AIR STUDIO
HSIN YEH SEM 2, 2015 1
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B.1 RESEARCH FIELD
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TESSELATION PRECEDENTS The initial concept for the design proposal is a structure for plants to grow onto. Therefore, the field of research is tesselation, as this technique creates vacant spaces on a base structure that plants can potentially grow into and fill the spaces. Throughout the research, it also becomes clear that porous effect on light-feel/thin stuctural/grid is very effective in producing a unique, delicate, and intrigued feeling to a design. This will be discussed with the three projects of tesselation I have selected for this section. The project I chose to iterate for B.2 Case Study 1 is the Voussoir Cloud as the caternary lines are interesting for form and structural design. The technique of tesselation, using lightweight and porous material, from all three projects also influenced the design of my proposal.
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IwamotoScott
V O U S S O I R
C L O U D
The Voussoir Cloud is made of 3-dimensional wedged petals, which connect to one another to form 5 columns. Extending from each column, the petals become larger and eventually construct several vaults at the top of the structure. The design team used digital hanging chain models and form finding technique to refine the profile lines into pure caternaries. The petals represented ‘voussoirs’, traditional wedge-shape stone used to construct arch, but reverse the heavy impression of voussoirs by using folded thin wood laminates as the material. The Vossoir Cloud demonstrates the method to create architectural structural with light material and porous elements. 31
I.M.A.D.E
T R A N S F O R M E R
Transformer is a lightweight, layered, and light-responsive structure that has active-shading function with the potential to be incorporated into building envelope. The quad-shape, polystyrene petals are attached to the lightweight, but rigid polycarbonate strucutal grid. Sensors on the petals interpret light data and deliver message to the motors to alter the petals in closing or opening motions to achieve optimised shading. Transformer is an example of lightweight, transformable, and porous structure that can provide efficient shading, while being structurally stable.
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SOFTlab
P O L Y . l u x
POLY.lux is constructed a number of thin flat elements, which created three tunnels hanging from the roof. The form naturally occurred by pull of gravity force. There are more than 1400 battery-powered LED lights attached to the pieces, and lighten up the structure. The POLY.lux is a design that aims to provide sensory experience to passer-bys with its thin material, porous design, and delicate lighting.
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B.2 CASE STUDY 1
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SPECIES 1 Offset of anchor points at bottom Z force
Offset of anchor points at bottom Z force
Offset of anchor points at bottom Z force
Offset of anchor points at bottom Z force
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SPECIES
2
Offset of circle curve Z force Rest length
Offset of circle curve Z force Rest length
Offset of circle curve Z force Rest length
Offset of circle curve Z force Rest length
Offset of circle curve Z force Rest length
Specie 1 ---> Specie 2 - Base curve is changed from rectangle to circle. - Lofting curves are offset - Anchor points changed
Offset of circle curve Z force Rest length
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SPECIES
3
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Specie 2 ---> Specie 3 - Number of points increase - Change of anchor points 38
SPECIES
4
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Offset of circle curve Z force Rest length Number of points
Specie 3 ---> Specie 4 - Project top curves to a dome - Loft between top and bottom voronoi curve - Change of anchor points 39
SPECIES
5
Size of top end of pipe Size of bottom end of pipe Rest length Size of base circle
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Size of top end of pipe Size of bottom end of pipe Rest length Size of base circle
Size of top end of pipe Size of bottom end of pipe Rest length Size of base circle
Size of top end of pipe Size of bottom end of pipe Rest length Size of base circle
Size of top end of pipe Size of bottom end of pipe Rest length Size of base circle
Size of top end of pipe Size of bottom end of pipe Rest length Size of base circle
Specie 4 ---> Specie 5 - Use pipe as basic geometry
SPECIES 6 Size of top voronoi cell Size of bottom voronoi cell Rest length Number of points
Size of top voronoi cell Size of bottom voronoi cell Rest length Number of points
Size of top voronoi cell Size of bottom voronoi cell Rest length Number of points
Specie 6 - continue from Specie 4
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SELECTION CRITERIA
The proposal for my design is a structure for plants to grow onto it and create a unique form that combines the structure and the plants’ body. When creating the iterations, I was trying to achieve forms that are easy for plants to grow into. I also experimented with forms that are possible to become a shelter for people. Therefore, the criteria for selecting successful iterations of this exercise is a form that is porous / weblike, continuous, and creates shelter space. Four outcomes from the iterations are selected and extrapolated...
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SELECTED OUTCOMES
This structure has a distorted web structure that forms good base for plants to grow and fill up the vacant spaces. The base is circular, and when some pillars are added under, the circular edge create some shelter from sunlight.
The web-like structure has a unique form and very porous. This gives plants many possible routes to grow. There are not much shleter provided, but the form is a good inspiration for further development.
This structure has a lighter appearance than the others as it is supported by several thin pipes. These pipes provide routes for plants to connect at the two main structures in the middle. There is no shelter, but the connections between each part is interesting for further development.
These mushroom-like tubes have expanding tops, which provide some shelter from sunlight. There are spaces in between each tube, so people can walk between and get close to plants growing on the tubes. Web pattern can be later implemented onto the tubes’ surface to make them suitable for plants growth. 43
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B.3 CASE STUDY 2
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Freeland Buck, 2008 Vienna, Austria
TECHNICOLOUR B L O O M
archinect.com
Fig. 1 3/4
3/4
MIDPOINT
MIDPOINT
1/4
1/4
1/4
MIDPOINT
3/4
Diagram 46
1. “Technicolour Bloom,” Freeland Buck, retrieved 18 September 2015, http://www.freelandbuck.com/ Projects/TechnicolorBloom. 2. Ibid.
www.freelandbuck.com
Technicolour Bloom uses parametrical design and standard fabrication technique to produce a doubly-curved architectural form. 1400 unique pieces of flat plywood panels, which are partly colour-sprayed, are used for constructing this kaleidoscopic installation at Silver Gallery, Vienna.1 There are two layers of exact pattern, one on top of the other, to create a three-dimensional sense of the pattern. The project intends to give new possibility to topological surface by incorporating traditional architectural parameters (structure, aperture, and material), to the doubly-curved geometry.2 The use of parametric design enables the complex pattern to be implemented onto the curved surface easily. The pattern, although appears complex, is based on a simple rule using conventional drawing parameter, as shown in the diagram below. The project is successful in showing new possibility of what parametric design can achieve. The collaboration between computation and construction also successfully create a mythical experience for people when interacting with Technicolour Bloom.
Fig. 2
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REVERSE-ENGINEER The main part of reverse-engineering this project is to create the same pattern of Technicolour Bloom. The doubly-curved surface can be easily achieved by lofting several curves. In my process, the main part will be attempting to generate the pattern based on the underlying rule of the pattern, as previously shown.
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1. Lofting several curves for the bottom layer.
2. Lofting several curves for the upper layer.
3. Using Lunchbox to create triangles on a rectangle surface, and then create quadrangles inside the triangles.
4. Using Lunchbox to create triangles on a rectangle surface, and then use VORONOI to generate similar effect as the quadragles.
GET THE PATTERN !!
5. Using Lunchbox to create triangles and quadrangles inside the triangles on the surface. Using LIST ITEM to select each of the three lines that make up the triangles. Use EVALUATE to select points at 1/4 and 3/4 on each line. Use AREA to figure out the centre point at each triangle, and use MERGE and INTCRV to link centre with other two points to draw desired curve. Repeat this three times. 49
6. PROJECT the pattern in step 5 to loft surface in step 2 in the attempt to incorporate the pattern to the surface. The result was distorted and some curves are missing.
7. Change the base surface of the pattern in step 5 to the loft surface in step 2. This attempt successfully incorporates the pattern to the curved surface.
8. OFFSET each curve a few distance away from the original, and LOFT the offsetted and original curves to transform the pattern’s lines into flat frames. This is repeated four times, separately for each group of curves - each line of the triangles and the line of the quadrangles. Both upper and bottom layers gone through this process.
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9. Bake the lower layer with peach material colour, and then copy it by offsetting a little bit upward and make this copied layer white. This is to achieve the effect of spraying inner side of the lower layer peach, while the outer side remains white, as done in the construction of the project. 10. Bake the upper layer with white material. 51
PROCESS DIAGRAM
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www.christofgaggl.com
This outcome can be further developed by changing the basic surface to a flatter topographical surface or a sphere to extend the ability to project pattern generated by using DELAUNAUY or VORONOI, which is restricted to planar surface, onto the more regular surface.
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Fig. 3
OUTCOME & ORIGINAL The outcome depicts the essence of the original project, and explores the effect created by repeating a simple pattern on two overlpping layers. However, the outcome pattern could have been more accurate to the original pattern if the hexagon can be further divided into 12 segments rather than just 6 segments. The method to achieve this was not figured out, as every attempt would restrict, in later stage, the ability to draw curves between 1/4 points, 3/4 points and centre points of each triangle. Another difference is that the lower layer of the original project is in white and peach on either faces, but in the reverse-engineered outcome, two layers are baked, one in white and one in peach, and placed closely to create similar effect. This may be resolved by extruding the lower layer in rhino to create a solid and render each face in white and peach. The reverse-engineered outcome is successful in creating pattern using the same underlying rule as the original pattern. The outcome also achieve the aim of the original project, which is to give new possibility to topological surface by incorporating traditional architectural parameters (structure, aperture, and material). Parametric design has enables the ability for designers to create forms and pattern that would be too complicated to produce or even imagined in the past.
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B.4 TECHNIQUE: DEVELOPMENT
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SPECIES
1
Triangular panel - U: 8, V: 15 Curve group 1 - Crv1: 0.75, Crv2: 0.25 Curve group 2 - Crv1: 0.25, Crv3: 0.75 Curve group 3 - Crv2: 0.75, Crv3: 0.25 IntCrv Degree: 1 Curve offset: 0.8 Hexagon curve offset: 0.9 Quadrangle subdivide: 1 Amplitude - B: 0.39
Triangular panel - U: 6, V: 10 Curve group 1 - Crv1: 0.5, Crv2: 0.5 Curve group 2 - Crv1: 0.5, Crv3: 0.5 Curve group 3 - Crv2: 0.5, Crv3: 0.5 IntCrv Degree: 3 Curve offset: 0.8 Hexagon curve offset: 0.9 Quadrangle subdivide: 1 Amplitude - B: 0.39
Triangular panel - U: 6, V: 10 Curve group 1 - Crv1: 0.2, Crv2: 0.8 Curve group 2 - Crv1: 0.8, Crv3: 0.2 Curve group 3 - Crv2: 0.2, Crv3: 0.8 IntCrv Degree: 3 Curve offset: 0.9 Hexagon curve offset: 0.9 Quadrangle subdivide: 2 Amplitude - B: 2
Triangular panel - U: 6, V: 10 Curve group 1 - Crv1: 0.75, Crv2: 0.25 Curve group 2 - Crv1: 0.25, Crv3: 0.75 Curve group 3 - Crv2: 0.75, Crv3: 0.25 IntCrv Degree: 3 Curve offset: 0.9 Hexagon curve offset: 0.9 Quadrangle subdivide: 2 Amplitude - B: 2
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Triangular panel - U: 8, V: 12 Curve group 1 - Crv1: 1, Crv2: 0.5 Curve group 2 - Crv1: 0.5, Crv3: 1 Curve group 3 - Crv2: 1, Crv3: 0.5 IntCrv Degree: 3 Curve offset: 0.9 Hexagon curve offset: 0.9 Quadrangle subdivide: 2 Amplitude - B: 3
Triangular panel - U: 8, V: 12 Curve group 1 - Crv1: 0.7, Crv2: 0.3 Curve group 2 - Crv1: 0.3, Crv3: 0.7 Curve group 3 - Crv2: 0.7, Crv3: 0.3 IntCrv Degree: 3 Curve pipe radius: 1 Hexagon curve offset: 0.95 Quadrangle subdivide: 1 Amplitude - B: 1.2
Triangular panel - U: 8, V: 12 Curve group 1 - Crv1: 0.3, Crv2: 0.3 Curve group 2 - Crv1: 0.3, Crv3: 0.4 Curve group 3 - Crv2: 0.3, Crv3: 0.4 IntCrv Degree: 3 Curve offset: 0.9 Quadrangle subdivide: 1 Amplitude - B: 1.2
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SPECIES 2 Triangular panel - U: 10, V: 10 Triangular frame scale: 0.95 Curve group 1 - Crv1: 0.7, Crv2: 0.3 Curve group 2 - Crv1: 0.7, Crv3: 0.5 Curve group 3 - Crv2: 0.3, Crv3: 0.5 IntCrv Degree: 3 Curve offset: 0.5 Amplitude - B: 0.97
Triangular panel - U: 10, V: 10 Quadrangle frame scale: 0.7 Curve group 1 - Crv1: 1, Crv2: 1 Curve group 2 - Crv1: 0, Crv3: 0 Curve group 3 - Crv2: 0, Crv3: 1 IntCrv Degree: 1 Pipe radius: 1.5 Amplitude - B: 0.97
Triangular panel - U: 10, V: 10 Quadrangle frame scale: 0.7, N:2 Curve group 1 - Crv1: 1, Crv2: 1 Curve group 2 - Crv1: 0, Crv3: 0 Curve group 3 - Crv2: 0, Crv3: 1 IntCrv Degree: 1 Pipe radius: 1.5 Amplitude - B: 0.97
Triangular panel - U: 10, V: 10 Quadrangle frame scale: 0.85 Curve group 1 - Crv1: 1, Crv2: 1 Curve group 2 - Crv1: 0, Crv3: 0 Curve group 3 - Crv2: 0, Crv3: 1 IntCrv Degree: 3 Pipe radius: 1 Amplitude - B: 0.97
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Triangular panel - U: 10, V: 10 Quadrangle frame scale: 0.85 Curve group 1 - Crv1: 1, Crv2: 1 Curve group 2 - Crv1: 0, Crv3: 0 Curve group 3 - Crv2: 0, Crv3: 1 IntCrv Degree: 1 Pipe radius: 1 Amplitude - B: 0.97
Triangular panel - U: 10, V: 10 Quadrangle frame scale: 0.8 Curve group 1 - Crv1: 1, Crv3: 1 Curve group 2 - Crv1: 0, Crv3: 0 Curve group 3 - Crv2: 0, Crv3: 1 Curve group 4 - Crv3: 0, Crv4: 1 IntCrv Degree: 3 Pipe radius: 1 Amplitude - B: 2
Triangular panel - U: 10, V: 10 Quadrangle frame scale: 0.8 Curve group 1 - Crv1: 0, Crv3: 0 Curve group 2 - Crv1: 1, Crv3: 0 Curve group 3 - Crv2: 0, Crv3: 1 Curve group 4 - Crv3: 0, Crv4: 1 IntCrv Degree: 3 Pipe radius: 1 Amplitude - B: 1
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SPECIES
3
Triangular panel - U: 3, V: 5 Quadrangle N: 2 Curve group 1 - Crv1: 0.5, Crv2: 0, Crv3: 0 Curve group 2 - Crv1: 0, Crv2: 0, Crv4: 0.5 Curve group 3 - Crv2: 0, Crv3: 0.5, Crv4:0 IntCrv Degree: 3 Scale of curves: 0.97
Triangular panel - U: 3, V: 5 Quadrangle N: 2 Curve group 1 - Crv1: 0.2, Crv2: 0.4, Crv3: 0 Curve group 2 - Crv1: 0.2, Crv2: 0.4, Crv4: 0 Curve group 3 - Crv2: 1, Crv3: 1, Crv4:1 IntCrv Degree: 3 Curve pipe radius: 1
Triangular panel - U: 3, V: 5 Quadrangle N: 2 Curve group 1 - Crv1: 1, Crv2: 0.5, Crv3: 1 Curve group 2 - Crv1: 0, Crv2: 1, Crv4: 0 Curve group 3 - Crv2: 0, Crv3: 1, Crv4:1 IntCrv Degree: 3 Curve pipe radius: 1
Triangular panel - U: 3, V: 5 Quadrangle N: 2 Curve group 1 - Crv1: 0.5, Crv2: 0, Crv3: 1 Curve group 2 - Crv1: 0.5, Crv2: 0, Crv4: 1 Curve group 3 - Crv2: 0, Crv3: 1, Crv4:1 IntCrv Degree: 3 Curve pipe radius: 1
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Triangular panel - U: 3, V: 5 Quadrangle N: 2 Curve group 1 - Crv1: 0.5, Crv2: 0.5, Crv3: 1 Curve group 2 - Crv1: 0.5, Crv2: 0, Crv4: 1 Curve group 3 - Crv2: 1, Crv3: 1, Crv4:1 Curve group 4 - Crv1: 1, Crv2: 0.5, Crv4:1 IntCrv Degree: 3 Curve frame scale: 0.99
Triangular panel - U: 3, V: 5 Quadrangle N: 2 Curve group 1 - Crv1: 0.8, Crv2: 0.5, Crv3: 1 Curve group 2 - Crv1: 0.5, Crv3: 1, Crv4: 0.5 Curve group 3 - Crv2: 0.5, Crv3: 1, Crv4: 0.5 Curve group 4 - Crv1: 0.9, Crv2: 0.5, Crv4:1 IntCrv Degree: 1 Pipe radius: 1
Triangular panel - U: 3, V: 5 Quadrangle N: 2 Curve group 1 - Crv1: 0.8, Crv2: 0.5, Crv3: 1 Curve group 2 - Crv1: 0, Crv3: 0, Crv4: 0 Curve group 3 - Crv2: 1, Crv3: 0.5, Crv4: 0.5 Curve group 4 - Crv1: 0.9, Crv2: 0.5, Crv4:1 IntCrv Degree: 1 Pipe radius: 1
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SPECIES 4 Hexagon cells - U: 4, V:3 Curve group 1 - Crv1: 0.5, Crv2: 0, Crv3: 1 Curve group 2 - Crv1: 0, Crv3: 1, Crv4: 1 Curve group 3 - Crv2: 1, Crv3: 1, Crv4: 1 Curve group 4 - Crv1: 1, Crv2: 1, Crv4:1 IntCrv Degree: 1 Pipe radius: 1
Hexagon cells - U: 4, V:3 Curve group 1 - Crv1: 0.7, Crv2: 1, Crv3: 1 Curve group 3 - Crv2: 0.5, Crv3: 0, Crv4: 0.7 Curve group 4 - Crv1: 0, Crv2: 0, Crv4: 0 IntCrv Degree: 3 Curve frame scale: 0.97
Hexagon cells - U: 4, V:3 Curve group 1 - Crv1: 0, Crv2: 1, Crv5: 1 Curve group 3 - Crv2: 0.5, Crv3: 0, Crv4: 0.7 Curve group 4 - Crv1: 0, Crv2: 0, Crv4: 0.7 IntCrv Degree: 1 Curve frame scale: 0.97
Hexagon cells - U: 4, V:3 Curve group 1 - Crv1: 0, Crv2: 1, Crv4: 0.7, Crv5: 0 Curve group 3 - Crv1: 0, Crv3: 0, Crv4: 0, Crv5: 0.5 Curve group 4 - Crv1: 0, Crv2: 0, Crv4: 0.9 IntCrv Degree: 3 Curve frame scale: 0.97
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Hexagon cells - U: 4, V:3 Curve group 1 - Crv1: 0, Crv2: 0.4, Crv3: 1, Crv4: 1, Crv5: 1 Curve group 4 - Crv1: 1, Crv2: 1 IntCrv Degree: 1 Curve frame scale: 0.97
Hexagon cells - U: 4, V:3 Curve group 1 - Crv1: 0.5, Crv2: 0, Crv3: 0.7, Crv5: 0 IntCrv Degree: 3 Curve frame scale: 0.97
Hexagon cells - U: 4, V:3 Curve group 1 - Crv3: 0, Crv4: 0, Crv5: 1 IntCrv Degree: 1 Curve frame scale: 0.97
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SPECIES
5
Triangular panel - U: 5, V: 5 Quadrangle N: 1 Curve group 1 - Crv1: 0.75, Crv2: 0.25, Crv3: 1 IntCrv Degree: 1 Pipe radius: 1
Triangular panel - U: 5, V: 5 Quadrangle N: 1 Curve group 1 - Crv1: 0.75, Crv2: 0.25, Crv3: 1 IntCrv Degree: 1 Pipe radius: 1 Quadrangle curve pipe radius: 1
Triangular panel - U: 5, V: 5 Quadrangle N: 1 Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0.5 IntCrv Degree: 1 Pipe radius: 1
Triangular panel - U: 5, V: 5 Quadrangle N: 1 Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0.5 IntCrv Degree: 1 Pipe radius: 1 Quandrangle pipe radius: 1
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Triangular panel - U: 2, V: 2 Quadrangle N: 2 Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0.5 Curve group 1 - Crv1: 0.5, Crv2: 0.5, Crv3: 0.5 IntCrv Degree: 1 Pipe radius: 1 Quadrangle pipe radius: 1
Triangular panel - U: 2, V: 2 Quadrangle N: 1 Curve group 1 - Crv1: 1, Crv2: 0.8, Crv3: 1 Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0.5 Arc for curve Pipe radius: 1
Triangular panel - U: 2, V: 2 Quadrangle N: 1 Curve group 1 - Crv1: 0, Crv2: 0, Crv3: 0 Curve group 1 - Crv1: 1, Crv2: 0, Crv3: 1 Arc for curve Pipe radius: 1
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B.5 TECHNIQUE: PROTOTYPES
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PROTOTYPE RESEARCH
Fig.1
Fig. 2 http://icd.uni-stuttgart. de/?p=12965
ICD/ITKE Research Pavilion 2014-2015, ICD/ITKE The pavilion is digitally designed based on the analysis of the web building process of diving bell water spider (Agyroneda Aquatica).1 The underlying rule of the water spider’s web proves to be material efficient and stable. The pavilion is fabricated by stiffening a flexible pnuematic formwork with carbon-fiber reinforcement from the inside.2
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1. “ICD/ITKE Research Pavilion 2014-2015,” University Stuttgart, retrieved 18 September 2015, http://icd.uni-stuttgart.de/?p=12965. 2. Ibid.
Fig.3
Fig.4 www.designboom.com
The Hive UK Pavilion Milan 2015, BDP & Wolfgang Buttress The Hive is part of the UK Pavilion at Expo Milan 2015. The connecting rods of the structure is no thicker than a finger to create a very delicate sense.3 The structure was based on the construction of bee hive, which is able to carry the weight.4 The rods are interlocked with each other and LED lights are attached.
3. “Expo milan 2015: inside the hive with wolfgang buttress at the UK pavilion,� Designboom, retieved 18 September, http://www.designboom. com:8080/architecture/uk-pavilion-expo-milan-2015-wolfgang-buttress-interview-05-05-2015/. 4. Ibid.
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JOINTS RESEARCH
Fig. 5
Sqirl Cafe Canopy 2012, Freeland Buck The canopy are made of individual curved strips, which are only hung from its outer edge and connected with each other at inner edge.5 This creates a single, interconnected structure that can be hung to create a canopy.
Fig. 6 http://www.freelandbuck.com/Projects/SqirlCanopy 72
5. “Sqirl Cafe Canopy,” Freeland Buck, retrieved 18 September 2015, http://www.freelandbuck.com/Projects/SqirlCanopy
Fig. 7
Possible Mediums Kite 2014, Freeland Buck The project is a 48 cubic foot space frame was reinvented using the tetrahedral kite concept developed by Alexander Graham Bell. The frame is supported by light material that connects with each other at the joint shown in Fig. 8. The frame is a 3-dimensional volume that project 2-dimensional image as it turns in air.6
Fig. 8 http://www.freelandbuck.com/Projects/PossibleMediumsKite 6. “Possible Mediums Kite,“ Freeland Buck, retieved 18 September 2015, http://www.freelandbuck.com/Projects/PossibleMediumsKite
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PROTOYPING
Incorporate pattern from reverse-engineering onto the surface developed from case study 1
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Lofting the curves with their offsetted parts.
Baking the frames created from loft.
PRODUCING JOINTS
Extract one part of the prototype, and MAKE2D in rhino to generate flat drawing of the pattern.
Separate each triangle frame and prepare each piece ready for laser cutter.
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PROTOYPE JOINTS
When the prototype is pushed in, the structure transformed according to the force.
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When the prototype is pressed from the top, the structure becomes flat. Hence the material and structure make the prototype flexible to change.
The lightweight and porous structure from B.1 Research on tesselation designs have informed the final decision to produce a thin, rigid, and porous prototype for my proposal
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B.6 TECHNIQUE: PROPOSAL
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SITE ANALYSIS: COLLINGWOOD CHILDREN’S FARM
CARPARK
FARM CAFE
ABBOTTSFORD CONVENT
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DESIGN BRIEF: - a web structure for plants to grow into to emphasise the power and beauty of plant growth
SITE: - people visit the farm to be close to nature - the Farm Cafe is a social space where most people go and stay - users are mostly family with children and adult groups CHOSEN SITE: THE OPEN AREA AT THE BACK OF THE FARM CAFE REASON: - the cafe is a social space that encourage people to engage with the design proposal - the cafe provide reasons of people staying longer: food, shelter, seats
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SITE ANALYSIS CERES
COLLINGWOOD CHILDREN’S FARM
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INSPIRATIONS - power of plant growth, such as climbing a post, breaking concrete structure - existing planting at site, a variety of planting methods suitable to different types of plants
DESIGN CONCEPT: - a web structure for plants to grow into to emphasise the power and beauty of plant growth - provide shelter for people - a playful space for children, even adult to get in and enjoy
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DESIGN PROPOSAL
People can get into the structure and be really close with plants, to see and experience the beauty of plant growth, which the Children’s Farm emphasised.
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Shelter are provided by the structure, and interesting shadows may be created under sunlight.
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DESIGN PROPOSAL The design proposal is a network structure that allows plants to grow into its form, as well as create shelter for the people at the Collingwood Children’s Farm. It is to be situated at the open area of the Farm Cafe. Its function is providing space for plant growth within a human environment, potentially for the cafe staff to grow edible plants for their menu, and provide shelter and entertainment for visitors.
NETWORK PLANT GROWTH SHELTER TO TOUCH TO SEE TO INTERACT
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B.7 LEARNING OBJECTIVES & OUTCOMES
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Objective 1
Objective 2
The brief of my design proposal: a structure suitable for plant growth, has provided direction and limitation to my decision when using parametric tool, Grasshopper, for form finding in the iterations of Case Study 1 & 2. I was manily focusing on creating web-like, porous, or expandable form that will be useful inspirations to my design proposal.
The techniques I learned from the tutorial videos for Grasshopper have increased my ability to produce more interesting forms using parametric tools in complex/simple logic. For B.2, B.3, & B.4, I was able to understand the logic of the scripts and alter them accordingly.
B.1
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B.2
Objective 5
Objective 6
The open-ended brief of studio Air allowed me to draft my brief according to my own interest and research. B.1 Research Field provided the foundation of my design brief, and through out the iterations and reverse-engineering, I was able to narrow down the outcomes I intended to achieve.
After understanding the tools and application of parametric design, I was able to analyse the concepts, techniques, and design of contemporary architectural projects. This enables the critical analysis in B.1 Research Field and selection of a project for B.3 Case Study 2.
B.
Objective 3
Objective 4
I learned about the knowledge of using Rhino, Grasshopper, and various 3D media, such as the laser cutter, card cutter, and 3D printer, through the exercise of iterations, reverse-engineering, and prototyping. This skills widen the possible design solutions I can use for my project.
In my understanding, the name of this studio, AIR, encompass meanings of fluid form, transformable structure, and atmosphere of surroundings. The parametric tool, Grasshopper, has enabled me to achieve these qualities in form-finding, as the logic of the script can be easily changed to suit various requirements and limitations of a brief.
.3
B.4
B.5
Objective 7
Objective 8
I have developed foundational knowledge about computational geometry, data structures and types of programming through the process of iterations and reverse-engineering. I needed to research for solution when I faced trouble with the programming. Websites, such as food4rhino and Grasshopper3d, are useful to find plug-in and solutions in parametric programming.
Now that I have learned the advantages, disadvantages and area of application of parametric programming, I have improved my capability to achieve certain desired forms through parametric programming. This capability was what makes my B.2, B.3, B.4, and B.5 possible.
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B.8 ALGORITHMIC SKETCHES
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GEODESIC ON SPHERE
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VORONOI LINES FROM 3D OBJECT
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FRACTAL TECTRAHEDRA
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EVALUATING FIELDS
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GRAPHING SECTION PROFILES
99
GRAPHING SECTION PROFILES BAKE
100
101