

Complexity Functionality Fabrication

Complexity Complexity Functionality Functionality Fabrication Fabrication

Complexity Functionality Fabrication

Complexity Functionality Fabrication

Complexity Complexity Functionality Functionality Fabrication Fabrication

Complexity Functionality Fabrication

B4

B4

Fabrication

Concept Concept Complexity Complexity Wearability Wearability Structure Stability Structure Stability Fabrication Fabrication

Wearability Structure Stability Fabrication

Concept Complexity Wearability Structure Stability Fabrication

Concept Concept Complexity Complexity Wearability Wearability Structure Stability Structure Stability Fabrication Fabrication

Concept Complexity Wearability Structure Stability Fabrication

Concept Complexity Wearability Structure Stability

Concept Complexity

Wearable Pillow

Parasite Arm Warmer

Inspired by the shape of coral reef, wearable pillow allow user to rest anywhere comfortably. The adorable form is not only cushioned but some of them act as pocket too to store small objects.

This product can detect surrounding heat temperature and change shapes to keep the userâ&#x20AC;&#x2122;s arm warm. The con of it is it is very hard to take the arm warmer down once it is worn.

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B5. Technique: Prototype

Chosen design:

Hexagonal DNALIKE ARMSLEEVE

This design is chosen for prototyping mainly because of itâ&#x20AC;&#x2122;s high structural stability and easy fabrication process. It is also a good example for use to explore different ways to connect small elements together using different ways such as tabs, teeths, external connectors. In this case, external connectors are used to join components together but it also act as part of the design.

During the prototyping process, the hexagonal cells are fabricated using prolypropene sheet. Then, I used different type of material to create the sphere connectors on the design to find out what are their effects and limits.

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testing connectors: material 3D Printed sphere connectors

The laser cutted prolypropene strips are fold and glue together first to create the hexagonal cells. I faced the problem of the tabs always opened up as the super glue could not adhere the material properly. I end up using staple to avoid the problem during the prototyping session. A better method could be used. The 3D printed sphere connectors are rigid and can create a stable joinery but I came over to many problem using the sohere connectors. First, the melted plastic create unwanted residue that block the gaps (shown on the left) that require to fit the hexagonal cells in. This should be able to fix by using powder printing. Second, as each connectors are unique, it is hard to find the right one that fits on each connection point. This can be overcome by proper labeling the sphere before fabrication. Third, even though I had take account of giving extra width for the gap, it is still too narrow to fit the hexagonal cells. Increasing the size of the gap could help to optimitize this problem.

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Play dough as connector

First, I tried to make similar sphere connectors as shown in my design but I failed. The play dough will break apart once I insert them on the connection points. Then I play around to find a good way to hold the hexagonal cells together using play dough. By wrapping the hold adjacent surface of

hexagonal cells, I manage to do it but it is extremely fragile and break apart with small movement because the play dough is too soft. This process reminds me of how the insects build their nest. It is rather inspiring.

Plasticine sphere connectors

This material is harder compare to play dough so it will not break apart easily with small movement. It can still hold together even if I hold it up in the mid air for a long time (as shown in picture on the left). I used multiple colour of plasticine to make the connectors so it has a fun and playful atmosphere on it. I think using clay will create a more stable structure as clay becomes hard after baking.

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B6. Technique: Proposal

Fig.10: Body architecture by Lucy and Bart.

To create the body of future, the created body architecture should not only exhibit as an art piece just for viewing It should contain a concept or function for an improvement, or I should say a change on the future human body.

The design I have created will act as a fashion accessory just like how people like to wear earring and rings to tell other people their status. Fashion is an always changing thing.

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B7. Learning Objectives and Outcomes

Fig.11: ZA11 Pavilion

From Part B, I agree that I have developed â&#x20AC;&#x2DC;an ability to generate a variety of design possibilities for a given situationâ&#x20AC;&#x2122; through using grasshopper to explore the possibilities of design outcome. Through the process of designing and fabricating, I have gained skills in various three dimension media such as Rhinoceros software, Grasshopper plug-in, laser cutting and 3D printing. Making the sphere connectors are actually my first time using 3D printer which really excite me.

After the interim presentation, I feel that my design can be further improved by having a more in depth research on certain nature system logic. By doing this, I will be able to produce a design using the logic to I have learned design, not just imitating a form or pattern of an organism.

The designing process of this studio is rather different from my design process. Usually we have a design brief and design concept to guide towards the final design outcome but in this studio, the design brief is vague which allow us for endless possibility of form finding process and only after we have choose a desirable form that the design concept comes in. I am a little confuse and not sure if this will work out as effectively as the usual design process.

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B8.1 Appendix - Algorithm Sketches

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B8.2 Appendix - Connections

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List of figures

Bibliography

Fig.1: NAARO via the V&A. Elytra Filament Pavilion Explores Biomimicry at London’s Victoria and Alert Museum. Retrieved from <http://www. archdaily.com/787943/elytra-filament-pavilion-explores-biomimicryin-london/573f88ede58ecef448000078-elytra-filament-pavilionexplores-biomimicry-in-london-photo> on September 15, 2017.

“- Work - The Morning Line”, Aranda\Lasch, 2017 <http://arandalasch.com/works/the-morningline/> [accessed 10 September 2017]

Fig.2: Screen capture from “About the Elytra Filament Pavilion” video. 2016. Computational design of the forewing of Elytra.

Retrieved from < https://www.vam.ac.uk/articles/about-theelytra-filament-pavilion> > on September 15, 2017.

Benyus, Janine, Biomimicry In Action, 2017 <https:// www.ted.com/talks/janine_benyus_biomimicry_in_ action#t-508185> [accessed 10 September 2017]

Fig.3: Victoria and Albert Museum, London. 2016. Elytra Filament Pavilion cells. Retrieved from < https://www. vam.ac.uk/exhibitions/elytra-filament-pavilion>

“Engineering “The Morning Line” — Art21”, Art21, 2017 <https://art21.org/read/benjamin-aranda-engineeringthe-morning-line/> [accessed 10 September 2017]

Fig.4: Victoria and Albert Museum, London. 2016. Elytra Filament Pavilion. Retrieved from < http://www.archdaily. com/787943/elytra-filament-pavilion-explores-biomimicry-inlondon/573f88c3e58ecef448000076-elytra-filament-pavilionexplores-biomimicry-in-london-photo > on September 15, 2017.

Fig.5: Aranda \ Lasch. The Morning Line design process. Retrieved from < http://arandalasch.com/works/the-morning-line/> on September 15, 2017.

Fig.6: Aranda \ Lasch. The Morning Line by Arand Lasch and Metthem Ritchie. Retrieved from < http://arandalasch.com/ works/the-morning-line/> on September 15, 2017.

Fig 7: Aranda \ Lasch. Visitors going through the sculptural space of The Morning Line. Retrieved from < http://arandalasch. com/works/the-morning-line/> on September 15, 2017.

Fig.8: Diagrams from ZA11 Pavilion project. Retrieved from < http://www.archdaily.com/147948/za11-pavilion-dimitriestefanescu-patrick-bedarf-bogdan-hambasan/110627hex-infograpics_page_3> on September 15, 2017.

Fig.9: Daniel Bondas. ZA11 Pavilion. Retrieved from < http://www.archdaily. com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdanhambasan/01-110508-day_img-danielbondas> on September 15, 2017.

Fig.10: Lucy and Bart. Body architecture by Lucy and Bart. Retrieved from < http://barthess.nl/lucyandbart.html> on September 15, 2017.

Fig.11: Patrick Bedarf. ZA11 Pavilion. Retrieved from < http://www.archdaily. com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdanhambasan/07-img_5348-patrick-bedarf > on September 15, 2017.

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Miller, Wesley, and Go articles, “Matthew Ritchie | “The Morning Line” | Art21 Magazine”, Art21 Magazine, 2017 <http://magazine.art21. org/2008/09/04/matthew-ritchie-the-morning-line/#.

WbUCQcgjFPY> [accessed 10 September 2017] Peters, Terri, “Nature As Measure: The Biomimicry Guild”, Architectural Design, 81 (2011), 4447 <https://doi.org/10.1002/ad.1318> “V&A · About The Elytra Filament Pavilion”, Victoria And Albert Museum, 2017 <https://www.vam.ac.uk/articles/about-theelytra-filament-pavilion> [accessed 10 September 2017] Vincent, Julian, “Biomimetic Patterns In Architectural Design”, Architectural Design, 79 (2009), 7481 <https://doi.org/10.1002/ad.982> “ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan”, Archdaily, 2017 <http://www.archdaily. com/147948/za11-pavilion-dimitrie-stefanescu-patrickbedarf-bogdan-hambasan> [accessed 14 September 2017]

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P

A

R

T

(C)

:

DETAILED

DESIGN

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C1. Design Concept

At the start of Part C, we formed a group of three to further our design and fabrication process for the final presentation. My other groupmates are Ran Li and Thai Quang Bui who also focused on the Biomimicry field.

Among the designs three of us produced, we chose the best one according to design outcome and proposal to further explore in this part.

My prosthetic is a fashion arm sleeve that shows the status of a person in the future. It can be customize by varying the colour and size of the sphere connectors between the joint.

The hexagon structure inspired by beehive is one of the most efficient pack shape which is scientifically proven.

This shape gives the arm sleeve a higher materiality strength.

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Ranâ&#x20AC;&#x2122;s design focus more on the function inspired by the nature, in this case the sunflower. The petals collect solar energy in day time and emit it in the form of light and heat energy during the night. It is useful for people such as cyclist and people who work late until the night to offer them heat, protection and illumination.

Thaiâ&#x20AC;&#x2122;s design is interesting because of the evocative appearance and how he relate the design to the site. In his proposal, it act as a second skin that protect and camouflage the user. The feather-like modules have a flexible connection that allow ease of movement and also can be rearraged based on the position of blood veins of the arm. The problem for his design is constructability and structurability because each layer fo model are made of several modules with no connection between each other.

From these designs, we have chosen Thaiâ&#x20AC;&#x2122;s design because the design has complexity, evocative and consist of some parametrical variation.

Overall, from the feedback of our interim presentation, the designs we made mainly have a lack of connection to the understanding of biomimicry and a hierachy in the form.

Therefore, before deciding our design concept, we did a more in depth research on our site, suitable scenario and function according to the brief of our studio - prosthetic for the body of future.

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NARRATIVE

The FUTURE OF Athlete

We started of by thinking the problems in the future to come up with a future scenario for our wearable body extension and of course, the typical global warming problem was suggested. This problem then evolved into how athlete deal with the rising heat in their body during exercise.

According to the professors from Stanford University Department of Biology, human has body core temperature which is maintained in a small range. It is difficult to efficiently manipulate the heat in our body because we have high body heat capacity but low thermal conductance of the body surface1. Athlete will face many problems such as declining of strength, endurance, performance and cognitive function when their core body temperature elevated during work out2. Not to mention the situation will worsen during summer and may result to heat stress incidents.

Therefore, to enhance the performance and period to carry out a sport of the athlete, a blood cooling device could help to regulate the optimum temperature range in their body in the future.

1 H. Craig Heller and Dennis A. Grahn, “Enhancing Thermal Exchange In Humans And Practical Applications”, Disruptive Science And Technology, 1.1 (2012), 11-19 <https://doi.org/10.1089/dst.2012.0004>.

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2 H. Craig Heller and Dennis A. Grahn, “Enhancing Thermal Exchange In Humans And Practical Applications”

CASE STUDy

BLACK-TAILED JACKRABBIT

Jackrabbits are desert animal that exposed to extremely hot temperature in day time. They have large ears to release excess heat in their body and stay cool.3 These oversized ears provide an extensive surface area of skin intertwined with large amount of blood vessels.

When the body temperature of the rabbit is higher than the ambient temperature, the blood vessels on the ear will vasodilate to allow more warm blood to circulate. The result is heat in the blood will be release into the cooler surrounding air.4 Furthermore, their ears also act as built-in radiators of heat which feature a network of veins called AVAs (arteriovenous anastomoses). These veins are especially devoted for rapid temperature management. 5

3 AskNature Team and AskNature Team, “Large Ears Used To Cool Off : BlackTailed Jackrabbit - Asknature”, Asknature, 2017 <https://asknature.org/strategy/ large-ears-used-to-cool-off/#.WfK2vWiCxPY> [accessed 27 October 2017].

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AskNature Team and AskNature Team, “Large Ears Used

To Cool Off : Black-Tailed Jackrabbit - Asknature” Stanford University, “Stanford Researchers’ Cooling Glove ‘Better Than Steroids’”, Stanford News, 2017 <https://news.stanford.edu/2012/08/29/ cooling-glove-research-082912/> [accessed 27 October 2017].

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Concept

Heat exchanging vein network system

Similar to the jackrabbit, human as a mammal also has heat regulating mechanism such as vasodilation and vasoconstriction of the blood vessels near the skin surface to either retain or release the heat in our body.

the inside of the hand and foot, elbow and lips.6 For our design concept, we would like to incoorporate these characteristics and form we found in jackrabbit into the blood cooling device which will be located at the arm. The extensive surfaces form from the arm that are loaded with heat exchanging vein network system will allow athlete to cool down their blood to optimum temperature. Hence, the future athletes could have a better performance in a longer period of time.

Artery Vein

According to Daanen, AVAs which present in most mammal are also found in human body at location such as the skin of

6 H.A.M. Daanen, â&#x20AC;&#x153;Arterio-Venous Anastomoses And Thermoregulationâ&#x20AC;?, 1991 <http:// www.dtic.mil/dtic/tr/fulltext/u2/a245385.pdf> [accessed 27 October 2017].

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FORM FINDING

SKETCHES AND COLLAGES

Ideas of the new designs are first illustrated with sketches and collages.

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DIGITAL MODELING

PROTOTYPE #1

Loft curves Evaluate surfaces Proximity ShortestWalk Pipe variable

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The form of this design is very organic but the distribution of pipe is a bit messy.

The design definition only create pipe structure but not the surface it lies upon.

Most possible fabrication of the pipes will be using 3D print but it will not allow us to showcase the effect of blood going through the arteries and veins.

DIGITAL MODELING

PROTOTYPE #2

Create curves imitating the path of the arteries and veins Loft surfaces using curves Pipe Combine

We improved the distribution of pipe by creating them based on the actual arteries and veins on the arm. They start at the inner arm and circulate around to the outer arm, then back in at the blood vessels on the inner wrist.

The downside of this design is we need to manually loft the surface instead of using Grasshopper plug-in. Which is not a very efficient design technique The pipes are design in a size of radius=3 which we can construct using vinyl tube that could be found in the market.

With this, We will be able to create the effect of blood flowing using actual pipes.

DIGITAL MODELING

PROTOTYPE #3

Curves

Loft to create Surfaces

Offset surfaces (T=3)

Pipes (R=3)

Populate Surface with points Patterning

Create path using ShortestWalk Pipe (R=1) This design responses to the interim presentation feedback of lack of hierachy. It has the structural surfaces and functional veins that have two hierachy - the main artery and branching arteries. Main arteries are designed to transport the blood from the user’s blood stream to the smaller arteries that spread across the surfaces to cool the blood down with larger surface area.

Compare to the previous prototypes, the form is neater and sophisticated. When this device is mass produced for athletes in the future, we have to take account of the cost and time to produce the device. A less complex form will take a lesser time and money to manufacture.

Merge pipes Create corrugated pattern on surfaces

Combine

CONSTRUCTION PROCESS Assemble Final Design

Fabrication - 3D print

- Paint corrugated patterns - Fill in with resin - Fix pipes onto edge of surfaces

Finishing - Apply layers of resin - Sandpaper - Clear gloss spray -Insert ‘blood’

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C2. Tectonic Elements & Prototypes

In this section, I have documented the prototypes we made throughout the weeks - from the sketchy prototypes to the more sophiticated final prototype based on computational design.

As we produce more prototypes, designs are changed to improve the digital fabrication process. During the process, we realised the importance to incoorporate structured parametric solution in our design because this means we are design based on a cause and logic, instead of intuitively using our own sense of aesthetic. Thus, in a way, prototype modelling also serve as a way of form finding for our final design.

Most of our prototypes explore the whole structural (surfaces), functional (main arteries) and pattern components (branching arteries) of the design. We focus on using the best method and material to produce design and effect we wanted.

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MODELING CLAY

wear it comfortably. Some problem we faced is the finished model have uneven surfaces and crack easily especially at the thinner surfaces.

To produce an organic shape, we used a lighweight air-dry modelling clay. We shaped the surfaces manually based on the design and fix the pipes onto the surfaces. It did achieve the organic shape we wanted and is light for the user to

The main problem of this design is it is not entirely fabricated in relate to the digital design. A well digital fabricated object is object that can be recreated with the same smallest detail. This fabrication method does not suit the objective of digital fabrication.

Physical Prototype

A bottle is used as a replacement of arm. A layer of paper is inserted later for the purpose to take the clay model out easily after modeling.

A corrugated surface is made to hold the pipe.

Pipe is fixed into the chanel.

Uneven surfaces

The clay surface was smooth using some water.

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Physical Prototype

balloon & string

We also tried to use strings to represent the functional and pattern components in the design. Balloon is used to create the form of the design for the string to put on. PVA glue is used to strengthen the strings that are laid across each other so when the glue dry up, the strrings together will become a self-supporting structure.

This fabrication method did not succeed in the end because the strings collapsed when we pop the balloons.

The problem is we didnâ&#x20AC;&#x2122;t apply any release agent on the balloon surface so the string just attached on it. The string did not glue well together too, either we use another type of adhesive or we have to cover the strings completely with multiple layer of glue.

We didnâ&#x20AC;&#x2122;t continue with this method because like the previous fabrication method, it is not produce in relation with the parametric design model.

Balloons are taped together.

String taped on the balloon.

Strings glue on the balloons using glue.

Glue is constantly poured and paint on the surface of the balloons.

Continue to roll the string onto the balloon.

Pour more glue.

Spread the glue.

Wait for the glue to dry.

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Physical Prototype

WIRE

In term of form finding, wire can also create a very organic and interesting form. We were thinking, if we are going to produce a wearable model, it should be able to be adjustable to fit the arm size of the user. The wire structure in the inner side is constructed in a way fro user to easily slip in. The combination of wire and pipes allow pipes to bend and stay in the shape compare to just the use of pipe itself.

Form the inner structure using thicker wire.

Stablise the structure with thin wire.

Things that could be refined are the connection between the elements, a better way to tie the wires together. Twisting of the wires also create kinks that make the model unrefine.

In this prototype, wires replaced the structural role of the surfaces but a solution is still needed to create the surfaces to place the branching arteries pattern.

Like the previous two, this fabrication method is still too intuitive so we look into other ways to create the form.

Wires passed through 3mm diameter pipes.

Holes are made on the intersection of the pipe to allow the wire to pass through.

Push the wire through the pipe.

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Fabrication case study

COMPOSITE SWARM

ROLAND SNOOKS MELBOURNE, 2013.

After the previous prototypes, we have realised that our fabrication method are too ‘intuitive’. To produce a better fabrication method that has a algorithm thinking we look into this architecture installation which produce similar organic form and effect that we want to achieve in our model.

Fig.1: CNC milling the mould for the surface.

This installation is a combination of fiber composite surface and flexible foam component which create a highly rigid selfsupporting structure. The network of small corrugations in fibercomposite surface are imprinted by the component and they provide structural depth.6 Their fabrication method is by laminating cast polyurethane components and fibreglass. A mold for the surface is first created by using CNC milled foam before being assembled and coated with a smooth layer of epoxy resin. Then, the component is laid between two layer of fibreglass on the surface and infused with epoxy resin under vacuum pressure.7 By using this method, we could easily produce a surface with double curvature which occurs in our design. The corrugation network could represent the smaller vein patterns on our design surfaces that serve as the second hierachy in the design. The transclucent effect of the installation might be also what we are aiming for - an organic membrane-like form.

6 Roland Snooks, “Composite Swarm - Kokkugia”, Kokkugia.Com, 2017 <http://kokkugia.com/Composite-Swarm> [accessed 28 October 2017].

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Roland Snooks, “Composite Swarm - Kokkugia”

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Fig.2: Laying components on the surface

Fig.3: Laying fibreglass

Fig.4: (top left) Overall installation of composite swarm Fig.5: (top right) Close up of detail Fig.6: (bottom) Composite swarm installation

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TESTING MATERIAL/FABRICATION

FIBREGLASS

We did not manage to find a place which can create a CNC milled foam for our design because of the complexity and small detail pattern of the model. Creating a silicone mould will take too much time and money. Therefore, we go for the more efficient option of creating the 3D printed mold.

The problem with 3D printed mold is it is rigid and the dried fibreglass will stuck on the mould when the model curve in

a certain way.

Due to the unfamiliarity to the new fabrication method, we carried out a small material testing experiment to find out how the material works and itâ&#x20AC;&#x2122;s effect. Eventhough it takes time for the resin to cure completely, it has a little transclucent effect and has good structural rigidity.

Surface Tissue (cover the sharp fibreglass material)

225gsm Fibreglass PVA mold release applied on 3D PLA printed mold and dry.

Apply wax and dry.

Surface tissue with laminated resin is pressed on the mold using a brush.

A layer of fibreglass with resin is applied.

Brush is used to break the fibre apart.

Red permanent marker ink is drawn in the corrugated pattern. Resin is filled in the channels. Wait to dry.

Another layer of fibreglass and surface tissue infused with resin is laid over

Infill of corrugated pattern

225gsm Fibreglass

Surface Tissue (cover the sharp fibreglass material)

3D printed mould (coated with a layer of PVA mold release and a layer of wax)

Elements used to test the fabrication method.

Testing the transclucent effect of fibreglass and resin using a piece of flat clear plastic sheet as the mould.

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Physical Prototype

Fibreglass

We only make a small section of the scaled down surface component using clear PLA 3D printed mold to test this fabrication method due to the high cost and time period taken to make the mold. We have reduced the the layer of surface tissue and fibreglass so it will produce a better transclucent effect then before.

This method is the best result among all the other fabrication

method because first, it involve digital fabrication; second, it can easily produce a double curvature surface with some cutting and fitting of fibreglass; third, it allow light to pass through which is what we tried to aim for for this model; fourth, corrugated pattern on the surface is formed eventhough it is not very defined . The surprise outcome of this prototype is the slight extrusion of the branching veins at the underside of the surface because it gives the pattern a volume.

The disadvantage of this method is it took too much time and money to produce So we didnâ&#x20AC;&#x2122;t went for it in the end.

225gsm Fibreglass

Surface Tissue Apply PVA mould release thoroughly on the Apply wax. mould.

Lay on a layer of surface tissue with resin.

3D printed mold

Fibreglass with resin are applied.

Let dry for 15mins, till the resin is hard enough Trim edge while model is still soft. Left dry to retain the shape but still flexible to bend. overnight.

Model taken out of the mould so it will not stuck in the mould when itâ&#x20AC;&#x2122;s cured.

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C3. Final Detail Model

We present you, the Blood Cooling Glove.

A device that can help the athlete to perform better and more efficient in the future without using illegal substance such as steroid. It is an enhancement of humanâ&#x20AC;&#x2122;s blood cooling mechanism which is inspired by the jackrabbit ability to maintain optimum body temperature using thier ear as a built-in radiator of heat.

This part of journal record and document the final digital design model and fabrication process of the final physical model.

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Close-up Perspective View 79

Section Cut

Plan View

170mm

270mm

5mm

98mm

Elevation View

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Section View

Main artery

Branching arteries

Main artery Extending surface

Main artery

Exploded diagram

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Fabrication Process

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Our prototype is in a smaller scale than the actual design but it consist of all the elements we want to present in the model.

We chose to produce the surfaces with corrugated surface using PLA 3D printing as this is the most cost and time efficent method. Black colour is suitable for athlete who do sport and work out indoor because black colour can absorb and release heat faster. It is a better colour to use if it is not under the sun.

Red water-based paint is painted in the corrugated patterns and infilled with resin. Multiple layers of resin is applied, sandpapered and spray with clear spray to give a glossy surface. Super glue is used to join the 5mm inyl clear tube onto the edge of the surfaces and dried overnight. Tube connectors used to connect the tube at junction allow water to continously flow in the model which gives a good effect of the model.

Overall, the fabrication process is a success with a few bumps here and there. While we were making the model, the model receive a few interesting comments such as ‘alien-like form’ and ‘I thought it is a building.’ Personally, if a model could get notice and give an impression or speculation to a stranger, it is quite an achievement.

Testing of different type of liquid to use as blood.

Upper image is Amazing Mold which melts into liquid after heating. It has a tint of red like blood and turned to gel after cool down. Very hard to insert into the pipe.

Lower image is a mixture of water and paint. We used this as the ‘blood’ because even though it is opaque but flows well so it is good to display the flowing of blood through the device.

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Image credit: Thai Bui

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Image credit: Thai Bui & Ran Li

In the future, as the technology of blood cooling device develop, it could be apply on the clothing of the athlete to enhance the blood cooling mechanism of not only the arm, but also the whole body. With this, humanâ&#x20AC;&#x2122;s physical limitation could reach a higher level.

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C4. Learning Objectives and Outcomes

IMPROVEMENT ON CURRENT MODEL FABRICATION First, the location where we place the clear vinyl tube should have a channel like the corrugated pattern on the surfaces to hold the 5mm tube. With it, the tube can be fixed more firmly and the mark of the super glue will be less visible. This could be done by boolean difference the pipe and surfaces in rhino to create the channels and then 3D print.

Secondly, if we have more time and budget, we can create a model using fibreglass and CNC milling foam as the mold.

Flexible material is better to use as mold becasue it can be bend or cut to take the model out after the resin on the model cured. Instead of corrugated pattern, the pattern can be extruded like the underside of the fibreglass model.

The â&#x20AC;&#x2DC;bloodâ&#x20AC;&#x2122; can then be painted from the inside. This will give a better membrane-like surface representation.

Another alternative is to infill the corrugated pattern with red foam before cover them with fibreglass sheet similar to the composite swarm case study.

Glue mark

Extruded pattern

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DEVELOPMENT ON DESIGN First, to address the problem of connection between the bood cooling device and the body, we have proposed a ‘plug and socket’ connection. The socket will be fixed on the inner side of elbow and wrist where blood vessels are closer to the skin surface. The plug and socket are made of silicone because it has non-reactive characteristic with most of the chemical.

To allow blood to enter the tubes smoothly, the tube should be vaccuum when connected to the body. If not, blood has to force the air out in order to enter the tube. When the device is attached to the body, the socket on the elbow should open up first to let the blood go into the vaccuum space of the tube. The opening of the socket on the wrist is then opened out after all the tube is filled up. This is to make blood flow in one direction.

During the critic session, we realised our design has a juxtaposition of using ShortestWalk on blood cooling device. Wouldn’t we want a longer vessel so the blood could expose to the air in a longer time period, hence cool down more? Instead of ShortestWalk, why not use other patterning method?

Height variation of the device in relate to other body parts. The height of the device on the outer side of arm is higher than the inner side. The inner side is flatter for human to place their arm near the body.

In response to the feedback, we need to first find out the the optimum length for blood to reach blood temperature for best sport performance which is 37.5 °C.

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The heat produced by the body is balanced by the heat lost to the environment. An equation for the body heat balance can be written as:

M ± W = ± R ± C ± E ± S [W/m²] M = the rate at which thermal energy is produced by the body through metabolic processes W = rate of work produced by or on the body R = rate of radiant heat exchange with the surroundings C = rate of convective heat exchange with the surroundings E = rate of heat loss due to evaporation of body water S = rate of heat storage in the body. Ideally=0 to prevent change of body temperature.

Radiation heat transfer between two objects is related to the difference in surface temperatures of the objects and the properties of their surfaces. In our design, we want a higher R value. First we need to collect data for other component and get a higher R value. I assume, using R value we could determine the amount of surface are to be exposed which then determine the length of the blood vessel with a fix radius. With the calculated length, we then can start determine the best way to vessels. 8 We can design short path that connect between the main arteries or long path that go around the surfaces. A zigzag path will have a longer length then a straight path. A mixture of the short, long, straight and curved path with the total length near the calculated length will be a good design to maintain the body temperature of the athlete at 37.5 °C.

People.Seas.Harvard.Edu, 2017 <http://people.seas.harvard.edu/~jones/ cscie129/pages/health/thermreg.htm> [accessed 30 October 2017].

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Although squarish path has longer length then curved path, it is not prefered in the design because there is more force on at the corner of path and it will be damage the vessel in long term.

Another design development could be creating veins that grow shorter and longer based on the temperature in the body. When the body temperature is average, it will be short, whereas when the body temperature is high, it will grow longer.

To achieve this design developments, a temperature sensor is needed to monitor the temperature of the body and surrounding environment to produce an optimum result for the athelete.

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LEARNING OBJECTIVES AND OUTCOMES In Part C, I think the design did achieve the requirement of our studio brief of computational extension because it is designed parametrically using digital tool like Rhinoceros and Grasshopper and also as an extension of our blood vessels in the arm.

The design evolved based on the understanding of the our site, research field and also the brief. By overcoming each obstacle with faced, we continued to train our ‘ability to generate a variety of design possibilities for a given situation’ using the language of algorithm. Although it did not improve greatly, but this subject did let me achieve a basic understanding of Grasshopper and new plug-ins for Grasshopper such as ShortestWalk.

As our design involve the mechanism of heat regulation in our body, we need a deep understanding of how our physical models perform in atmosphere. How the surfaces and other element fabricated to be structurally sound.

I think I have demonstrate ‘the ability to make a case for proposals’ to some extends in the last part of journal where I discuss how to further develop the design.

Overall, Studio AIR had greatly develop my new founded

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knowledge of computational design in architecture. I discovered contemporary architectural projects that has very interesting design concept; learned new knowledge in every journal I read; developed new skill of visual programming.

Choosing the research field of biomimicry has both up and down side. The up side is we get to create design form using the nature’s logic and learn many new knowledge in the field of biology. The down side is in order to have a good understanding of the nature’s logic, we need to read many research paper with scientific terms that we do not understand. It is an interesting but very hard research field to choose. I sometimes regret a little.

In my group, I was mainly in charge of the fabrication. It was a regret that we didn’t manage to create a final model using fibreglass. The MSD Fablab could not CNC the moulds we need even we break them into smaller parts and 3D printing is too expensive for us to afford. It was my first time using material like resin and fibreglass so that’s another new thing I learned from the studio.

Lastly, I want to thank my group mate, Thai and Ran who go through this intensive subject with me. Not to forget my tutor, Dan for constantly giving us ideas and suggestions when we are having our hard time.

LIST OF FIGURES

BIBLIOGRAPHY

Fig.1: CNC milling the mould for the surface.

Retrieved from < http://kokkugia.com/ Composite-Swarm> on October 30, 2017.

Daanen, H.A.M., “Arterio-Venous Anastomoses And Thermoregulation”, 1991 <http://www.dtic.mil/dtic/tr/ fulltext/u2/a245385.pdf> [accessed 27 October 2017]

Fig.2: Laying components on the surface.

Retrieved from < http://kokkugia.com/ Composite-Swarm> on October 30, 2017.

Heller, H. Craig, and Dennis A. Grahn, “Enhancing Thermal Exchange In Humans And Practical Applications”, Disruptive Science And Technology, 1 (2012), 1119 <https://doi.org/10.1089/dst.2012.0004>

Fig.3: Laying fibreglass. Retrieved from < http://kokkugia. com/Composite-Swarm> on October 30, 2017.

Fig.4: Overall installation of composite swarm.

Retrieved from < http://kokkugia.com/ Composite-Swarm> on October 30, 2017.

Fig. 5: Close up detail. Retrieved from < http://kokkugia. com/Composite-Swarm> on October 30, 2017.

“How It Works”, Avacore, 2017 <http://www.avacore. com/how-it-works/> [accessed 27 October 2017] “Khan Academy”, Khan Academy, 2017 <https://www. khanacademy.org/science/biology/principles-of-physiology/ metabolism-and-thermoregulation/a/animal-temperatureregulation-strategies> [accessed 27 October 2017]

Fig.6: Composite swarm installation. Retrieved from < http:// kokkugia.com/Composite-Swarm> on October 30, 2017.

People.Seas.Harvard.Edu, 2017 <http://people. seas.harvard.edu/~jones/cscie129/pages/health/ thermreg.htm> [accessed 30 October 2017]

Cover page: Solaas, Leonardo. Generative drawings.

Retrieved form < http://www.creativejournal. com/posts/76-generative-drawings-byleonardo-solaas> on October 30, 2017.

Snooks, Roland, “Composite Swarm - Kokkugia”, Kokkugia.Com, 2017 <http://kokkugia.com/ Composite-Swarm> [accessed 28 October 2017] Team, AskNature, and AskNature Team, “Large Ears Used To Cool Off : Black-Tailed Jackrabbit - Asknature”, Asknature, 2017 <https://asknature.org/strategy/large-ears-used-tocool-off/#.WfK2vWiCxPY> [accessed 27 October 2017] University, Stanford, “Stanford Researchers’ Cooling Glove ‘Better Than Steroids’”, Stanford News, 2017 <https://news.stanford.edu/2012/08/29/cooling-gloveresearch-082912/> [accessed 27 October 2017]

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