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Huza Ayub www.huzaifahayub.com I am Huza, short for Huzaifah, an architecture student from Singapore and currently enrolled in the University of Melbourne. Growing up in Singapore, I was exposed to numerous architectural marvels in the city-state. From old colonial buildings such as the Fullerton Hotel, designed by Major P.H. Keys in 1919, to the lavish and modern Marina Bay Sands, brainchild of internationally acclaimed architect Moshe Safdie. The beauty in which the two buildings, though designed generations apart, could coexist just streets apart with each of it’s own unique style of architecture made me stood up and took more interest in the art of architecture. Studying Landscape Architecture in Singapore, I am well versed in Sketch Up, Autocad and Photoshop. One of the key take away from my time as a Landscape Architect is the usage of landscaping to offset the carbon footprint of a building, which will in turn help to reduce the effects of global warming. Naturally, ecological and sustainablve design will play a crucial role in my journey as an architect. Even with all the technological advances, an architect’s quest of using creativity and imagination to design structures that will evoke a sense of belonging and vibrancy to an area, creating a place where dreams are born and realised, all while continuing to excite and inspire generations ahead, will never change. It is with these reasons, along with the unwavering desire to make the world a better place for anyone to live in, that makes it a dream for a creative and ambitious person like me to pursue further in life
CASCADE @ KALLANG
STUDIO EARTH: HERRING ISLAND
A1 D E S I G N
F U T U R I N G
DOME OVER MANHATTAN By Buckminster Fuller & Shoji Sadao Dome over Manhattan was Buckminster Fuller’s, together with Shoji Sadao, 1960s visionary proposal to cover Midtown Manhattan with a geodesic dome spanning 3km that will regulate the city’s ecosystems and reducing air pollution. Its benefits would have included reduced heating and cooling costs as buildings will no longer require individual heating and cooling system as the dome will instead regulate the temperatures. Unsurprisingly, it was easily dismissed as an absurd and radical idea at that point of time and was never built. However, Fuller did backed his proposal with plausible logics and statistics. For a start, he did a study on geodesic domes ad it was found that the bigger they are, the more economical and stronger they will be. Fuller also claimed that the cost of the dome will be eventually offset by the savings made from services no longer needed with a dome such as snow removal, which costs almost $90 million a year¹.
FIG.2: DOME OVER MANHATTAN
As radical as it seems back then, the proposal still sets a precedent till this day and is becoming more relevant due to the onslaught of global warming that we are facing. As written by Fry, we are now on the cusp of one of the most dramatic changes in our mode of earthly habitation and the problem can only be solved if they are confronted, not by chance but by design². Also, the proposal by Fuller is a clear demonstration of one out of the two tasks defined by Fry of Design Futuring, which is to redirect us towards a far more sustainable mode of planetary habitation. The dome was designed to do as such, providing us a more sustainable way to live and protect from the harms of global warming. Therefore, it will continue to set a precedent for design futuring, as architects continue to find a way to battle an ever changing environment. Maybe, the proposal should be relooked upon and be reconsidered to be built.
1. Lloyd Atler, “A look at Bucky Fuller’s dome over New York City” <https://www.treehugger.com/urban-design/look-bucky-fullersdome-over-new-york-city.html>[accessed 9 August 2017] 2. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg., 2008) p. 6
FIG. 3: DOME OVER MANHATTAN
BEE’AH
HEADQUARTERS
By Zaha Hadid Architects
FIG.3 BEE’AH HQ
FIG.4 BEE’AH HQ
Unlike the previous project, the Bee’ah headquarters is currently being built but similar to the previous project, it is a fine example of sustainable planetary habitation in design futuring. After decades of reckless depletion of limited resources, it is about time for architects to begin taking into consideration the future of a design for every projects and how it can be sustainable. This can be done through careful considerations of the conception and the design influence on an environment through the use of materials, forms and functions. The Bee’ah Headquarters project managed to do just that. Situated in a desert context, the design was created in response to its natural environment as a series of intersecting dunes and orientated according to the region’s prevailing winds. The power required to run the building will be generated from converting municipal waste into energy and supplemented by large arrays of photovoltaic cells which are integrated into its landscaping. The façade is operable to allow for natural ventilation which will minimize the needs of artificial cooling. It is also made up of materials that reflects the sun’s ray which will help to further reduce energy consumption by mimicking the natural desert heat profile¹. Additionally, in conjunction with Buro Happold, material consumption for the building structure was minimized through architectural and structural integration. By using a standard orthogonal dimension, a significant portion of the building’s structure and skin are constructed from materials recovered from local construction and demolition waste streams. It is claimed that by using such active and passive approach, energy consumption will be reduced by 30%¹. Bee’ah also made the decision to use the building as a learning resource, which will help to provide others with an insight while spreading the message of design futuring.
1.Philip Stevens, “zaha hadid reveals bee’ah’s sharjah headquarters in the emirati desert” <https://www.designboom.com/architecture/zaha-hadidbeeah-headquarters-sharjah-uae-12-18-2014/>[accessed 9 August 2017]
FIG.5 BEE’AH HQ
A 2 D E S I G N
C O M P U TAT I O N
RESEARCH PAVILION By ICD & ITKE Inspired by the anatomy of a sea urchin, researchers and students from the University of Stuttgart employed robots to mold and stitch pieces of laminated plywood together to form the pavilion. The pavilions are fabricated with the intention to showcase the potential of computational design, simulation and fabrication processes in Architecture. It was also an experimentation of a new fabricating technique developed after conducting a research with biologists on the fibrous connections found in a sea urchins. The patterns were then replicated by creating a custom software for a robot and a sewing machine which were used to join a series of wood panels together to create the pavilion. The robots were tasked with bending two sheets of custom laminated plywood together and the sewing machines were then used to lace them to prevent the woods from separating¹.
FIG.7 RESEARCH PAVILION
The whole design process for the pavilion, which explored the relationship between computer and architecture, defined a digital continuum from design to production and from form generation to fabrication design as written by the Oxmans². It is a good example of how computation is helping designers to create intricate structures and solving construction problems by creating an algorithm and a clear example of the biological influence that is contributing to the evolution of digital architecture in the second decade. With design computation, construction limitations are no longer relevant and fabrication processes will be greatly accelerated.
FIG.8 RESEARCH PAVILION
“The pavilion shows how the computational synthesis of biological principles and the complex reciprocities between material, form and robotic fabrication can lead to innovative timber construction methods,” said the team. 1. Jessica Mairs, “Robotically fabricated pavilion by University of Stuttgart students is based on sea-urchin shells” <https://www. dezeen.com/2016/05/05/robotically-fabricated-pavilion-university-ofstuttgart-students-plywood-icd-itke/>[accessed 9 August 2017] 2. Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge) p. 1
FIG.2
FIG.9 RESEARCH PAVILION
ELYTRA FILAMENT
PAVILION By Achim Menges
Comprising of 40 unique hexagonal components, each robotically fabricated from transparent glass fiber and black carbon fiber is The Elytra Filament Pavilion designed by Architect Achim Menges and influenced by biomimicry in design. Constructed with the aid of digital computation, the hexagonal components are spun using a robotic arms and new canopy’s are being placed according to data collected by fiber optic sensors embedded in the glass fibers. This displays the deep integration of computational software in the fabrication of the composite materials. Such deep integrations are also allowing for robots to be programme to produce much larger spanning structures such as stadium roofs using the same fabrication methods and fibrous building materials, as claimed by the designer¹. This is an example of computer aiding designers to propose for standard solutions, fabricating the resulting structures and managing the buildings once built, a process known as communication which is the ability to share information between humans and computers, as written by Kalay².
FIG.10 ELYTRA PAVILION
By means of communication through computers, the design process has been open up for more people to be involved and leads to design democracy, the ability of anyone to practice as a designer though only at a superficial level³. As such, in order not to make designs trivialized, design computation has to be reined in and not be too commercialized.
FIG.11 ELYTRA PAVILION
“This is very much a showcase of how design and engineering come together,” “I think we’re experiencing another paradigm shift, a fourth industrial revolution.”
1. Jessica Mairs, “Robotically fabricated carbon-fibre pavilion opens at the V&A” <https://www.dezeen.com/2016/05/18/robotically-fabricated-carbonfibre-pavilion-opens-va-museum-london-university-of-stuttgart-achimmenges/?li_source=LI&li_medium=rhs_block_1>[accessed 9 August 2017] 2. Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) p. 3
FIG.2
FIG.11 ELYTRA PAVILION
Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg., 2008) p. 6
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C O M P O S I T I O N G E N E R AT I O N
RESEARCH PAVILION By ICD & ITKE The structure of the pavilion is inspired by the morphological principles of arthropods’ exoskeletons and the whole project delves into the possible interrelation between biomimetic design strategies and robotic production¹. The exploration of biomimetic designs through the use of algorithmic aided design is a form of generative designing. The advances of generative design can be seen in the project where the integration of the form generating methods, computational simulations and robotic manufacturing allowed for the development of a high performance structure, creating new tectonic possibilities in architecture, something which will be barely possible if not for generative computational design. The process resulted in the pavilion only requiring a shell thickness of four millimeters of composite laminate while spanning eight meters¹. The ongoing research, in this and previous projects suggests a growing acceptance of computational design and it becoming a norm as part of architectural works. It will also help to create more innovative new materials in the future which will help to make structures more economical and efficient.
FIG.13 RESEARCH PAVILION
FIG.2
FIG.14 RESEARCH PAVILION
1. Emilie Chalcraft, “Research Pavilion by ICD and ITKE” <https://www.dezeen. com/2013/03/05/research-pavilion-by-icd-and-itke/>[accessed 10 August 2017]
FIG.2 FIG.15 RESEARCH PAVILION
GUANGZHOU
OPERA HOUSE By Zaha Hadid Architects
FIG.16 GUANGZHOU OPERA HOUSE
FIG.17 GUANGZHOU OPERA HOUSE
Zaha Hadid’s Guanzhou Opera House is influenced by river valleys, engaging with the principles of erosion, geology and topography which resulted in the creation of dramatic lines and canyons to mimic the landscape analogy while defining the different spaces¹. The clever interplay of the different forms in the various spaces effectively combines generative design with compositional design. Custom molded glass fiber reinforced gypsum units, designed through computation are used for the interior of the auditorium to ensure the continuous flow of a single fluid and seamless design language while the different levels are zoned using traditional smooth transitions to continue with the landscape analogy¹. This project emphasized the importance and relevance of the usage of traditional compositional design to demarcate functional spaces and the limitations of generative design. As impressive as it may look, using generatively designed curvilinear geometries may not be the best way to define spaces in a building and as such traditional compositional design should never be totally abandon but the two should be used in tandem instead to create a functional and yet aesthetically pleasing building.
1. Rose Etheringtont, “Guangzhou Opera House by Zaha Hadid Architects” <https://www.dezeen.com/2011/02/25/guangzhou-operahouse-by-zaha-hadid-architects/>[accessed 10 August 2017]
FIG.18 GUANGZHOU OPERA HOUSE
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C O N C L U S I O N With the ever growing significance technology is becoming in our daily life, architects should be taking advantage of the digital tools to produce and aid us in the development of new projects. Such tools are opening up new opportunities for architects and should be used as a means to improve our daily life instead of creating magnificent yet meaningless structures just to put our name on the world map. Such structures serves no main purpose other than to stroke ones ego and becoming a redundant tourist attractions. However, as architects starts to lean towards computational digital designs, we should never forgo the basics of compositional design and instead should try to find a balance between the two. It has to be ensured that functionality is never sacrificed over form as the true purpose of a building is always to serve the community using it. Design futuring will also play an important role as the world faces an environmental epidemic. As architects, we should always be mindful of the environment and are the key initiators to design a more sustainable habitat. With the aid of design computation, it s now easier than ever to create efficient and sustainable buildings. As such, architects should lead the way to designing for a more sustainable and better future for the generations ahead.
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L E A R N I N G O U T C O M E Delving into the world of architectural computing has helped to make me stood up and realized the importance and relevance of computational design. It was previously unknown to me how relevant architectural computing has became and it has also open up a plethora of different possibilities and opportunities for designs that were previous deemed inconceivable. Design futuring and using generative design to formulate an economical structure of particular resonates most to me as I have always been an advocate of designing sustainably. It is a key area I will relook upon for my previous projects. In all, even with the advances of computation, an architects main job scope of designing a community and place people can call home will never diminished and should always be the main priority.
A 4
A L G O R I T H M I C S K E T C H E S
P A R T
B
GENETICS According to John Frazer, the concept of biological growth, in which rules of living organism are encoded in strands of DNAs, can be applied as the generative process for architectural form as well. This can be done through the digital encoding of architectural concepts which are oftenly expressed as a set of generative rules. These rules are then used to produce a large number of prototype forms which are usually unexpected and are then evaluated according to a set of predetermined criterias.
Recursive Aggregation
The genetic algorithm, where various parameters are encoded, is a key driver behind evolutionary architecture. Selected organisms produced from the algorithm are crossbred to further enhance the forms and itâ&#x20AC;&#x2122;s traits. To achieve the best traits, small increments should be made over the different generations so as to being able to monitor the changes and how it affects the form.
Due to the ongoing mass adoptation of design computation, methods such as the L-systems are being more oftenly used by achitects as it helps to simplify and automate the design process through digital encoding.
Various systems exists to aid designers in achieving the effects of genetics architecture. The Lindermayer System (L-system) is a generative logic being used in digital modelling software. It is used to simulate plant-growth and are based on a recursive, rule-based branching system where complex forms are generated through a set of rules. The rules, though simple, can produce a complex object after a few level of recursion.
B 1 R E S E A R C H F I E L D
B 2 A L- S Y S T E M S & L O O P S The different iteration were achieved through different sets of lengths and angles
Each drawings has different angles which dictates the form.
The angles are changed for each drawings.
The length is different for each iterations which resulted in the different branches.
To experiment with the process of genetic algorithm, four sets of 9 drawings were produced, each with different parameters. The Anenome and Hoopsnake plugin for Grasshopper was used to achieve the desired designs. Both the software is based on the L-system, where a certain set of rules are being repeated through recursive aggregation.
SET 1
SET 2
SET 3
SET 4
B 2 B P R O J E C T A N A LY S I S
BLOOM PROJECT The bloom project, first commisioned for the 2012 London Olympics and designed by Alisa Andrasek and Jose Sanchez From The Bartlett School of Architecture at University College London, is an example of the use of recursion and L-system to design a structure. The structure however, will never be completed as it is dependant on the visitors to alter and amend the form of te structure, thus never having the same forms at different location. This can also be attributed to the fact that recursive aggregations will react to the environment and as such it will adjust and grow according to the site conditions. By using a single component, multiple different iterations can be achieved for the form of the structure through the different rulesets. The rulesets are also the main determinant for the form of the structure as the rules will determine the growth of the form. The project is also a fine example of how design can be used to foster interaction amongst the users. It also displays the potential of using genetic algorithms to produce forms for different components such as benches and art installations.
B 2 C M A N U A L R E C U R S I O N
To further experiment with the concept of genetic algorithm,a manual recursion technique was used to formulate 4 different iterations, each with a different component that consists of 3 sockets and a different ruleset for each component. The end result for each iterations demonstrated how the rulesets and components will affect the form of the final iterations
COMPONENT 1
ITERATION 1
ITERATION 2 COMPONENT 2
COMPONENT 2
ITERATION 3
COMPONENT 1
ITERATION 4
STEP 1 The main component of the bloom project is being drawn out in rhino and once the desired shape is achieve the shape is extrude to form a 3d component.
STEP 2 Join the components into the sockets according to possible connection points with a right angle line attached which will act as a branch for the component. STEP 3 Tag the lines as the handle branch in grasshopper. A plane will then be drawn as a reference for the orientation of the branches. STEP 4 Set the axiom by using the branch for the main component and redraw the heuristic handle of the branches.
B 3 R E V E R S E E N G I N E E R I N G RECREATING BLOOM PROJECT
STEP 5 Enter ruleset into grasshopper and establish the loop with the anoneme plug in.
STEP 6 Set the number of times for recursion and run the loop. An aggregation will be produced at the indicated start point. This is in replacement of using the orient3pt command in manual recursion technique.
STEP 7 Check for any collisions and cull if any. Edit rulesets and rerun entire loop till desired form is achieved
B 3 R E V E R S E E N G I N E E R I N G AUTOMATION PROCESS
Draw out the desired components and extrude. Ensure sockets are included.
Draw a dummy branch and attach to the components.
Connect the c together from along with t bran
Once desired outcome is achieved, bake the geometry and render to personal preference.
Cull any collided components and evaluate form. Re-enter ruleset and re-orientate if results are not desired.
Start the loop plug
components m the sockets the dummy nch.
in anenome in.
Set the real branch for the components in grasshopper, along with the axiom and start point.
Redraw heuristic handles according to the finalised components.
Enter rulesets in grashopper.
Draw a plane at the end of each line for both axiom and branches which will be used for orientation.
B 3 R E V E R S E E N G I N E E R I N G FINAL OUTCOME
B 4 T E C H N I Q U E : D E V E L O P M E N T
ITERATION 1
After recreating and experimenting with the forms, a few different iterations were develope each for a different purposes and with different forms. The iterations were mainly inspired by the bloom project and are meant
d
COMPONENT 1
COMPONENT 1
IT
TERATION 2
ITERATION 3
COMPONENT 2
COMPONENT 2
ITERATION 4
COMPONENT 3
ITERATION 5
5
COMPONENT 3
EA RT A ITOI O I TI ET R N N3 6
50
CONCEPTUALISATION
CONCEPTUALISATION 51
ITERATION
COMPONENT 4
7
54
CONCEPTUALISATION
COMPONENT 4
ITERATION 8
CONCEPTUALISATION 55
B T E C H N P R O T O
POSSIBLE FABRIC
COMPONENT 1
COMPONENT 4
METHOD 1: LASER CUTTER The most feasible and cost efficient method to fabricate components. Different types of material can be used such as plywood and perspex, howrever for this paticular component, perpex will be used to fabrictae the components as it is more durable and safe. The perspex also comes in different colours thus giving more choices.
56
CONCEPTUALISATION
5 N I Q U E : T Y P E S
CATION METHODS
COMPONENT 2
COMPONENT 3
METHOD 2: CNC ROUTER More feasible for cutting components with uneven surface raher than a flat surface. Fabrication method is also much more expensive. METHOD 3: 3D PRINTING Fabrication method is the least feasible amongst the three methods as it has lesser choices when it comes to material colors and end product may not be as sturdy and strong as compared to the end product of the oher two method. CONCEPTUALISATION 57
B 5 T E C H N I Q U E : P R O T O T Y P E S CHOSEN FABRICATION C
D COMPONENT 2
C
CONNECTIO D B The components are each connected to each other by the tooth socket that is cut into the components. In order to ensure that the components fits in nicely and are not loosely attached, the thickness of the tooth has to match those of the material thickness to ensure that the connections are firm. It has to be ensured that the tooth are deep enough and not too shallow so that the components will not easily disconnect from each other.
CONN
FA B R I C A T I O N M E T H O D: L a s e r Cutter MATERIAL: Perspex Laser cutter was chosen as the preferred fabrication method as it is the mosr cost effective, durable and flexible method. By laser cutting the components, a series of components can be cut together and the shape and integrity of the component will not be compromised. It is also the most flexible method due to the wide array of materials and colours available. A
ONS
NECTION METHOD
CONCEPTUALISATION 59
SITE: Uni The idea behind the desig for dogs to run about and little pocket of spaces w down and rest. This space in the structures which cre the nest-like structure wh s
+
AGGREGATION 2
AGGREGATION 1
C L I E N T: D o g s imelb Dulux Gallery gn is to have an open space d interact while also having where the dogs can just lay es are created by the cavity eates a labrinth underneath hich will make the dog sfeel secure and safe in the nest.
B 6 T E C H N I Q U E : P R O P O S A L
FOOTING COMPONENT
ELEVATION
BRIDGING COMPONENT PLAN
62
CONCEPTUALISATION
CONCEPTUALISATION 63
B 7 L E A R N I N G O B J E C T I V E S
Throughout the project, a key consideration I made for each design proposal iterated was â&#x20AC;&#x153;is the design feasible and practical and how do I improve on it?â&#x20AC;? By doing so, it made me question my own designs and ensure that I have a solid reason to justify and support my design ideas. Throughout the whole assignment, the amount of research and write ups done assisted in me having a braoder mind and inputting me with ideas on how to make me designs better. An exmaple will be the use of comptutation to fabricate components instead of manual fabrication which will help to greatly reduce the time spent on fabrivation and allow for a more complex structure. A key takeway from the whole exercise will be the various computational techniques learnt. Though the various videos we were tasked to watch were very insightful and educational, much self learning was also done in order to pick up an array of other grasshopper skills that were not covered in the video series. An example will be the use of various other plugins such as Fox and specific culling, particularly the culling of elements when it touches a plane and the culling of colliding components. This various self leart techniques helped me to better manage my design and help to cut down on the need of manual work. They also helped me to come out with a better design that takes the site context into consideration and a design that adapts and reacts to the site that it is in. Apart from computational design, fabrication was equally as important and the need to get the fabrication method was as crucial as it has to be ensured that the fabricated components are sturdy and meets the requirements that are part of the design process. Without a proper fabrication method, the right scale and effect may not be achieved. This can only be tested through a series of prototyping and through a method of trial and error. Overall, this assignment has further enhance my skills in grasshopper and helped to have a better understanding of the relationship between architecture and itâ&#x20AC;&#x2122;s surrounding environment. It also highlighted the emerging importance of three dimensional media by making us test out a prototype of our own design and the necessary connections and joints to make the structure work or fail.
B 8 A L G O R I T H M I C S K E T C H E S
SKETCH 1
For the algorithmic sketches, different methods and components were experimented upon based on the L-system of recursion. Methods used to produce sketches includes the Hoopsnake and Anemone plug in for Grasshopper and a manual recursion method using the â&#x20AC;&#x153;Orient 3ptâ&#x20AC;? command in Rhino.
SKETCH 2
SKETCH 3
P A R T
C
C 1 D E S I G N C O N C E P T FEEDBACKS AND RESOLUTIONS FEEDBACKS - Articial Grass not necessary, does not add any significant values to design - Ground is too flat, could make do with more countours and elevations - Component are not connecting with each other, some are floating RESOLUTION - Artificial grass was removed and a natural terrain was reinstated - Mounts and depressions contour were added to terrain to create a evolving landscape where the structure will grow along with contour - Manual aggregation was used to ensure that all components are connected to each other. Doing so also allowed me to have a better control of the ideal shape and direction the aggregation should be PERSONAL REFLECTION - Components are too flat and 2 directional, restricitng the shape of the aggregation - Aggregation is too messy and lacks of a distinct shape, direction and identity PERSONAL RESOLUTION - Create a more distinct and 3 dimensional component - Base aggregation off a distinct shape to create a more meningful design
CONCEPTUALISATION 71
C 1 D E S I G N C O N C E P T FINALISED DESIGN CONCEPT
Following the feedbacks giv were made to the design in r was changed entirely while the site. The new design con Javanese ornamental carvin traditional Javanese instrum
UPDATED COMPONENT The components were updated to create a more dynamic and 3 dimensional shape, allowing for a more striking and expressive aggregation. Instead of using slots to connect the components together, the updated component uses sockets, 3 in total to allow for each components to be connected. The sockets has to be deep enough to ensure that the componets do not fall off easily and the size of the socket has to be exact to aloow the componets to fit in and not fall off easily. This will be tested out as part of the prototyping step.
ven, the following updates response. The component terrains were added to ncept was inpired by the ng found at the side of a ment.
DESIGN INSPIRATION J A V A N E S E O R N A M E N T A L PA T T E R N The design of the aggregation is inspired by the ornamental carvings of traditional Javanese Culture. The patterns tend to curve while the carvings are structural and pointy which is depicted in the individual components
SITE TERRAIN Countours were added to the site to create a more dynamic and engaging site. The contours also allow for a more expressive aggregation by allowing elevations and depressions.
C 1 D E S I G N C O N C E P T FINALISED DESIGN CONCEPT
AXIOM = C A = AC B = BA C = ABC RULESET A ruleset was deviced to determine the way the components connect to each other. An Axiom, Component C, will be the start of the aggregation before other components, A, B and C are added on for the aggregatin to grow. The ruleset has been tested to best achieve the design inspiration. The final ruleset was also developed in response to the previous iteration, where too many rule will end up making the aggregation too complicated thus it has been cut down to llow for a breathing space in between the components.
B
B
A A
C
C
= AXIOM (C) COMPONENT CONNECTION The components were designed with 3 sockets each, each sockets cut out to fit the end of the component perfectly. By doing so, it is hoped that the components will fit in nicely and will not detach so easily though this can only be tested out through prototyping. The components will be connected according to the ruleset.
PROTOTYPE FABRICATION PROCESS Several fabrication method were considered, among them 3D printing and casting, before it was decided that 3D printing will be used for the initial protoyping due to itâ&#x20AC;&#x2122;s availability and the need for a final component to be created first before a mould can be created for casting. The prototype will therefore be made of PLA plastic and printed in a 1:1 scale.
3D PRINTING
BROUGHT TO SITE
ASSEMBLED ON SITE
C 2 T E C H T O N I C
&
E L E M E N T S
P R O T O T Y P E PRE FABRICATION
DEPTH OF SOCKET Before sending the components for printing, the depth of the sockets were given detailed attention to ensure that there is enough room for the components to fit in and not be to shallow. A few adjustment were made before the sockets were finalised and boolean2 objects was used to hallow out the socket to the exact shape so as to allow it to fit in perfectly.
SOCKET A
SOCKET B
SOCKET C
C T E C H T O N I C
&
P R O T
FABRICATION O
PR - Component - Shape cam - Sockets performing
CO - Cost was on - Too time consu - Waste of materials as it requ - Printin
CONCL The end product came out as intend desirable. Aside from the high cost unfeasible for mass production, the pr the initial proto
COMPONENT PROTOTYPE The component was printed using the Makerbot Replicator Z18 due to itâ&#x20AC;&#x2122;s size. It took more than 2 days for 2 of the component to be printed, a crucial detail to take note of as printing it in masses will then require a considerable amount of time to be completed. The component came out as intended, though there was a printing error one of the component. The rigidity and texture of the end product was desirable though the cost was on the high side as it was approximately $25 to print a single component even after being charged a subsidized school rate. The component however came out perfectly and is what it was intended to be.
Printing error as the com
2 E L E M E N T S
T O T Y P E
OF PROTOTYPE
OS ts were rigid me off well beyond expectations
NS n the high end uming to produce uires alot of plastic to produce ng error
LUSION ded with all the sockets performing and long production time making it rototype worked well enough to satisfy otyping stage.
s seen on one of mponent
PERFORMANCE OF SOCKETS The sockets were tested out using the two components available and it worked perfectly. The size was an exact fit and he depth was equally adequate to accomadate to the end of the component. The rough texture of the component ensured that the component does not slip out easily and it â&#x20AC;&#x153;clicksâ&#x20AC;? in with a bit of force, making it a tight fit and not coming off easily. An initial idea of using magnets to connect the components together were then discarded as the sockets were performing beyond expectations.
C 3 F I N A L D E TA I L M O D E L D I G ITA L M O D E L L I N G
SITE &LAYOUT PLAN
ELEVATION
AXONOMETRIC
AERIAL
PERSPECTIVE
PRINTED COMPONENTS
86
CONCEPTUALISATION
F A U LT Y P R I N T I N G
C 3 F I N A L D E TA I L M O D E L P R E S E NTA T I O N M O D E L
The model is made at a 1:10 scale and as per the prototype, the components were 3D printed. However due to the smaller size a bigger batch could be printed at once (90) and it took a faster time to print (a day). Similar to the prototype, a printing error occured as the plate shifted and the components were printed out of shape and it destroyed one whole batch of print thus another batch had to be printed. This constituted to a waste of materials and time .
A S S E M B LY
Unlike the 1:1 protoype model, the smaller component print does not seem to stick to each other, as the components were not printed as detailed as the bigger ones probably due to the smaller size. As such, the joints had to be glued together to ensure that the components says in the socket and not fall off.
INJECTION MOULDING
RESIN/PLASTER MOULDING
C 4
L E A R N I N G O B J E C T I V E S & O U T C O M E S A LT E R N A T I V E F A B R I C A T I O N M E T H O D A key feedback during the presentation was to consider alternative fabrication methods due to the constrains presented by 3D printing. 2 alternatives were brought up, injection moulding and resin/plaster moulding. INJECTION MOULDING - Requires an initial prototype which is normally either CNC cut or 3D printed - High tooling costs and long lead time - Material efficient, does not produce much waste RESIN/PLASTER MOULDING - Requires an initial protoype - To mass produce, more moulds has to be produced = more prototypes - Resin takes a significant amount of time to harden - Plaster might be too heavy and chips off easily Both methods requires an initial protoype, which are more often than not 3D printed. This also means that the fabrication time for both methods will not be significantly better than 3D printing. Injection moulding might be feasible for mass production but resin/plaster moulding will be too time and material consuming.
C 4 L E A R N I N G O B J E C T I V E S
Coming to the end of this studio, it has definitely taught me alot about computational design. Being cluless initially about computational design and parametric modelling, the studio has better equipped me with the necessary skills and techniques required. Due to the onslaught of technology which are flooding the market with numerous computational softwares, computational design is more relevant now more than ever. Apart from allowing for more complicated structures and designs to be constructed, it helps to lessen the workload of architects by digitilizing everything and making the workflow easier.
Throughout the whole 12 weeks, my effiency grew with computational design. Initially, I had lots of trouble getting the script to work and ensuring that the components are all connected to one another. However as weeks passed by, I managed to learn new skills by consulting my tutor and going for the technical wokshop which resulted in no similar problem with my final aggregation.The use of computational design definitely makes it easier to design certain things and editing them ass it helps to cut off much manual work that has to be done otherwise. As such, the studio has been very beneficial to me as it has exposed me to the realm of computational design which will help me alot in my future projects.
Going forward, I look forward to incorporate more computational designs in my projects in order to simplify and create a more exciting parametric design. As the roles of computational design gets more significant in an architectâ&#x20AC;&#x2122;s life, it is best to embrace it rather than sticking to the old traditional ways. Though the design process might evolve through time, the role of an architect will never change and that is to built a better and more desirable world for everyone to live in.
R E F E R E N C E S L I S T Lloyd Atler, “A look at Bucky Fuller’s dome over New York City” <https://www.treehugger.com/urban-design/look-bucky-fullers-dome-over-new-york-city.html>[accessed 9 August 2017] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg., 2008) p. 6 Philip Stevens, “zaha hadid reveals bee’ah’s sharjah headquarters in the emirati desert” <https://www.designboom. com/architecture/zaha-hadid-beeah-headquarters-sharjah-uae-12-18-2014/>[accessed 9 August 2017] Jessica Mairs, “Robotically fabricated carbon-fibre pavilion opens at the V&A” <https://www.dezeen. com/2016/05/18/robotically-fabricated-carbon-fibre-pavilion-opens-va-museum-london-university-ofstuttgart-achim-menges/?li_source=LI&li_medium=rhs_block_1>[accessed 9 August 2017] Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) p. 3 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg., 2008) p. 6 Jessica Mairs, “Robotically fabricated pavilion by University of Stuttgart students is based on sea-urchin shells” <https://www.dezeen. com/2016/05/05/robotically-fabricated-pavilion-university-of-stuttgart-students-plywood-icd-itke/>[accessed 9 August 2017] Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge) p. 1 Rose Etheringtont, “Guangzhou Opera House by Zaha Hadid Architects” <https://www.dezeen. com/2011/02/25/guangzhou-opera-house-by-zaha-hadid-architects/>[accessed 10 August 2017] Emilie Chalcraft, “Research Pavilion by ICD and ITKE” <https://www.dezeen.com/2013/03/05/ research-pavilion-by-icd-and-itke/>[accessed 10 August 2017]
T H E
E N D
Special thanks to Brad for guiding me through this project