STUDIO AIR DESIGN JOURNAL 2017, SEMESTER 2, MATTHEW DWYER JASON LEUNG
INTRODUCTION Hi, my name is Jason. I am currently a second year Architecture student in the Bachelor of Environment program. Before having the university study in Melbourne, I grew up and was educated in Hong Kong, one of the international metropolis. Living in this city with the highest density of population in the world, I have deeply influenced by lots of amazing high-rise buildings and skyscrapers since I was a kid. These buildings are not just masterpieces of art, but also wonderful living examples of how buildings perform as different capacitors in our daily life. I admire how architecture has shaped a place, and our life as well. This is my original belief and reasons to get interested in Architecture. Studio Air is my second design studio in my Bachelor of Environment. In last semester, I was doing Studio Earth and Digital Design Fabrication as my design subjects. These subjects have trained me to develop the technique in computer-aided design and fabrication, which are very helpful in design process. For this subject, I believe algorithmics design will be extremely useful for designing some complicated but parametric structure after I learn Grasshopper in this design studio.
“We shape our buildings; thereafter they shape us.� WINSTON CHURCHILL
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Final design project from Studio Earth
Final product from Digital Design Fabrication
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A
CONCEPTUALIZATION
[A.1] DESIGN FUTURING [A.2] DESIGN COMPUTATION [A.3] COMPOSITION/GENERATION [A.4] CONCLUSION [A.5] LEARNING OUTCOME [A.6] APPENDIX
Fig.1: Future City 6
[A.1] DESIGN FUTURING
Background
Design as an act of futuring
Nowadays, different kinds of natural disasters have become more frequently happen at everywhere in the world. Scientists have investigated and proved what we are now suffering is caused by the climate change due to unduly consumption by human being.1 After the era of industrial revolution, human beings started to apply advanced technology wisely into every part of daily life with the innovation of mechanism and electricity. From that moment, human keep pursuing their endless desires to facilitate a better living standard. However, the natural resources are limited and can never satisfy all human’s need. Such self-centered behavior has not only over-consumed existing resources, but also interrupted the cycle of eco-system. This creates a potential risk in future human development with the problem of resource shortage.
With the power of design, we are definitely capable to shape our future as what we want in the manner of sustainable development. The rapid innovation of technology is a two-edged sword. It was the catalyst for over-spending our nature, but it has become our tool of design intelligence. With the aid of computerization, we can analysis and clarify our actual needs, kind of big data, as a design belief. Digital design can not only speed up the progress of futuring, but also help us to specifically tackle the social need.
At this critical moment, no one is an island. People seem to be awaken by the existing declining and dangerous situation.1 The idea of sustainability was introduced as a proposed vision in our environmental development. By a pattern of good resource use, human can still meets their needs without compromising their future needs. This concept is widely adopted in every part of the society as a remedy for our built environment.
As a building designer, architects plays important role in designing future and city. By using different design approaches and critiques, the most preferable design for futuring could be picked out from various possible design. That’s the magnificence of design. 2 To manipulate into a better environment in futuring.
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Design is a journey of exploration, to critique countless uncertainties with our imagination and innovation. 2 Throughout such natural selection process, evolution occurs and generates what we desire for. That’s how we future our future.
Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45
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CASE STUDY 01 CRYSTAL ISLAND TOWER
Architect: Foster + Partners Location: Moscow, Russia Status: Postponed in construction
This stunning architecture is designed as ‘A city within a Building’. It consists of 3000 hotel rooms, 900 serviced apartments, offices and shops, which totally provides living space for around 30,000 people. It was supposed to be finished in 2014, but unfortunately is still under delay in construction due to the global financial crisis in 2008. 3 This 450m tall building was designed as a selfoperating system. It has a ‘breathable smart skin’ and thermal buffer as its superstructure of glass panels, which can effectively moderate the building temperature by elimination of heat loss in winter and enhancement of natural cooling in summer. Besides, solar panels and wind turbines will also be installed to generate electricity for the building.4 As it is located on the Nagatino Peninsula, edged by the Moscow River, natural water resources can be easily obtained from the river. Thus, a food self-supply chain can possibly formed within this building.
Fig.2: Conicial Tower At Sunset
As a design for futuring our living pattern, this will be definitely a revolutionary project if it is really built. In terms of sustainability, this intelligent building can achieve zero carbon footprint (even negative) by reproducing natural and conserved resources into its self-supply. Furthermore, it also compressed the existing city size into a single building without compromising the living standard. It could be one of the solution addressing the housing problem with rapid population growth in the world. Most importantly, the innovative energy strategy can still be workable under any climate extremes.
Fig.3: Facilities Allocation Yergaliyev, K. and Yergaliyev, K. (2007). World’s Biggest Building Coming to Moscow: Crystal Island. [online] Inhabitat.com. Available at: http://inhabitat.com/tallest-skyscraper-in-the-world-coming-to-moscow/ [Accessed 1 Aug. 2017]. 4 Tabb, P. and Deviren, A. (2013). The greening of architecture. London: Routledge, pp.133-135. 3
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Fig.4: Preliminary View of Crystal Island Tower 9
CASE STUDY 02 SLUISHUIS HOUSING DEVELOPMENT
Architect: BIG, Barcode Architects Location: Steigereiland, The Netherlands Status: Proposed design
Fig.5: Interior of the public courtyard space
Fig.6: Exterior of the building
This project is a winning urban development proposal for a multi-function building in Steigereiland, an emerging district in Amsterdam. Providing 380 zeroenergy residences and around 4,000 square meters of commercial and public area, Sluishuis is conceived as a ‘floating city block’ in the IJ lake. To achieve the goal of sustainability, this green building is designed in a sloping form that can enhance sunlight going through. As a vertical green community, pollutant emissions will be reduced during construction and renewable energy will be used throughout this complex. 5 Sluishuis has demonstrated a thought on how we alternately form our city when most of the land is flood. The rise of sea level due to greenhouse effect is an uncontroversial problem we are now facing. Holland, as a country located at low sea level, has a foreseeable emergency to transform themselves into such floating community as a future pattern of living. Furthermore, the self-sustaining model will be a trend for architecture. When the idea of ‘floating cities’ is expanded into a large network, future residents can conveniently travel inter-city with houseboat.6 This proposal seems to be a salute to Ark of Noah, both use idea of floating object to overcome the flooding issue. This is also an obvious evidence proving we are worth to have a look back on how our ancient had designed their futuring when we are design our futuring.
Fig.7: Public Paths Diagram Designboom(2016). bjarke ingels group to build floating sluishuis in amsterdam. [online] Available at: https://www.designboom.com/ architecture/bjarke-ingels-group-sluishuis-barcode-architects-floating-development-amsterdam-11-29-2016/ [Accessed 1 Aug. 2017]. 6 ArchDaily. (2016). BIG and BARCODE Win Competition for the Sluishuis Housing Development in Amsterdam. [online] Available at: http://www.archdaily.com/800457 [Accessed 1 Aug. 2017]. 5
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Fig.8: Preliminary View of Sluishuis 11
Fig.9: Matter Design Computation 12
[A.2] DESIGN COMPUTATION
Background
Computaion as a continuum of design
Before the time of invention of computer, pen and paper was the only design medium for people to document their idea and be used as the communication platform to let people understand their concept. At that age, design process was inefficient and limited by many physical constraints, thus people could just relies on some mathematics techniques for assisting their design. Anything that can go wrong will go wrong, it also happens in design. Because of the heart resisting any failure may happen during design, most of the design preserved in some simple and regular geometry, rather than intricate composition.
The reason why man is the intelligent soul of the universe is because human are capable to create some new tools to help us addressing the unprecedented situations. That’s the way of how human tackle their limitation throughout history. With aid of digital computation, designer can innovate their thoughts and develop as a design for future.
A revolutionary breakthrough happened when computer was transformed for multi-use. The design strategy was paradigmatically shifted, computer replaces our human brain for the commutation of design geometry. Ideas with certain abstraction and complexity were liberated by computation. Furthermore, computation has also enhanced the fabrication technology, which plays a crucial role in design to convert a virtual concept into physical presentation.
Computation is a system of communication. A logic of algorithm could be evaluated by computing. By understanding the theory and principle of computation, designers are able to create new things by imitation and integration. The advantage of evaluating massive data by computing facilitates the efficiency and effectiveness of analysis, synthesis and evaluation throughout the design process. The most feasible outcome can be sorted out by setting up design rules and bounding restrictions. 7 Moreover, the digital technology has promoted our way of design representation. Parametric design and performative materiality for new age architecture can be generated infinite variability digitally. Evidenceand performance-oriented designs are more achievable in both design and fabrication practice by differentiating their specific parametric principal. 8
Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 8 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 7
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CASE STUDY 01 ZA11 PAVILION
Designer: Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan Location: Cluj, Romania Status: Finished in 2011
Fig.10: Process Diagram
Fig.11: Assembly Scheme
This parametric-designed pavilion was assembled by 746 unique pieces. By using a particular geometrical configuration, an organic ring is formed and subdivided into deep hexagons. After the computation of final design outcome, pieces with exact shape were exported for CNC milling fabrication and assembled into a single model with corresponding labelling by logic of notching.9 This project is a showcase for computational architecture. The computing technique dominates not only the design process, but also the fabrication. Throughout the entire computational design process, geometric pattern was generated and varied into multiple options. These outcome were finalized by evaluating specific criteria to determine the best solution eventually. Furthermore, computation can effectively reduce the necessity of repetitive and difficult tasks. In this case, the interlocking angles for every hexagonal plates are impossible to be figured out by our naked brain. Computation has also presented its powerful feature for determining an optimized geometrical pattern for shading the internal space of pavilion and facilitating visitors to enjoy activities there.10 Besides, the actual assembly process wouldn’t have been possible to trim the raw material into the designed shapes by using traditional method, rather than computation.
Fig.12: Details of Assembly Designplaygrounds. (n.d.). CLJ02: ZA11 PAVILION - Designplaygrounds. [online] Available at: http://designplaygrounds.com/deviants/ clj02-za11-pavilion/ [Accessed 7 Aug. 2017]. 10 ArchDaily. (2016). 5 Ways Computational Design Will Change the Way You Work. [online] Available at: http://www. archdaily.com/785602/5-ways-computational-design-will-change-the-way-you-work [Accessed 7 Aug. 2017]. 9
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Fig.13: Perspective View of ZA11 15
CASE STUDY 02 ICD-ITKE RESEARCH PAVILION 2015-16
Architect: ICD-ITKE University of Stuttgart Location: Stuttgart, Germany Status: Finished in 2016
Fig.14: Structural Diagram
Designed based on the anatomy of a sea urchin, this laminated plywood pavilion was molded and stitched segmented timber shells together with robotic textile fabrication techniques . This research project involved multi-disciplinary knowledge from architecture, engineering, biology and palaeontology. In terms of tectonics, it comprises 151 wooden components in varying dimensions with double-layered structure, which were made of sheets of custom-laminated beech plywood.11 This is another good example presenting the potential of computational design, simulation and fabrication processes in architectural design with initial foundation from other professional disciplines.12 With referring to the synthesis of biological principles and the complex reciprocities between material, form and robotic fabrication, researchers figured out the way to alternate the material performance of timber with an innovative timber jointing and bending techniques after lots of material stiffness trials.11 Therefore, computation can make our design and construction to be more concise and precise in practice. It has slightly loosened the restriction of material properties in some way that we had before, and also boarded our design possibilities. Furthermore, the application of computation converts some complicated design into a comprehensive presentation nowadays.12
Fig.15: Material Differentiation Diagram
Mairs, J. (2016). Robotically fabricated pavilion by University of Stuttgart students. [online] Dezeen. Available at: https://www.dezeen. com/2016/05/05/robotically-fabricated-pavilion-university-of-stuttgart-students-plywood-icd-itke/ [Accessed 7 Aug. 2017]. 12 Menges, A. and Ahlquist, S. (2011). Computational design thinking. Chichester, UK: John Wiley & Sons. 11
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Fig.16: Perspective View of Pavilion 17
Fig.17: Fractal 18
[A.3] COMPOSITION/ GENERATION
From Micro-composition To Macro-generation
Generation as an approach of design
Composition and generation are two main approaches that we adopt in our design process. After the popularization of computational design, the architectural design paradigm has significantly shifted from analogue composition to digital generation by computing. Although computing provides a more efficient performance in generating designs, two ways of approaches are still having their respective functions and advantage. Composition dominates how an elementary component is formed from a root point, whilst generation determines how elementary components are networked in a large scale. The shift between composition and generation establishes an interdependent relationship, but not a hierarchy over another. This gives designers a certain degree of flexibility and freedom to utilize their design under changeable circumstance. By scripting different algorithmic logic with various parameters, designer can explore a range of possibilities in breadth and depth from generative modelling. From different variations in this approach, the optimized result could be found out.
After the popularization of digital computation, the use of generative approach becomes more common implied in architectural design process. One of the obvious advantage is architect don’t have to process some repetitive but complicated task when they just intend to design some similar element in their design. If we consider architecture is a system of communication, autopoiesis, refers to self-production, can perform an overarching, allencompassing function by analyzing some social data and converting them into the parameters of the design. The outcome generated from this parametric model can really satisfy our actual social need in practice.13
Fractal is one of the physical phenomenon embodies the idea of self-generation. Once a small component is formed somehow, it will undergo a process of cell division, to regenerate and accumulate into a huge network. This evolution in nature is difficult to be under control, as it is self-motivated composition. But for generation, human can program a language for the system to learn for its self development. That is the principle of computational design.
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However, there is no needle with both ends pointed. Generative design is only valid to create what we desire when its algorithmic logic is clearly defined. However, algorithmic design requires certain level of understanding about mathematical representation in geometry and space. As it is not a common knowledge for everyone, designer may not fully control and interfere its automation. Occasionally, geometrical constraints will cause some unexpected outcome from generative process.14
Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15
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CASE STUDY 01 NINETY NINE FAILURES
Architect: The University of Tokyo Digital Fabrication Lab Location: Tokyo, Japan Status: Finished in 2013
Fig.18: Design Flow Diagram
Fig.19: Curvature Analysis Diagram
‘99 failures for 1 pavilion’ not only concludes how this research project was done, but also summaries how the pavilion is developed from composition to generation. The object of this project is to explore possibilities in geometry to design a stable pavilion structure that could be unfold into a flat, twodimensional surface from its target shape. An inflated metal ‘pillow’ component in Ninja StarShape, composed of three layers of very thin stainless steel sheets, was fabricated as the final prototype after tested by an algorithmic-programed simulation tests on roughly 50 variations of geometries. With referring to the structure and curvature analysis, the global composition was generated from multiple set of complex parametric coordinates. Eventually, a coherent, integrated structural system was formed from the network of 255 unique metal pillows.15 As a precedent of using generation in architectural design, this pavilion has showcased the magnificence of generating a structure from algorithmic scripting by computation. Parametric modeling is a process of autopoiesis, means self-production. It can logically generate a design from sets of algorithm, which replaces a complex and complicated job done by our naked brain. Although digital generation presents its benefits throughout the design process, it still has its restrictions that bother our innovation. Errors in generation are often occurs during the algorithmic scripting. In this project, some undesirable overlap and conflicts between component coordinates happened in the global composition trial due to their geometrical constraints.16 The problem was solved by refining its parameters in script.
Fig.20: Prototype Fabrication Wang, L. (2014). Ninety-Nine Failures Pavilion is Built from Ninja Star-Shaped Steel Pillows. [online] Inhabitat.com. Available at: http:// inhabitat.com/ninety-nine-failures-pavilion-is-built-from-ninja-star-shaped-steel-pillows/ [Accessed 9 Aug. 2017]. 16 ArchDaily. (2014). Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab. [online] Available at: http://www. archdaily.com/469193/ninety-nine-failures-the-university-of-tokyo-digital-fabrication-lab [Accessed 9 Aug. 2017]. 15
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Fig.21: Perspective View of Pavilion 21
CASE STUDY 02 FIBERWAVE PAVILION
Architect: Carbon_Lab @ IIT Location: Illinois, USA Status: Finished in 2014
Fig.22: Bi-valve shell structure form diagram
Fig.23: Connection and Assembly Diagram
This student-led project is a practice of study in performative and adaptive physical fabrication. Influenced from bi-valve shell structures, the shape of carbon fiber panels were developed from various iterations aided by parametric modeling as its elementary component. 86 panels were fabricated from 6 molds. By using Rhino and Grasshopper as their parametric design software, they explored possibilities of tessellations of the single shell form. A wave-like canopy form was generated and finalized as the final outcome.17 Although this project doesn’t have a visually complex structure, which is normally expected as parametric design, it is still a relevant precedent showing the inter-relationship between composition and generation in architectural design. After decided the shape of component panel, the use of digital generation facilitated the designer to sort out some details about the global composition, such as the curvature of optimized arch, and number of panels required. Furthermore, algorithmic scripting helped to figure out the way and position of connections which fits the design. Even through the design was basically generated by digital parametric modelling, student had also simulated various small-scale prototype to examine the workability of such algorithmic generation.18 That's one of the loophole for using generative design, that some physical failure could not be realized digitally, but for handon fabrication can test it out.
Designboom. (2014). IIT design studio fabricates pavilion of carbon fiber panels. [online] Available at: https://www.designboom.com/ architecture/iit-carbon-lab-fiberwave-pavilion-07-21-2014/ [Accessed 9 Aug. 2017]. 18 Archpaper.com. (2014). IIT Students Explore the Potential of Carbon Fiber. [online] Available at: https:// archpaper.com/2014/07/iit-students-explore-the-potential-of-carbon-fiber/ [Accessed 9 Aug. 2017]. 17
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Fig.24: Perspective View of Pavilion 23
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[A.4] CONCLUSION In general, Part A study gives me a brief understanding on how computational design becomes the mainstream of architectural design. Through the case study researches, the most important insight for me is not just on what innovative invention is to be created for our futuring, but is how design is to be created sustainably for our futuring. The presence of computation is the life-saving cable that keeps human being to survive from the edge of species existence. With the assistance of computation in present design workflow, probably algorithmic design and parametric modelling are the best choice, among all design approaches, that we all should closely follow. Computational design revolutionarily shifts the design paradigm from analogue to digital. This change enables designers to explore potentials and possibilities by establishing a complex algorithmic system. Inter-disciplinary collaboration has been boosted after the emergence of parametric design. The participation of professions from different fields can enhance the performance of the design from multiple perspectives. Massive innovative ideas could be generated from such design approach, with the aid
of digital computation. Furthermore, algorithmic modelling allow a high liberty in modifying the design by varying the parameter input in the system. After trials and testing, the most feasible outcome could be sorted out from iterations and satisfy our actual demands. In the coming design tasks, computational design is undoubtedly my design approach, because it enables me to generate innovative geometrical concept by scripting some complex but parametric models in algorithm. Some data collected from analysis may be converted as the algorithm of design. It definitely strengthens the bonding between the design and concept. Moreover, the parametric characteristic allows reproducing various iterations by different inputs. By the comparison between variations, the most suitable design could be sorted out from such selection.
Fig.25: Shi-An | Katagiri Architecture+Design 25
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[A.5] LEARNING OUTCOME After learning about the theory and practice of architectural computing in these three weeks, I feel especially impressed and amazed by the implication in my chosen six case studies, which completely open my mind on the algorithmic design. Each of them has their particular outstanding features integrated by computational design. These precedents not only persuade me on its crucial function of algorithmic modeling on modern architectural design, but also guide me to appreciate more on some renowned modern architectural masterpieces. The weekly readings have offered me a firm theocratic foundation to understand ideas in academic perspective, and let me have a better comprehension on those precedent study. In the aspect of learning Grasshopper, it definitely is a bitter journey to get familiar in scripting
my algorithmic design process, but it is worth to spend time in learning this powerful plug-in. Fortunately, I am now quite getting used to these command keys and understand how it works. Once I can rectify the error and complete the whole algorithmic script, the variations generated by different sets of parameters brings me satisfaction. I feel interested in varying those parameters to obtain some surprising results. Furthermore, the experience of learning grasshopper has also developed my algorithmic mindset to think issue in logic, which facilities a better sequence on design generation. If there were a time machine that can take me back to refine my past design, I would definitely use the Grasshopper techniques to build a parametric modelling, and it would save me lots of time for going back and forth in revising the design.
Fig.26: “Out Of The Box� | Nudes 27
[A.6] APPENDIX ALGORITHMIC SKETCHES
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IMAGE LIST 1/ TheFutureOfEuropes Wiki. (n.d.). Future-cityamazing-hd-desktop-wallpaper-for-backgroundin-high-resolution.jpg. [online] Available at: h t t p : // t h e f u t u r e o f e u r o p e s .w i k i a . c o m / w i k i / File:Future-city-amazing-hd-desktop-wallpaper-forbackground-in-high-resolution.jpg [Accessed 1 Aug. 2017]. 2/ Alchetron.com. (n.d.). Crystal Island - Alchetron, The Free Social Encyclopedia. [online] Available at: https://alchetron.com/Crystal-Island-2298016-W [Accessed 1 Aug. 2017]. 3/ Welch, A., Welch, A., Lomholt, I. and Welch, A. (2008). Crystal Island Tower - Moscow Building, Russia - e-architect. [online] e-architect. Available at: https://www.e-architect.co.uk/moscow/crystalisland-tower [Accessed 1 Aug. 2017].
14-16/ ArchDaily. (2016). ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University of Stuttgart. [online] Available at: http://www.archdaily.com/786874/icditke-research-pavilion-2015-16-icd-itke-universityof-stuttgart?ad_medium=widget&ad_name=morefrom-office-article-show [Accessed 7 Aug. 2017]. 17/ Tophdimgs.com. (2015). 3662x2400px 8307.17 KB Fractal #380498. [online] Available at: http:// tophdimgs.com/380498-fractal.html [Accessed 9 Aug. 2017]. 18-21/ ArchDaily. (2014). Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab. [online] Available at: http://www.archdaily.com/469193/ n i net y-n i ne-fa i lu re s-t he-u n iversit y- of-tok yo digital-fabrication-lab [Accessed 9 Aug. 2017].
4/ Megapolis Wiki. (n.d.). Crystal-Island-Russia-6. jpg. [online] Available at: http://sqmegapolis.wikia. com/wiki/File:Crystal-Island-Russia-6.jpg [Accessed 1 Aug. 2017].
22-24/ Designboom. (2014). IIT design studio fabricates pavilion of carbon fiber panels. [online] Available at: https://www.designboom. c o m /a r c h i t e c t u r e /i i t- c a r b o n - l a b -f i b e r w a v e pavilion-07-21-2014/ [Accessed 9 Aug. 2017].
5-8/ ArchDaily. (2016). BIG and BARCODE Win Competition for the Sluishuis Housing Development in Amsterdam. [online] Available at: http:// w w w.a rchd a i ly.com /8 0 0 457/ big-a nd-ba rcodew i n- c o mp e t i t i o n-f o r-t h e - s lu i s hu i s -h o u s i n gdevelopment-in-amsterdam [Accessed 1 Aug. 2017].
25-26/ Rethinking The Future - RTF. (n.d.). Rethinking The Future Awards 2017 – Results Rethinking The Future - RTF. [online] Available at: http://www.re-thinkingthefuture.com/rethinkingthe-future-awards-2017-results/ [Accessed 10 Aug. 2017].
9/ Matter Design Computation. (n.d.). Home. [online] Available at: https://www.matterdesigncomputationaap.com/#intro [Accessed 7 Aug. 2017]. 10-13/ Designplaygrounds. (n.d.). CLJ02: ZA11 PAVILION - Designplaygrounds. [online] Available at: http://designplaygrounds.com/deviants/clj02za11-pavilion/ [Accessed 7 Aug. 2017].
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BIBLIOGRAPHY ArchDaily. (2014). Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab. [online] Available at: http://www.archdaily.com/469193[Accessed 9 Aug. 2017]. ArchDaily. (2016). BIG and BARCODE Win Competition for the Sluishuis Housing Development in Amsterdam. [online] Available at: http://www. archdaily.com/800457 [Accessed 1 Aug. 2017]. ArchDaily. (2016). 5 Ways Computational Design Will Change the Way You Work. [online] Available at: http:// www.archdaily.com/785602[Accessed 7 Aug. 2017]. Archpaper.com. (2014). IIT Students Explore the Potential of Carbon Fiber. [online] Available at: https:// archpaper.com/2014/07/iit-students-explore-thepotential-of-carbon-fiber/ [Accessed 9 Aug. 2017]. Designboom(2016). bjarke ingels group to build floating sluishuis in amsterdam. [online] Available at: https://www.designboom.com/architecture/bjarkeingels-group-sluishuis-barcode-architects-f loatingdevelopment-amsterdam/ [Accessed 1 Aug. 2017]. Designboom. (2014). IIT design studio fabricates pavilion of carbon fiber panels. [online] Available at: https://www.designboom.com/architecture/iit-carbonlab-fiberwave-pavilion/ [Accessed 9 Aug. 2017]. Designplaygrounds. (n.d.). CLJ02: ZA11 PAVILION - Designplaygrounds. [online] Available at: http:// designplaygrounds.com/deviants/clj02-za11-pavilion/ [Accessed 7 Aug. 2017]. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16
Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Mairs, J. (2016). Robotically fabricated pavilion by University of Stuttgart students. [online] Dezeen. Available at: https://www.dezeen.com/2016/05/05/ robotically-fabricated-pavilion-university-of-stuttgartstudents-plywood-icd-itke/ [Accessed 7 Aug. 2017]. Menges, A. and Ahlquist, S. (2011). Computational design thinking. Chichester, UK: John Wiley & Sons. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Tabb, P. and Deviren, A. (2013). The greening of architecture. London: Routledge, pp.133-135. Wang, L. (2014). Ninety-Nine Failures Pavilion is Built from Ninja Star-Shaped Steel Pillows. [online] Inhabitat.com. Available at: http://inhabitat.com/ ninety-nine-failures-pavilion-is-built-from-ninjastar-shaped-steel-pillows/ [Accessed 9 Aug. 2017]. Yergaliyev, K. and Yergaliyev, K. (2007). World’s Biggest Building Coming to Moscow: Crystal Island. [online] Inhabitat.com. Available at: http://inhabitat. com/tallest-skyscraper-in-the-world-coming-tomoscow/ [Accessed 1 Aug. 2017].
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B
CRITERIA DESIGN
[B.1] RESEARCH FIELD [B.2] CASE STUDY 1.0 [B.3] CASE STUDY 2.0 [B.4] TECHNIQUE: DEVELOPMENT [B.5] TECHNIQUE: PROTOTYPE [B.6] TECHNIQUE: PROPOSAL [B.7] LEARNING OBJECTIVES & OUTCOMES [B.8] APPENDIX
BIOMIMICRY Design Inspiration From Nature.
Fig.1: Hexagonal Water 34
[B.1] RESEARCH FIELD
About Biomimicry
Potentials of Biomimicry
Nature is forever an experienced mentor for human. Under the theory of natural selection, every species have to undergo different genetic evolutions, in order to keep their offspring survived and fitted in the changing environment. This idea is similar to the logic of design process, to eliminate those unsuitable and let the most feasible one stand till the end. Therefore, human began to develop a field of design approach by understanding the nature, named biomimicry. By investigating the natural features, we tried to learn its logic by emulating its time-tested patterns and strategies, and later represent these wonders as our design in the medium of algorithm.
Located at the intersection of Merri Creek and Yarra River, Dight Falls, a place assigned as the site of this design project, is a natural environment with aboriginal historical background and artificial weir built in recent year. With the presence of biodiversity in river environment, there are lots of ecological elements could be potentially emulated as the inspiration of my further design development. Furthermore, the evidence of indigenous culture could probably be compiled into design as ingredients. In order to promote the program of swimming and inhabiting the creek, the wide range of opportunities around the site facilitates conceptual design with the manner of biomimicry.
Biomimicry is now commonly adopted in many project. The yearly ICD-ITKE Research Pavilion program is one of the well-renowned examples using biomimicry as their foundation of computational design. The 2015-2016 design was also taken as one of my case study in the previous section. What I have learned and inspired from these projects is, biomimicry is not just a method of generating patterns, but also a reference point for developing structures and transforming materials’ characteristics. Thus, its infiniteness of design possibilities initiates my interest to choose it as my research field in the coming project.
In the aspect of fabrication, the logic of composition in nature can be also be analyzed and integrated as the technique of tectonic, which definitely facilitates the model making process in a more practical way. By understanding how things were form in nature, material performance could be altered with similar concept as well. Furthermore, the biomimetic idea are potential to be visualized by other research fields. For instance, geometries interpreted from the site can be taken as the base to develop into panels or tessellation network.
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Fig.2:Aranda Lasch - The Morning Line 36
[B.2] CASE STUDY 1.0 THE MORNING LINE
Architect: Aranda Lasch Location: Seville, Spain; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany Status: Project finished in 2013
Brief Analysis
Experimental Intention
The Morning Line is generated from a recursive network of intertwining figures and narratives varied by different transformation in its scales and orientation. The no-end movement of looping form is connected by lines and embodies their interpretation on space and history of the universe. ‘The bit’, the center of truncated tetrahedral module, is mapped to Matthew Ritchie’s works. The growth and scales change of this fractal structure are derived from those bits in three dimensions. As it is interchangeable, demountable, portable and recyclable, this provides countless opportunities to create different outcome by varying its way of composition and generation of those bits.1 There are mainly three aspects that dominate such parametric model, namely
Base on the grasshopper definition given, the first matrix will explore the potentials in manipulating the geometrical composition of a module, which aims to push the limitation of fractal structure in different parametric setting. The second matrix will subsequently investigate the possibilities of different ways of form generation and attempt to establish a language for developing fractal system in the additional definitions.
1. Modular Composition 2. Modular Generation 3. Surface Patterning This part will only focus on the first two, as such patterning is subject to the design intent.
In order to evaluate the design potential for producing a change room, here are the objective and selection criteria to be considered among different iterations. Aesthetic: To speculate its possibility to generate other interesting form with such approach. Structure: To assess its capability to be designed as a freestanding and lightweight structure. Flexibility: To see how it can manipulate the spatial qualities with certain degree of visual privacy. Relevancy: To extrapolate its opportunities to be converted into something relates to biomimicry.
Aranda\Lasch. (n.d.). The Morning Line. [online] Available at: http://arandalasch.com/works/the-morning-line/ [Accessed 21 Aug. 2017]. 1
Fig.3: General Coposition
37
MATRIX 1 MODULAR COMPOSITION
1. GEOMETRY OF PYRAMID
SPECIES
Variable: Number of Segment
n=3
2. SCALE Variable: Scale factor of fractals
x=0.1
3. COMPLEXITY Variable: Number of Cluster
C=1
4. HEIGHT OF PYRAMID Variable: Coefficient of original height 38
h=0.5
ITERATIONS
No results Pyramid can't be formed. n=4
n=5
n>6
x=0.25
x=0.5
x=0.6
C=2
C=3
C=4
h=0.75
h=1.5
h=3 39
MATRIX 2 MODULAR GENERATION
5. LOOPING FORM
SPECIES
Variable: Shift of list item (brep)
s=0
6. TYPES OF POLYHEDRON Variable: Types of platonic polyhedron
Platonic Cube
Platoni
7. SCALE LOOPING Variable: Scale factor for looping modules
f=0.5
8. LOOPING FOLLOWED WITH CURVE Variable: Looping system of equations 40
(x,y,z)=(t,sin(t),cos(t))
(x,y,z)=(
ITERATIONS
s=3
ic Dodecahedron
f=0.75
(t,t*sin(t),t*cos(t))
s=4
s=5
Platonic Icosahedron
Platonic Octahedron
f=0.9
f=1.1
(x,y,z)=(t,(1/t)*sin(t),(1/t)*cos(t))
(x,y,z)=(t,0.1*sin(t),0.1*cos(t)) 41
SUCCESSFUL OUTCOME AND ANALYSIS
[S3,I3]
[S6,I2]
Aesthetic: Structure: Flexibility: Relevancy:
Aesthetic: Structure: Flexibility: Relevancy:
This iteration is the best outcome from testing out the limitation of fractal complexity, which minimizes the cumbersomeness caused by the fractal structure. By generating a structure with such module, it will create a geometrical form with broken edges and triangular openings. These features can be manipulated to create different spatial qualities and degree of privacy in designing the change room. The truncated tetrahedron preforms well as module and joint, which allows to be designed as any structure. Furthermore, its fractal structure can be interpreted as the cell division or something similar, which may related to the ecosystem in Dight Falls.
By playing with different types of platonic polyhedron, dodecahedron seems to be a good alternative for generating a modular structure. It has a high flexibility to link modules into network without overlapping because of its multiple faces. In addition, it creates a certain degree of curvature with some gaps between modules. This may relate to the control of privacy and lighting in designing change room. However, dodecahedral element is visual bulky and not easy to be found in natural, which is a significant drawback for applying it into the design.
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[S7,I4]
[S8,I1]
Aesthetic: Structure: Flexibility: Relevancy:
Aesthetic: Structure: Flexibility: Relevancy:
This iteration is chosen from the specie for experimenting scaling module in related to its general form with different growing factor as the parameters. The outcome is quite impressive as it is somehow symbolizing the idea of genetic growth in nature and relates to biomimicry in vegetation. It can also be used for a structure member for holding up a freestanding canopy on the site. Moreover, the scaling in module size may cause different light and shadow effects, to create an organic form with different degree of privacy.
This is the best iteration among all of them. Its looping structure is quite close to the real project of the Morning Line. The organic form is similar to those vines in nature. It is potential to be developed into a warping structure or arches for the changing room by converting some natural phenomenon into algorithmic expression. However, one of its shortcomings is looping form is difficult to create some enclosed space with certain degree of privacy. It only allows to form some open or semi-open environment with this approach.
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Fig.4: LEAD - Dragon Skin Pavilion 44
[B.3] CASE STUDY 2.0 DRAGON SKIN PAVILION
Architect: Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD) Location: Hong Kong Status: Project finished in 2012
Brief Analysis
Assumption & Limitation
The Dragon Skin Pavilion is an architectural art installation using emerging patterns and digital fabrication technology to challenge the opposing perception between structure and structurally define ornament. The objective of this project is to explore some new possibilities in spatial quality and material performance. Benefited from the mature technique in contemporary digital design and fabrication methods, the design team create a computational model for simulating their design before real fabrication. Material properties, such as the elasticity, stiffness and weight, are inputted into the algorithmic model for data analysis. These facilitate the design team to sort out the irregular interconnections of repetitive panel network into the overall shape configuration. The parametric data is collected for manufacturing those plywood components and deforming them into certain shapes. 2
Based on the observation and researches on the project images available, the algorithmic definition will be focus on recreating the interconnected panel network. The curvatures and size of each panel are assumed uniform. All structural concerns will be neglected in the process due to insufficient information about the material characteristics. Furthermore, an uniform curved surface will be used for reverse-engineering this project for a better control on its overall shape.
Fig.5: Percepetive View
Fig.6: Section Diagram
ArchDaily. (2012). Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD). [online] Available at: http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead [Accessed 21 Aug. 2017]. 2
45
DESIGN INTENT DIAGRAM DESIGN INTENT
Fig.7: Dragon Scale
Fig.8: Digital Modelling
Fig.9: Bending Plywood
Concept & Inspiration
Parametric Modelling
Dragon Scale
Material Properties
Stiffness
Fig.12: Components Files 46
Fig.13: Grids to Curves
Strength
Fabrication
CNC Cutting
Elasticity
Post-formable Grada
Fig.14: Component production line
REALISATION
Fig.10: Assembly
n
Bending Into Shape
Assembly At Site
Transportation & Delievery
a Plywood
Fig.11: Interior
The design team take the dragon scale as their concept to develop a design. In order to create some curved panels that symbolize the dragon scale, they test the material under different requirement and obtain a set of data regarding its physical properties. By analyzing its capability constraints, the data will be converted into some parameters in the algorithmic modelling. After trails on different parametric settings of the panel network, CNC cutting files for each component are generated from precise calculation on their slots for the sliding joints. Subsequently, the pre-heated panels are bent in a mold to deform them with certain curvature. All components are uniquely labelled and numbered for assembling or dismantling the structure.
Fig.15: Building Order Scheme 47
REVERSE ENGINEERING DIAGRAM
Base Curve
Extrusion Curve
Extrude Surface
Quadrangular Panals
End Points Of Edge
Polyline Base (Edge 1)
Rotate
Polyline Base (Edge 2)
Mid Point Of Edge
A
STEP 1: SURFACE FORMATION
STEP 2: PANELLING
STEP 3: BASE LINE FORMATION
STEP 4: SECTION LINE GENERATION
Create two curves as base and section. Extrude those into a surface.
Divide the surface into small quadrangular panels.
Identify the edges order of the small panels. Join the ends of base edge and mid-point of its opposite edge into a polyline as the first edge.
Rotate the polyline with desirable angle as the second edge. Create the axis line by using the vertexs of two edge and the ends of panals' base edge. Fillet the axis line into natural bending curvature.
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Loft Suface
Axis Line
Scale Up
Rotate For Overlapping
Rotate For Interlocking
Fillet Edge
STEP 5: PANEL FORMATION
STEP 6: PANEL ENLARGEMENT
STEP 7: EDGES OVERLAPPING
STEP 8: EDGES INTERLOCKING
Loft the first edge, the second edge and the filleted axis into a single surface.
Enlarge the panels to ensure there is room for overlapping.
Flip down the edges to make panels overlapping.
Rotate the panels to make edges intersecting with the adjacent edges for interconnection.
49
FINAL OUTCOME AND ANALYSIS
50
The Final Outcome is produced and attempts to imitate the original project as similar as possible. The most successful aspect of this reverse-engineering is the logic of form generation on how the curved panels are interconnected to each other and formed as a single structure. The gaps between the panels can also achieve the functions for filtering the light and view going into the pavilion. However, there are still some significant differences in details between this outcome and the original one. For instance, the slots for sliding joints are not under well control, as the size and orientation of panels is manually adjusted in our grasshopper definition. Undoubtedly, this outcome provides us a strong foundation to design our change room with basically two reasons. First is the technique of manipulating panels is helpful for designing an enclosed structure with certain degree of privacy, whilst the panel shapes can be changed and is subject to our design intent on something inspired form biomimicry. Second is the interlocking technique provides us a solution of a freestanding structure. The self-supporting and lightweight requirement can also be achieved as it doesn’t required further supporting members to hold up its structure.
Fig.16: Exterior 51
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[B.4] TECHNIQUE DEVELOPMENT
Area of Interest
Development Intention
Based on the definition developed in Case Study 2.0, we have developed a certain degree of capabilities in manipulating a surface into a panel network. This definitely has high potential to be further developed as the cladding or facade of our change room design. However, we have also realized that the interlocking technique restricts our possibilities to use alternative panel shape, as well as its networking logic. Therefore, we have decided to explore further variations in the panel geometry, as well as the network geometry in our first development field.
As we are now intended to use such panel network as our kinetic facade, panels are no longer performing structural function as an assumption in our technique development. However, we also assume a gridshell structure will be designed as the structure afterwards, to make our design freestanding. Panels will also attach to that gridshell and be controlled by a mechanism. These issue will be deeply investigated in prototyping.
Furthermore, we are also aiming to design our panel network as a responsive skin system, which allows certain degree of adaptability and flexibility on the privacy requirement. Thus, another field is to investigate how the panel transformation influences on the overall structure. The iteration produced will be considered as the panel movement in such responsive skin design. Combining the results from first two development field, the parametric setting will be employed to the form finding development. This part aims to produce some structures can be used in the change room design.
Because of the above reason, the selection criteria is slightly modified, and shift the focus on how the panels perform as an overall form. Aesthetic: To speculate its overall feeling and emotional effect to visitor. Kinetic Potential: To assess its potential to be developed as a responsive skin system. Flexibility: To see how it can facilitate the spatial qualities with certain degree of visual privacy. Relevancy: To extrapolate its opportunities to be related to something with biomimicry symbolism.
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MATRIX 1 NETWORK FORMATION
1. CHORD GEOMETRY
SPECIES
Variable: Base Chords of Panel (Top/Bottom)
Arc/Arc
Polyline/Arc
Quad Panels
Straggered Panels
6:1
3:1
2. PANEL GRID Variable: Types of Panels
3. SURFACE GRID RATIO Variable: Number of Panels in UV Direction (u:y)
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ITERATIONS
Arc/Polyline
Semi-Hexagon/Semi-Hexagon
Concave Curve/Concave Curve
Skewed Panels
Diamond Panels
Random Quad Panels
2:1
3:2
1:3
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MATRIX 2 PANEL TRANSFORMATION
4. DEGREE OF FOLD
SPECIES
Variable: Panel Width (Remapped to Grid Width)
w=0.33
w=0.5
α=+2.0
α=+1.5
β=-1.2
β=-0.6
5. ORIENTIATION OF PANELS Variable: Rotation Along Panel Normal
6. FLIP OF VERTEX Variable: Rotation At Panel Vertex
56
ITERATIONS
w=0.6
w=0.7
w=0.8
α=+1.0
α=+0.5
α=0.0
β=-0.1
β=+0.4
β=+0.8
57
MATRIX 3 FORM FINDING
7. VERTICAL SURFACE APPROACH
SPECIES
Variable: Horizantial Dynamic of Base Curve
8. CANOPY APPROACH Variable: Curvature Profile of Curves
v1={-14,-40,23}, v2={20,1,0}
v1={21,-32
9. RIB STRUCTURE APPROACH Variable: Section Profile of Ribs
58
s=(0.35,0.33,0.25,0.00)
s=(0.00
ITERATIONS
2,54}, v2={-7,-32-26}
0,0.25,0.33,0.00)
v1={13,-52,35}, v2={24,-32,0}
v1={17,-100,35}, v2={16,0,0}
s=(0.00,0.44,0.22,0.00)
s=(0.53,0.42,0.09,0.00)
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SUCCESSFUL OUTCOMES AND ANALYSIS
AA
[S7,I1]
AA
Eleevation
60
AA
Aesthetic: Kinetic Potential: Flexibility: Relevancy:
AA
Plan
This iteration is produced by manipulating the base curve and its vertical extrusion by two sets of graph mapper. The parametric setting makes the concaved wall provide a dynamic feeling, which visualizes the fish movement as its form, whilst the size of panels varies according to the curvature. An enclosed space is created and potential to be designed as changing room. In terms of visual privacy, panel network generally performs well in blocking light and view, although some of them are not large enough to cover those area. This also affects the synchronization of the responsive skin in general.
Section AA
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BB
BB
[S8,I3]
Eleevation
62
BB
Aesthetic: Kinetic Potential: Flexibility: Relevancy:
BB
Plan
This canopy structure is generated by varying the curvature of the surface edges. This is a potential form to be design as the entrance of the change room. The gradient change in space underneath and lighting promote the idea of visual privacy. Furthermore, the panel allocation is general evenly distributed, which allows the panels having certain degree of kinetic movement.
Section BB
63
CC
CC
CC
[S9,I1]
CC
Eleevation
64
CC
Aesthetic: Kinetic Potential: Flexibility: Relevancy: Plan
This species is designed to imitate the fish shape by manipulating its skeleton as the sections of a ribbed structure. The form of this iteration showcases the middle part of a fish body, which has potential to be designed as a covered passageway, leading people to the change room. Furthermore, the orientation of the panels are well arranged in a genetic way and provide different degree of privacy for the interior space. However, the kinetic panel may not function well at the ribbed edge, as some of them are overlapped.
Section CC
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DD DD
DD DD
[S9,I4]
Eleevation
66
DD
Aesthetic: Kinetic Potential: Flexibility: Relevancy: Plan
This dynamic form integrates the behaviors of previous two iterations. The form of this outcome seems to be the fishtail part, which has a smaller opening in one side and a bigger opening in another side. This structure can be the threshold in our design, to block outsider looking inside and maintain the privacy for the change room. Similar to the last iteration, the panels at the edge are all overlapped, which is a design issue for installing kinetic panels there.
Section DD
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68
[B.5] TECHNIQUE: PROTOTYPE
Fabrication Concerns
Prototyping Strategies
The purpose of prototype is for testing out the materialization in relationship to our developed technique in a concise but precise scale. Upon what we learnt and developed at this stage, there are three main fields that relate to our design methodology.
In order to tackle and address our fabrication concerns one by one, here is our testing objectives for making our prototype.
1. Panels As we are going to design a responsive skin system for the change room, the materiality of panel must allow certain degree of bending, which is interactive to be triggered by other external condition. Secondly, the panel should be digitally fabricated, based on the parametric data collected from the algorithmic modelling. 2. Structure Referring to the brief of designing the change room, a lightweight and freestanding structure is required to be built for support on site. The structure has to be stiff enough for enabling the panel network attachment as external cladding. Moreover, the composition of the structure should be in grid form, where the grid size can be modified, subject to the panel network. This facilitates the fabrication and assembly process as every panel is understood as modular component. The assembly of structure should also offer some flexibility for having some curvy surface as its form. 3. Joints The joints are not only the connections of the structure, but it is also the methodology to attach the panel into the structure. The presence of kinetic trigger has to be taken in account for the joint design. The ultimate goal is making it rigid in structure, but flexible in panel movement.
1. Materiality In terms of material choice, we are looking for something that has high elasticity and tensile strength for material bending. In additional, we will investigate the techniques of pattern curving, to see how different types of patterning and fabrication detail can improve the material bending allowances before cracking. 2. Gridshell Structure Based on our specification requirements, illustrated in the fabrication concerns, gridshell structure seems to be the most suitable approach for us. Therefore, we eliminate other possibilities and narrow down to focus on gridshell as our prototyping study. Different material choices, fabrication logic, as well as the assembly methodology will be tested out to see their performance in general. 3. Joint Connection Joints are small, but function critically in our responsive skin structure. Different combinations of joints and materials will be tested to see their potential and constraint in different situation.
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PROTOTYPE 1 MATERIALITY
1. DASHING LINE
PATTERNS
Straight Lattice, Varying Density
2. DASHING GAPS Rectangular & Straight Lattice, Varying Density
3. CONTINUOUS LINES Straight Etch, Varying Area 70
4. CIRCULAR HOLLOWS Circular Lattice, Varying Density
5. DROPLET HOLLOWS Water Droplet Lattice, Varying Density
6. PATTERN DENSITY Straight Lattice, Varying Area 71
Lessons From Patterning In our first laser cut job, the bamboo veneer samplers are all impossible to be bent. We thought that, the patterns are etched too shallow, and can’t curve the veneer in a proper way. Therefore, we modified our laser cut file with replacement of cut line for several patterns. Deep etching was specified in our resubmitted job. For the second job, the bending performance is obviously improved. Those with straight lines etching and dash lines cutting can be bent with certain degree, compared to those shallowly etched. However, the result is still far away from our expectation on its functional specification. We realized that the grain direction is also a critical factor to be considered for bending bamboo veneer, which means all components were cut in the ‘wrong’ grain direction. Learnt from our previous experience, six sets of pattern were selected and sent for laser cutting, where the patterns were place along the grain direction. This time is the most successful attempt in achieving desired effects. All sampler can be bent with certain curvature. However, another issue we got is the surface tensile strength is relatively weak for patterning in this grain direction. Cracks appears frequently after our bending test. Polypropylene is also tested with patterning. Because of its soft and elastic properties, the trials are pointless to be analyzed as we can’t obtain a proper bending edge with using these.
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PROTOTYPE 2 BENDING PANELS
Dash line patterning is employed in this prototyping, as it is the most effective solution to curve material properly. The result of this bamboo panels bending simulation is quite positive. It provides us some practical idea and solid data on how we can design the kinetic panels.
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PROTOTYPE 3 GRIDSHELL STRUCTURE 1. MDF WAFFLE GRID MDF Waffle Grid Interlocking Joint MDF waffle grid is the most rigid structure that we have tested. However, the interlocking technique doesn’t facilitate for joint connection between panels and structure. Furthermore, this is not good for applying to multi-curvy surface, because its structural tolerance is too little for interlocking every slots in position.
2. POLYPROPYLENE WEAVING GRID Polypropylene Weaving Grid Eyelet Joint Polypropylene weaving structure is too soft and flexible in structure. It can be deformed easily, and doesn’t fulfil the structural specification for a lightweight but self-supporting gridshell structure.
3. BAMBOO VENEER WEAVING GRID Bamboo Veneer Weaving Grid Bolts and Nuts Joint Bamboo Veneer weaving structure comprises the advantages from both previous gridshell prototypes. It provides an elastic structure, which fits to any curvy surface with reasonable strength for support. The joint connection provides potential to be further developed for panel attachment.
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PROTOTYE 4 JOINT CONNECTION 1. INTERLOCKING JOINT Interlocking joint is restricted to be used for the material with certain thickness. Furthermore, it is not an appropriate structure for attaching panels on the waffle grid surface.
2. EYELET JOINT Eyelet joint is only applicable for the intersections with few and thin layers. Thus, it is hard to be employed as the joint connection in real scale fabrication.
3. BOLTS AND NUTS JOINT Bolts and Nuts joint has the best joint performance. It can be reversible and reusable, which provides tolerance of fabrication mistakes. Besides, it can be applied in real scale fabrication with bolts in larger size. Furthermore, it is east to be compiled into other component as well.
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76
[B.6] TECHNIQUE: PROPOSAL STRANDED ENTITIES
Programme: A change room for swimmer at Dights Falls
Design Brief
Specifications: Lightweight, Visually privite, Freestanding
Biomimicry Inspiration: Australian Grayling Fish Scale
Concept & Inspiration
Design Concept: Idea of Equilibrium
Technique Development: Panel Network from CS2.0
Parametric Modelling
Optimisation: Analysis from Prototyping
Fabrication Method: Laser Cutting
Fabrication
Joint System: Bolts And Nuts
Physical Modelling
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DESIGN CONCEPT DIAGRAM
N
A
D LY
IE N
FR
IN +G L O B A L WA R M
G
N
E
+
FO
RM + R
EPRO
C DU
CHANGE ROOM
78
K
S
R
RI
+R VE E SPE C T + R I
IN
BIOMIMICRY AL
M
A L I A N G R AY L
SC
U
RI
A
LIB
L+
IG I N A L /E U R
E OP
EQU I
A L /A R T I F I C I A
OR
SYMBOLISM
U
R ST
G
A
TU R
BACKGROUND/ SCENARIO AB
E R WAT E R
ON
RIV
TI
C O N F L IC T
+
SI
TE
TR
Y
ET
AF
+
E C AU I O N + S T
CY
PR
E
PROGRAMME
TUR
ACTIVITY
UC
C H A N GI NG
P R I VA
+
M SW I M I NG
C ON
F LU E
+ NCE
S
Nowadays, conflicts between different value judgments is becoming more frequent and common in our society. On the other hand, the over-exploiting of natural resource speeds up the decay rate of our inhabitant. The negative influence of global warming has been becoming more significant in our daily. What we are now suffer, is all because of the arrogance and selfishness of human being. Therefore, we promote an idea of ‘Equilibrium’ in our design. To consider the nature as a stakeholder before making any development decision. To respect the nature as it provides what we need in our daily life. To value the nature as our friend. Based on the research and technique developed in the previous section, our design form is based on the fish movement of Australian Graylings, a common fish species found in Dights Falls. The structure sits on the river bank, which symbolizes a stranding fish. This is the message we want to express to the visitor, to warn them we are now at a critical and dangerous moment. There is no more time for us to be an innocent person about the environment we are now living.
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3. 7.
4. 5.
6.
1.
2.
1. Dight Falls 2. Yarra River 3. Merri Creek 4. Fishway 5. Proposed Ch 6. Migration of 7. Pavilion
1 : 2000
Plan
80
Elevation
k
hange Room f Australian Grayling Isometric
81
82
[B.7] LEARNING OBJECTIVES AND OUTCOMES Objective 1: “Interrogating a brief”
Objective 5: “Making a design proposal”
Before start doing every weekly task, I have read through the task requirement in the subject guide and tutor’s instruction during the studio. The studio brief of designing a change room is frequently checked to ensure the techniques developed and learnt from the tasks can facilitate my further design. Successful outcomes are chosen on the basis of selection criteria, which are the design requirements illustrated in studio brief.
Based on the knowledge we learnt from other case studies, we have interpreted their techniques as our design tools. We tried to use the panel networking structure as our design approach for a lightweight and freestanding change room.
Objective 2: “Generating design possibilities” The case study exercises consolidate my capability of manipulating algorithmic design and parametric modelling. Creating iteration matrix and extending developed technique push me forward to explore some new possibilities beyond their intrinsic grasshopper definition. Objective 3: “Three-dimensional media skills” By understanding the scripting logic in grasshopper, I have developed some skills on manipulating the parametric data from digital modelling to some useful information for fabrication. In my prototyping stage, I have used the data about the intersections of curves as the reference for cutting some slots and hole to install joints in place. Objective 4: “Architecture and air”
Objective 6: “Analyzing architectural projects” The reverse-engineering enables my ability to know what they have done and how they make that. This is an interesting process to understand their design intents in a deeper sense. Objective 7: “Understanding Computation” From playing parameters in a given grasshopper definition in Case Study 1 to develop our own algorithmic model as a design proposal, this is a significant improvement of my grasshopper technique. It provides me to understand the way to manipulate what I have created. Objective 8: “Developing a personalized repertoire” Scripting the grasshopper definition is a no-end process of trial and error. Personalities will be developed from experiences. For instance, ‘DeBrep’ and ‘List Item’ are frequently used and reliable for develop the definition in my style.
Prototyping is a process to visualize a single algorithmic model into variations of physical models, which are showcased in how we use the prototypes to support our design proposal in a persuasive way.
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[B.8] APPENDIX ALGORITHMIC SKETCHES IMAGE SAMPLER
84
85
RECRUSIVE FUNCTION
86
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IMAGE LIST 1/ Hexagonalwater.com. (n.d.). Hexagonal water. [online] Available at: http://hexagonalwater.com [Accessed 14 Aug. 2017]. 2-3/ Aranda\Lasch. (n.d.). The Morning Line. [online] Available at: http://arandalasch.com/works/ the-morning-line/ [Accessed 21 Aug. 2017]. 4-6, 8-16/ Dragonskinproject.com. (2012). Dragon Skin. [online] Available at: http://dragonskinproject. com/ [Accessed 21 Aug. 2017]. 7/ Pittards.com. (n.d.). Black Dragon Aniline Leather|Leather Skins|Pittards. [online] Available at: https://www.pittards.com/shop/black-dragonleather-skin-85mm [Accessed 21 Aug. 2017].
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BIBLIOGRAPHY Aranda\Lasch. (n.d.). The Morning Line. [online] Available at: http://arandalasch.com/works/themorning-line/ [Accessed 21 Aug. 2017]. ArchDaily. (2012). Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD). [online] Available at: http://www.archdaily.com/215249/dragon-skinpavilion-emmi-keskisarja-pekka-tynkkynen-lead [Accessed 21 Aug. 2017].
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