Humardani_Jesslyn_765837_PartB

B

CRITERIA DESIGN

34

35

TESSELLATION

Tessellation is a technique that is now commonly explored in parametric design. It is a technique that involves the usage of repetitive elements to create a plane or surface. The polygons of the pattern should have no gaps or overlapping spaces.1 The tessellation technique can be used to create singly or doubly curved surfaces.

In architecture, tesselation is often seen in buidling facades to create different textural qualities to surfaces. It can also help create complex shapes. With the evolution of digital design, tessellation results to a more efficient and cheaper method of designing and fabrication.

Tessellation can create dynamic forms by the use of its modular elements and consideration of materiality. For instance, Polyp Lux by Soft Architecture Lab was able to create the dynamic oculus forms through the use of its modules that can stretch to any direction, creating the fluid form. The use of each module in this case help ease the fabrication process and a more cost efficient method, rather than creating a single surfaced fluid form.

B.1

RESEARCH FIELDS 36

Material selection is a very crucial aspect in tessellation.

The material behaviour will be the one that ultimately affect the final form and pattern. Understanding the materials can ease the method of fabrication. For example, to create a form like the VoltaDom, using a membranelike material will be easier than using stones. Therefore, it is important to understand the technique as well as the material usage.

1 Lisa Iwamoto, Digital Fabrications, 1st edn (New York: Princeton Architectural Press, 2009), p. 36-43

As mentioned by Peters, it is important to think of the pragmatic world of construction while being able to balance it with the conceptual world.2 Tessellation is one of the most efficient method to achieve the desired conceptual surface form. With the help of digital fabrication, construction of tessellation is made even easier. The help of laser cutting to create the modules, as can be seen in several installations or structures created by Soft Architecture Lab. It allows for the ability to create standardsize materials that can be mass produced at once and assembly can be controlled, again making the process more efficient.

By discovering the potentials and flexibility of tessellations to manipulate surfaces, architects has now began to incorporate tessellation as a method of enhancing the user experience and performance of the building, by controlling the parameters that were used to design it.

Tessellation offers designers various surface parameters that we can explore, such as undulations, sizes of modules, shapes, etc. It can be created to create a responsive skin that answers to the issues of its environmental surrounding. This means, through the cooperation with parametric design, the tessellation technique can now be adjusted to different conditions, creating a different experience for different users in different places.

2 Brady Peters, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron�, Architectural Design, 83.2 (2013), 56-61

Polyp Lux by Soft Architecture Lab

37

POLYP. LUX Soft Architecture Nuit Blanche, New York 2011

A site specific hanging installation produced by SOFTlab was a part of Flash: Light 2011. It is located at the entrance of St Patrik’s Catholic School.1 The form was created through a gravity force process and then set upped for production. The surface contains over 1400 battery powered LEDs.2 The piece was designed to lighten the entrance for the evening event.

The focal formal expression of the creation are the hanging pieces that spark and sway in the wind. This is an example of thinking about the materiality, not only technique of designing. Like the purpose of the typical barrier, the installation is used to moderating the traffic through experience and effect; the visitor is to interweave and interact with the piece, such like a clown fish and the sea anemone.

This is an interesting combination of consideration towards the method of designing and the materials used for fabrication. Considering that the form is based on the idea of gravity pulling it downwards, using light weight material is suitable.

1 “POLYP.Lux – Softlab”, Soft Lab Architecture, 2017 <http://softlabnyc.com/portfolio/polyp-lux/> [accessed 11 September 2017].

2

38

Ibid.

39

VOUSSOIR CLOUD IWAMOTO SCOTT ARCHITECTS SCI-Arc Gallery, Los Angeles 2008

The Voussoir Cloud by Iwamoto Scott with Buro Happold was a project constructed out of 2300 petals of thin wood.1 The underlying premise behind the Voussoir Cloud is a compressed structure made out of lightweight petals of thin wood laminate based on the form of voussoirs.2 The form was built using different shaped modules. The triangular modules have zero, one, two or three edged curves as shown in the diagram on the left. They are connected to one another by the usage of flanges. The usage of tessellation allows for the creation of doubly curved surface.

It is a form that resembles that of a which intrigued me the most in terms of tessellation. It attempts to challenge the juxtaposition between forces and materiality, in this case, pure compression in vaults with paper-thin wood laminate. Through research, I realise that this project not only incorporates tessellation but also patterning and geometry, with the integration of these elements forming seemingly simple yet elegant form.

B.2

1 2

Through the use of digital programs, the engineers were able to create the most efficient form possible that could still be structurally strong and resist the bending forces.

This proves the usage of computational programs to help increase efficiency and structural integrity.

This project seems to appeal to me due to its focus on materiality. Although it uses the same technique of tessellation as the Polyp Lux by Soft Architecture Lab, the effect is sdifferent. The Polyp Lux created a sense of pulling, while due to the use of rigid materiales and structure, the Voussoir Cloud has sense of being compressed.

Although the form looks like a fabric being pulled, the final fabrication and material resulted in the rigid columnlike structure.

K.G., â&#x20AC;&#x153;Voussoir Cludmâ&#x20AC;? Architect 98, 8 (2009): 58.

Ibid

CASE STUDY 1.0 40

41

ITERATIONS

1

2

3

4

5

6

7

8

9

10

P=3

P=4

P=5

P=6

P=8

P=3

P=7

P=7

P=9

P = 11

S = 0.15

S = 0. 30

S = 0. 5

S = 0. 75

S = 1. 00

S = 0.15 Fz = 3

S = 0. 30 Fz = 3

S = 0. 50 Fz = 3

S = 0. 50 Fz = 5

S = 0. 75 Fz = 5

L = - 20 Fz = 3

L = - 15 Fz = 3

L= - 10 Fz = 3

L=-5 Fz = 5

L=3 Fz = 5

R=0 Fz = 0

R=1 Fz = 3

R= 2 Fz = 5

R=3 Fz = 8

NUMBER OF COLUMNS Points (P)

SIZE OF COLUMNS

Size (S) Unary Force towards Unit Z (Fz)

LENGTH OF COLUMN

Length (L) Unary Force towards Unit Z (Fz) L = - 10

L=-8

L=-5

Fz = 3

Fz = 5

Fz = 8

L= -3

L=3

EXPLOSION

Rest Length (R) Unary Force towards Unit Z (Fz) Fz = 10

Fz = 10

R=5 Fz = 10

EXPLORATION

Using different Plugins and different commands for 10 points of columns

42

Voronoi Radius = 10

R=1 L = 10

Diagonalize (Kangaroo)

Diagonalize (Kangaroo) with Weaverbird Offset

Reciprocal Angle: 40o

Reciprocal Angle: 150o

Chromodoris Plug-In

Chromodoris PlugIn + Fz = 5

Chromodoris Plug-In + Decreased Smoothness

43

SELECTION CRITERIA

SUCCESSFUL ITERATIONS

1. CREATIVITY

2. CONSTRUCTABILITY/ FABRICATION

The case study 1 aims to help us understand the script and expects for us to push it further. This means that at the end of the process, I should be able to generate an iteration that is a creative form and completely different from the original form of the Voussoir Cloud.

When designing, it is important to think about its constructability and the ease of fabrication. This is also applied in parametric design. Although there are multiple iterations, it is important to evaluate the possibility of its fabrication. To think of how to accurately control its parameters in real life during fabrication. We need to to think of the materials that are possible to be attained and what type of materials can be used to achieve the desired form. In addition, cost would play an important role. Finding an iteration that can realistically be built will help save cost.

This will prove the ability of generative design to create multiple designs by using a definition and adding several more parameters to it.

3. ARCHITECTURAL QUALITY

In addition to fabrication, it is important to think of how the design could be applied. This creates a purpose to the design. By thinking about the architectural quality, we create the iterations with a goal in mind. It acts as an extra parameter that helps us determine which form to use in real life. In this case, we have to think of its possibility to apply our design or iterations as roof/shelter, facade or pathway.

This particular iteration is a successful iteration due to its ability to differ from the original structure. Its doughnut-like form is an interesting form that was generated by adding the Chromodoris plug-in to the original definition. It is also a flexible design due to its overall organic shape. It will be able to adapt to any shape. The perforations can differ depending on different environmental conditions. However, it might be difficult to fabricate, although not impossible, due to its tube shape.

C F A D

C F A D

The design flexibility and possibility of ease of fabrication for this iteration pushes it to become a successful iteration. It has the potential to be used as an architectural element. It may work as either a roof, pathway or facade depending on the height of the columns. Similar to the first successful iteration, its organic shape and ability to change the size of perforation makes it a flexible design form. This particular form can also be realistically fabricated by using membrane or fabric materials.

4. DESIGN FLEXIBILITY

It is important to make sure that if the design were to be applied in real life, that is should be flexible. This is the aim of parametric design, being able to respond well to the surrounding environment. We have to make sure that the iteration should be able to serve this purpose of responding to the surroundings without losing its main design form. The design should be able to adapt to any environment.

C F A D

This particular iteration is successful due to its realistic form that could aid to the ease of fabrication. This form is realistically possible to be made as an architecture element.

It can work as a roof, pathway or facade.

Although the number of perforations may be increased and the undulation levels may differ, this form is still not as flexible as the other due to its rectangular boundaries, whereas the other iterations have a more organic form that can be take in forms of other shapes.

C F A D

This iteration is considred as successful due to its realistic qualities that makes it constructable and has a high possibility of being an architectural element. Although its form is not as unique as the others, it can realistically work as a roof. Then again, it is not as flexible as the others as it would be harder to design it as a facade or facade.

CREATIVITY (C) / CONSTRUCTABILITY (F) /

ARCHITECTURAL QUALITY (A) / DESIGN FLEXIBILITY (D)

44

45

SAN GENNARO NORTH GATE Soft Architecture

Mulberry Street, New York 2011

A site specific hanging installation produced by SOFTlab for the San Gennaro Festival. It serves as a North Gate for the festival. The piece was designed to lighten the entrance for the event.1 The direction of the oculus works as a sign for the pedestrians: one pointing up and one pointing down to define the zone for pedestrians to walk. The whole form works as a tensile structure.The form was created through a gravity force process and then set upped for production.

The surface contains 4224 laser cut panels. Each panel has unique shape and is printed with custom color and is attached to surrounding buildings using cables and tubes. It can only be installed in this site as it can only find its true form if attached to the specific points in the site.2

The focal formal expression of the creation are the hanging pieces that spark and sway in the wind. This is an example of thinking about the materiality, not only technique of designing. Like the purpose of the typical barrier, the installation is used to moderating the traffic through experience and effect; the visitor is to interweave and interact with the piece, such like a clown fish and the sea anemone.

This is an interesting combination of consideration towards the method of designing and the materials used for fabrication. Considering that the form is based on the idea of gravity pulling it downwards, using light weight material is suitable. This form could not be achieved using different material, proving that an important part of tessellation is the material selection.

1 “San Gennaro North Gate – Softlab”, Soft Architecture Lab, 2011 <http://softlabnyc.com/portfolio/san-genarro-north-gate/> [accessed 11 September 2017].

2 Ibid.

B.3

REVERSE ENGINEERING

46

47

REVERSE ENGINEERING San Gennaro North Gate

ELEMENTS

DEFINITION

Main Form (Membrane-like Structure)

Kangaroo (Spring & Anchor Point)

Pattern (Modular and attached to Grid)

Data List (Working with Grid, Lines and Curve)

Combination of Pattern and Form (Mesh + Surface Pattern)

Points (Deconstruct Mesh + Data List)

Main Structure

Mesh to Surface

Point + Curve > Voronoi > Region Intersection > Move > Loft > Kangaroo

Deconstruct Mesh > Deconstruct Face > List Item > Points > Grid

Pattern Grid > Points > Line > Evaluate Curve > Curve

48

Pattern to Structure Connect Points on Mesh to Points on Pattern Grid

49

REVERSE ENGINEERING PROCESS ST E P 1

STEP 2

POI NT

VORONOI

BOUN D ARY CUR VE

REGI O N INTERSEC TI O N

MOVE ( Z -A XI S)

SC AL E B O U ND A RY C U RV E

LOFT

EXPLO DE

M ESH U V

ME SH J OIN

WELD VERT ICES

M ESH E DGES

END

C REAT E S ET

C REATE S ET

SPRING

POINTS

(ANCHOR POINTS)

MESH UNARY FORCE

Create the boundary using Polyline in Rhino and set it to the curve in Grasshopper.

Explode the Lofted Surface and make it into a mesh.

Separate the edges of the mesh. The mesh edge at the most top and bottom will become the anchor points to the spring from Kangaroo.

Do the same for the points

ST E P 3

MESH

STEP 4

DE CONSTRUCT MESH

Deconstruct the mesh in order to create grid on the mesh.

DE CONST RU CT FACES

L I ST I TE M

M ERG E

POINT

P O I NT C ELL

LIS T IT EM

POINT S

EXPRESSION (a+b+c+d)/4

LINE

EVA LUTATE C UR VE

C URVE

EDGE S UR FAC E

S URFACE

Create the pattern using expressions and lines through Grasshopper.

The points of the grid will become the grid points for the pattern.

50

51

FINAL RESULT

San Gennaro North Gate Reverse Engineering From the first Case Study, I was able to play around with the Kangaroo plug-in by using the definition for Voussoir Cloud. By doing so, I was able to understand its usage. For the Reverse Engineering, I was interested in finding a form that has a similar quality. Thus, the chosen case study: San Gennaro North Gate installation. I have learned how to create a membrane-like structure using Kangaroo, by speculating the parametric design process of San Gennaro North Gate Installation and by applying the knowledge from Case Study 1.

In addition to using the Kangaroo plug-in, I was able to discover methods to create the tessellation pattern. Most importantly, I learned a new technique of making the mesh into a surface by creating grid on it, so that the pattern could be applied to the mesh.

Although I attempted to create an identical replica of the San Gennaro North Gate by Soft Lab, I faced several constraints due to my limited knowledge in Grasshopper. This resulted in several differences from the original installation and my replica.

SIMILARITIES - The main form and direction of the two oculus.

DIFFERENCES

- The pattern that acts as a tessellation to the form.

- The oculus going upwards is slightly pulled to the left in the original structure. However, I was not able to attain the skewed form.

- The membrane-like quality emphasizes the visual of the structure being pulled by gravity.

- I was not able to appy the colorization from the original installation to my replica.

- I was not able to create the circular ends of the oculus, instead my replica has voronoi rectangular or voronoi ends.

There are areas that I would like to improve from my replica, which are the differences that I was not able to solve. There are some speculations that I was able to make for some of the issues, such as the colorization. Since the colorization is another layer of patterns, it could be possible that it was made using Image Sampling, Random, or even it could be based on certain data. I would also like to learn how to loft several different geometries at once without using the voronoi command. This would be an interesting way to learn new Grasshopper techniques.

52

53

B.4 MATRIX 54

55

SPECIES 1 Different Frames Weaverbird + Kangaroo

SPECIES 2 Different Forms Rest Length Patern Size Height

56

57

SPECIES 3 Different Patterns Experimentation with Expressions Formulas

SPECIES 4 Different Patterns Experimentation with Curvature

58

59

SELECTION CRITERIA

SUCCESSFUL ITERATIONS

CASE STUDY 1 SELECTION CRITERIA 1. CREATIVITY 2. CONSTRUCTABILITY/FABRICATION 3. ARCHITECTURAL QUALITY 4. DESIGN FLEXIBILITY

With futher development, and taking the brief more into consideration, I came up with two more selection criteria. In addition to the brief, it needs to be considered that the design may be used for a realistic architectural design proposal, thus the two additional selection criteria will help reach a more well-thought selection.

C F A D R Q

ADDITIONAL SELECTION CRITERIA 1. RESPONSIVENESS

2. AESTHETIC QUALITY

The brief ot the studio is to create a responsive skin, may it be roof, facade or pathway. This particular selection criteria is important at this stage. Here, we should consider the possibility of the design to have different variations that adapts to the environmental condition of the surroundings. This might be similar to â&#x20AC;&#x153;Design Flexiblityâ&#x20AC;? criteria, but this focuses more on the ability of the form to be responsive to different environmental conditions, whereas Design Flexibility is the adjustability of its shape to adapt to a surrounding without losing its main design form.

This selection criteria becomes the last criteria the iterations have to go through. After the other functional, structural and constructability criterias are fulfilled, what has to be compared is the aesthetic quality. Since the iterations will work as a facade, roof or pathway, it should be made sure that it has an aesthetic quality that is considered high quality.

Especially in a realistic sense with clients taken into consideration, aesthetic quality plays in a important role to design selection. Although this is a biased criteria, it needs to at least be made sure that the design form is logical in terms of its brief.

The qualities taken into consideration for this stage is mostly the shapes of the patterns. During case study 1, it has been proven that the extent of ability to change the main form using Grasshopper and the Kangaroo plug-in.

It needs to be made sure that the module of the patterns/tessellations can be fabricated easily and is flexible enough to create an architecture surface.

C F A D R Q

This particular iteration is considered as successful due to its design flexibility and aesthetic quality. It has an organic form that can be adjustable to any shapes. In addition the diamond patterns make it possible to make it adjustable. Although it might be a little bit challenging to fabricate, this iteration is also unique due to its diamond pattern and blooming form. The materiality choice for this particular iteration would be important.

This iteration is intriguing due to its fabriclike form. The folds of the forms created a unique design. This form is created by the tessellated modules similar to that of the San Gennaro North Gate installation. This will create the ease of fabrication. However, it needs to be analyzed on how responsive the form is compared to the other successful iterations. In addition, although it can be made into an architectural structure, it is not as apparent as the other forms.

C F A D R Q

C F A D R Q

This iteration is unique due to its coral-like form. It is considered a successful iteration due to its interesting aesthetic form.

Its main form is constructed of tessellated modules, which makes it easy to fabricate.

This form has high possibility of being responsive. Size and depth of the perforations can be changed, it can differ based on the environmental condition. It can be used to respond to different types environmental condition.

This iteration, although not as unique as the others, has a very strong possibility of being an architectural structure. To an extent, it may be flexible and responsive by changing the height of the columns. or changing the direction of the tessellated panels to respond to the environmental condition. However, due to its angular and rectangular form, it might be not as adjustable as the other iterations.

CREATIVITY (C) / CONSTRUCTABILITY (F) / ARCHITECTURAL QUALITY (A) /

DESIGN FLEXIBILITY (D) / RESPONSIVENESS (R) / AESTHETIC QUALITY (Q)

60

61

B.5

PROTOTYPE

62

63

TRADITIONAL FORMWORK FABRICATION

PROTOTYPE #1

This prototype was based on our first design of the tessellation. We initially designed two different triangular modules that would work as a facade element.

The connection between each module was facilitated by using tabs on each side of the triangle. We plan to cast the tabs along with the actual form of the module, making the tabs part of the form. In order to make the module tessellate as a surface, there should be two different modules of triangles. One with 1 tab going outwards and the other one with 2 tabs going outwards. Hence, we made two different formwork that can be attached to the same base.

We built the formwork manually using wood and placed a 1x1cm steel mesh on the base in order to work as a grid that helps with the measurement and direction or location of the perforations.

CONNECTION BETWEEN MODULES

The next few steps include as clamping the fabric in between the formwork and the stand.

Then, we pulled the fabric downward using a string and placed a styrofoam mother mould in the centre.

Next, we poured the plaster mixture up to the height of the formwork.

During the process of designing for the first prototype, we were focusing on the form, casting technique and connections. We tried to find a simple form that could create complex surfaces, as we were not sure yet of our final design proposal, so it might be a roof, pathway or facade. We wanted to respond to solar heat gain, but we needed to create room and flexibility for any changes that might occur in between. Hence, we opted for a triangular module as we realized that a triangular tessellation allows for the formation of complex surface, such as undulations or turns on the edge.

Then, we tried to think of the possible connections, which in the end we designed as tabs. We figured that this is a good way to hide the connections as it is included into the form.

From the results of the prototype, we realized that there are some things we should have put more into consideration, although there are positive and helpful things that we discovered for future fabrication methods.

ADVANTAGES We realized that the fabric that we used was able to create a smooth finish and an interesting balloon-like form. Although it was not our intention in the first place, we discovered a unique form that could inspire us for the design process. As the fabric was not stretchy enough, it created folds. This resulted in the unique folds that were applied to the casted module.

The overall system of the formwork we made out proved that it can work successfully to cast the module.

After letting the plaster dry for one whole day, we took the cast out and pulled the fabric off the cast.

64

Lastly, we tried to take the styrofoam out by using a cutter and cleaned the remaining styrofoam attached to the cast by pouring acetone, which dissolves the styrofoam and created a clean and smooth surface inside the perforation.

We also realized that styrofoam can be a good option for mother mould as it was easy to clean and pull out.

DISADVANTAGES The most problematic aspect of Prototype #1 was that there was no aspect of digital fabrication in it. We designed and fabricated our formwork manually. For the next prototype we should try to create the formwork using digital fabrication, which will result to more accurate measurements and will become helpful for fabricating parametrically controlled design.

Although the fabric folds may be an intriguing aspect, it may be a disadvantage too. This depends on the type of finish that we desire. Similarly, the interesting balloon form was not our first inention, If we plan to keep the â&#x20AC;&#x153;gravity pulledâ&#x20AC;? form that we intended to fabricate, then we should test out other stretchier materials.

Lastly by pouring the plaster, we realized that it makes the module too heavy and the tabs becomes too brittle and weak to hold the weight.

65

DIGITAL FABRICATION TECHNIQUES

DIGITAL FABRICATION

MATERIAL: PROCESS FABRICATION PROCESS FABRICATION PROCESSF A B R I C A T I O N :

FABRIC CLAMPED ONTO FORM STRUCTURE

BASE

HEXAGON

FABRICATION

TECHNIQUES

TRAPEZIUM

PARALLELOGRAM

TRIANGLE

01

LASERCUT & PLASTER CASTING

STAND

IT WILL BE USED AS A STRUCTURAL ELEMENT TO FORM THE BASIS MOTHER MOULD O F T H E M O D U L E S .FRAME CONNECTIONS WILL BE INTRODUCED TO EACH PANELS.

PARALLELOGRAM

Two out of the 13 stands have measurements on them to inform us to which point the fabric should be stretched. We also decided to laser cut the mother mould, which would mean the size of mother mould will be more accurate rather than cutting the styrofoam ourselves.

In addition, we decided to also lasercut the frame, which would be embedded in the final module This allows us to be more accurate in the sizing and helps to ease the fabrication method. It will also help create a lighter module rather than casting the frame with TRIAN HG E XL A E G O N plaster.

TRAPEZIUM These components will be arranged in the order as shown in the diagram above and the system of fabric stretching is demonstrated in the diagrams below

FORCE VARIATION // SUPPORTS

FORM STRUCTURE SUPPORTS

FORCE/ HEIGHT GUIDELINES

04

04

04

ORDER OF ASSEMBLY

FINAL MODULE FORM

02

PLASTER CAST

MOTHE CUTOUT PERFO

03

03 03

02

Second, place the mother mould 01 on fabric and attach strings to the ends of the mould.

First, fasten the fabric on the 0 2 frame 02 using the stands and additional clamps.

FABRICATION: METHOD

04

SELECTION OF

FABRICATION: METHOD

FABRIC CLAMPED ONTO FORM STRUCTURE

MOTHER MOLD CUTOUT TO CREATE PERFORATIONS

01

MEDIUM DENSITY FIBREBOARD

For the second prototype, we tried designing using digital fabrication. We lasercutted our formwork and frames, as shown in the pictures on the left.

MATERIAL:

SELECTION OF FABRIC

MATERIAL:

BOUNDARY // FORM STRUCTURE FORM STRUCTURE OF MODULES WILL BE PRODUCED FROM BOUNDARY PATTERNS IN FORM-FINDING MATRIX.

SELECTION MOTHER MOLD OF FABRIC F A B R I C C L A M PC ED UTOUT TO CREATE O N T O F O R M S T R U C T UP RE ER F O R A T I O N S

01

01

CATION: OD DIGITAL

FABRICATION PROCESS

S E L E C T I O N MOAF T EF RAIBARL I: C S S E L E C T I O N O F F A B R I C SM O T H E R M O L D M O T H E R M O L D F A B R I C C L A M P E DF A B R I C C L A M P E D C U T O U T T O C R E AC T EU T O U T T O C R E A T E P L A S T E OR N TC AF ISOAG TRBM II N G EA CSHT N O FR O: IR C M PA SLT T R CTT N RTSIA AOCTFNTITUAO AUI SO EU RRETC I NI Q G U E S PERFORATIONS PERFORATIONS ODF TC RLU RB EN METHOD

SELECTION OF FABRIC

SELECTION OF FABRIC

EDIUM DENSITY FIBREBOARD FML AO RMWORK PROCESS SERCUT & PLASTER CASTING

SELECTION OF FABRIC

PROTOTYPE #2

M A T ESREILAELC: T I O N O S EFL EF C N SO F F A B R I C S A TB IROI C : A PS LT A TER CASTING F A B R I C A T I OFNA: B RPI C L AASTTI EORN C I NSG METHOD METHOD

MATERIAL:

IG I TAATLI OF N A BTRE IC CHANT II Q OU N E TSE C H N I Q U E S D I G I T A L F AD BR IC

D I G I T A L F A B R I C A T I O N T E C H NDI IQGUI TEAS L F A B R I C A T I O N T E C H N I Q U EM S ETHOD

RIAL:

NS

FABRICATION PROCESS FABRICATION PROCESS

02

03

S N S T FRREO TC DE DMOOWT N F A B R I C I S S T R E T CFHAEBDR IDCOIW MH TE H H EFRR O M T H E M O T H E R O LI TDS TFOO RMMA.I N T A I N I T S F O R M .

M O L D T O M A I N T AMI N

04

PE LA ER T H IENNS IBDREU & SHED ON INSIDE & MIX IS TH N S BT R U SM H IEXD I SO N U TLSEI A DV E IO F FTAHBER A I CR ELAE AWVIITNHG O F F A B RO IC NG I NT H E A R E A W I T H I N MRO TT H H EE RV O M IODL. D F O R T H E V O I D .

MOTHER MOLD FO FABRIC IS STRETCHED DOWN FROM THE MOTHER MOLD TO MAINTAIN ITS FORM. FABRIC IS STRETCHED DOWN FROM THE MOTHER PLASTER MIX IS THEN BRUSHED ON INSIDE & MO T OOMDAU I NLT E AIN I T SR M FORM. FIN ALLD M FO OUTSIDE OF FABRIC LEAVING THE AREA WITHIN FINAL MODULE FORM MOTHER MOLD FOR THE VOID. PLASTER MIX IS THEN BRUSHED ON INSID E &

03

ASTER N AF LO RMMO D U L E F O RPOLM F I N A L M O D UF LI E UTSIDE

Third, Sew the string tied to the mould, through the fabric. Then, pull the strings, which will stretch the fabric, and tie it to the stands.

OUTSIDE OF FABRIC LEAVING THE AREA WITHIN MOTHER MOLD FOR THE VOID.

FABRIC IS STRETCHED DO MOLD TO MAINTAIN ITS

UTSIDE OF FABRIC LEA Lastly, use the brush to put on OMplasOTHER MOLD FOR THE ter on the fabric. Put several layers to apply some thickness to the module.

This is the desired final outcome PLASTER MIX IS THEN BR

CONNECTIONS PARALLELOGRAM

TRIANGLE

By laser cutting the frame, we were able to include rectangular holes on that will be used as a connection between modules.

We designed a connection clip as shown in the diagram on the left. The triangular end was added to allow the clip to go through the hole, and once it goes through it will be locked and secured.

The clips are designed to be 3D printed. It will be modelled digitally. This way, it can have accurate measurements according to the measurements of the rectangular hole.

FABRIC

DOUBLE STAND SLOTS

66

LEG SUPPORTS OF FORMWORK WITH GUIDELINES THAT REPRESENTS THE FORCE & HEIGHT VARIATIONS OF THE MODULE PROFILE.

67

MATERIAL TESTING

RESULT

M AT E R I A L T E S T

From material testing, we were able to conclude that the mesh and stocking is equally stretchy. However, for the mesh, the more stretched it is, the bigger the holes become, which might make it hard to keep the plaster attached to the fabric.

The bandage is not as stretchy as the other two, but seems to be very absorbant due to its rough texture, which could make it easier to attach

NETS - mesh

STOCKING - translucent

BANDAGE 3 68

6

9

12

15

18 69

PROTOTYPE #2 TIME LAPSE MODULE 1 : TRIANGLE The mesh fabric is used for this prototype.

The formwork was designed to be able to do several casting of modules at once. In this case, we are casting the triangle and parallelogram at once.

MODULE 2 : PARALLELOGRAM

The translucent stocking is used for this prototype.

MODULE 3 : TRAPEZIUM

The bandage is used for this prototype.

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PROTOTYPE #2 RESULTS

FINAL THOUGHTS

Comparison between all three prototypes. what do you want to achieve.

Similar to Prototype #1, the second prototype resulted in us understanding further the process of casting.

In this prototype, we were able to solve the issues that we saved in Prototype #1, but new problems arise. We were able to create a much lighter module and a more efficient way of fabrication. The connection systems are more efficient. However, we were not able to create the smooth texture as we did in the first prototype. This is caused by the brush stroke textures and the uneven distribution of plaster layers in certain areas. We were also having problems of the plaster cracking during the drying process, which is an issue that we would have to evaluate more.

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TRIANGLE MODULE: MESH FABRIC The mesh fabric can be stretched easily, which makes it possible to create the desired form. Although the first layer was quite hard to apply as the liquid plaster sometimes leaked due to its holes. However, the mesh was able to absorb the water from the plaster.

PARALLELOGRAM MODULE: STOCKING The stocking was stretchy and we were able to attain deeper depths of forms. Nonetheless, it was tighter than the mesh. It is also not as absorbant as the mesh, making it hard to apply the first few layers. This makes it harder to create an even and smooth surface.

TRAPEZIUM MODULE: BANDAGE The bandage is not as stretchy as the other materials, so there are not as many variations of depth that we can attempt using this material. However, it is very absorbant. It is very easy to apply plaster to this material.

This factor helped the process to become faster. This might become a very advantageous fact.

From all the prototypes, we were able to see how different materials react and how different techniques can help ease or create issues during fabrication.

We would like to keep the the smooth surface that we attained during the first prototype. However, we would like to keep the lightweight quality of the second attempt.

The formwork made during the second prototype has proven to be systematically successful and can be used for further fabrication.

What we plan to do next is to test different liquid materials

and several other fabric. By trying out different liquid material we might be able to find a more lightweight liquid or one that can be applied easily and create a smoother surface. We plan to find a material that is as absorbant as the bandage, but is as stretchy as the mesh.

We might even try different brushes or application technique that will help us result a smoother surface.

In addition, we will fabricate the connection clips and try out different connections that will help create a more overall efficient system.

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B.6

DESIGN PROPOSAL

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CHOSEN SITE

SITE ANALYSIS Ernst and Young is one of the largest consulting firm in

BUILDING: ERNST AND YOUNG HEADQUARTERS LOCATION: 8 EXHIBITION ST, MELBOURNE CBD

the world. It offers services ranging from business risk ser-

vices, risk advisory, corporate governance, audit, security and technology.

Along with the other offices spread globally, one of the offices is placed in the Melbourne CBD.

Although individually different, we are using the EY office building to represent the other office and high rise buildings in Melbourne CBD.

F E D E R AT I O N SQUARE

This 35 floor building standing in the corner of Flinders and Exhibition Street is considered

as a prime area surrounded by other city connections. The building has close proximity to transportation systems (Flinders/Parliament Station and a bus stop right in front of the

FLINDERS STREET S TAT I O N

building), dining and retail centres, stadium, gyms, bars, and etc. Entrance to the office tower uses the restored and historic Herald Sun and Weekly Times building. 1

Also called the “8 Exhibition Street”, the building prides itself on being able to deliver the “premium workplace experience”. 2It aims to deliver the perfect “work-lifestyle solution”.

As it sits in the corner of the CBD, each orientation faces distinctly different views. Its southern facade faces the panoramic view of the Yarra River. While the other facade faces the different views of Melbourne CBD. The surrounding context of each facade also differs. Its Northern and Eastern facade sits next by other high rise build-

ings. Its Western facade sits next by mid-rise level buildings, while the its Southern facade has a completely clear view of the surrounding suburbs without any buildings blocking it.

With the aim of creating the “premium workplace experience”, we decided to further enhance this quality.

Solar heat gain is one of the biggest problems in high rise buildings. EY Office was chosen as our site due to its diverse environmental condition on each facade. In addition, the EY Office has a simple and clean curtain wall

facade that can be used as a canvas that can help visualize the large extent of different variations of our design that can be attained using parametric design.

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1 2

<https://www.8exhibitionst.com.au/about-building> [accessed 11 September 2017].

Ibid.

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SITE ANALYSIS

During the stage, we tried to combine the three techniques we explored during our Reverse Engineering.

IDEA DEVELOPMENT JESSLYN

RAYYAN

Taking into consideration of the brief “Responsive Skin” we decided to address the issue of Solar Heat Gain in the EY Office Building. It is one of the main concern in Melbourne CBD high rise buildings. We took into account the different angle of winter and summer sun that will affect the location and amount of solar heat radiation. From the diagram, it can be seen

MATERIAL:

SELECTION OF FABRICS

that the sun mainly does not hit the Southern Facade facing the Yarra River.

FABRICATION: METHOD

PLASTER CASTING

FABRICATION PROCESS

DIGITAL FABRICATION TECHNIQUES

We used the Lady-Bug Plug-in in Grasshopper to analyze the average Solar Heat Radiation on each facade. This is the data

JESSLYN

that we will be using to help aid create variations on our design.

FABRIC CLAMPED ONTO FORM STRUCTURE

SELECTION OF FABRIC

I explored tessellation during the development of reverse engineering. I tried experimenting with the Unary force created by the Kangaroo Plug-in. I created iterations with undulations, play of perforations and depth of modules that contributed to the design proposal.

01

being the Northern and Eastern facade due to the sun path, and sun radiation. The rooftop seems to be experiencing most of the

Sharleen explored the technique Biomimcry, which is done by creating patterns of hexagonal panels that works as a light filtering installations. These patterns were generated from natural patterns. From Sharleen’s technique, we took the idea of shading system and modular arrangements.

The final form that we aim to create includes the unary force effect created by Kangaroo, the extrusion of modules and the inspiration taken from nature. In this case, we plan to imitate the natural pattern of the corals in the sea. The corals work as a habitat that shelter and protects the fish, which is our aim behind our design proposal that 03 helps prevent and protect those inside the building from the solar heat radiation and intense sunlight.

solar heat gain.

04

sue of solar heat gain, while keeping in mind the brief that was given.

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Rayyan experimented with the repetition of patterns and tesseelation that extrudes from the surface. He also experimented with perforations. His iterations have a form of a skin profile. This idea becomes a contribution to our design proposal.

From the combination of the three, we decided to create a facade that works as a shading device that will help reduce solar heat radiation into the building.

the coolest being the Southern facade that is hidden from the

to think of the solutions and design possibilities to face the is-

SHARLEEN

URBAN CORAL: ATOLL FACADE

seen that each facade has different radiation map. The hottest

By retrieving this heat map, we will be able to use this diagram

RAYYAN

MOTHER MOLD CUTOUT TO CREATE PERFORATIONS

02

As you can see from the solar heat radiation analysis, it can be

SHARLEEN

FABRIC IS STRETCHED DOWN FROM THE MOTHER MOLD TO MAINTAIN ITS FORM.

FINAL MODULE FORM

PLASTER MIX IS THEN BRUSHED ON INSIDE & OUTSIDE OF FABRIC LEAVING THE AREA WITHIN MOTHER MOLD FOR THE VOID.

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BUILDING FACADE

PRECEDENTS PP RR EE C C EE D D EE N N TT SS TT UU D D II EE SS

P R O T O T Y P E

GREEN CAST, KENGO KUMA AND ASSOCIATES

Through the process of idea development with group mates and looking for prece-

PRECEDENT STUDIES PRECEDENT STUDIES One of them is the Green Cast by Kengo Kuma and Associates. We were inspired in how they were able to create the pattern and green facade but still allow the view from inside the building by using the arrangement of patterns and perforations.

P R O T O T Y P E

NORTH FACADE

of all, we also aim to still retain the highly appraised view that could be seen from inside the building, even if our modules cover the facade. Lastly, we aim to add a green facade

R A DThe I A T I O Nusage of plants will help immensely to reduce the heat gain into into our design.

MOSS VOLTAICS, ELENA MITRO

GREEN CAST/KENGO KUMA & ASSOCIATES

E W

SOLAR RADIATION & SUNLIGHT SOLAR RADIATION & SUNLIGHT

S ES CET C I O TN I O V I N E W

which varies depending on the different radiation levels.

As can be seen from the section view and perspective view, it can be seen that around

the level of human eye-sight level, there are no depths in the modules. This is appropriate for the Sourthern Facade of the EY Office, where there is lower level of sun penetration and there is the view of Yarra River. Above it are modules that have deep perforations that help block the sun, appropriate for the Northern facade.

V I E W

We are heavily inspired by this precedent. The membrane-like form, but still incorporating the method of casting pushed us to the exploration of lightweight casting.

The perforations in this structure was aimed to pull hot air from a space and let it out of the internal space under it.2

HYBRID BIOSTRUCTURES/AA SCHOOL OF ARCHITECTURE This particular precedent is particularly relevant to UCTURES/AA SCHOOL OF ARCHITECTURE our design in terms of the use of unary force as part of the design and relation to heat gain. Although it does not work as a facade, but as a roof, it helped us understand the logic behind implementing heat HYBRID BIOSTRUCTURES/AA SCHOOL OF ARCHITECTURE 1 “This Modular Green Wall System Generates Electricity From Moss”, Archdaily, 2016 <http:// analysis into a design HYBRID BIOSTRUCTURES/AA SCHOOL OF ARCHITECTURE

HYBRID BIOSTRUCTURES/AA SCHOOL OF ARCHITECTURE [ac-

cessed 11 September 2017].

2

Riyad Joucka, “Hybrid Biostructures: The Final Post”, Hybrid Biostructure, 2012 <http://hy-

bios.blogspot.com.au/> [accessed 11 September 2017].

80

the module will have no depth and largest perforation to prevent the module from

two in between will work as a module that has different depth and perforation size

MOSS VOLTAICS/ELENA MITRO

www.archdaily.com/782664/this-modular-green-wall-system-generates-electricity-from-moss>

These three objectives will be fulfilled through the use of 4 different modules. One of

from coming into the building while still allowing winter sunlight to enter. The other

MOSS VOLTAICS/ELENA MITRO

HYBRID BIOSTRUCTURES/AA SCHOOL OF ARCHITECTURE

NORTH FACADE

blocking the views. Another will have the longest depth to block the summer sunlight

Together with Kuma’s work, we were also interested in incorporating green facade into our work to lessen solar heat gain and solve issues of Urban

MOSS MITRO MOSSVOLTAICS/ELENA VOLTAICS/ELENA MITRO OF ARCHITECTURE BIOSTRUCTURE, AA SCHOOL

NORTH FACADE

reduce solar heat gain R Ainto D I A the T I O Nbuilding and blocking intense summer sunlight. Second

This particular precedent inspired us in terms of materiality and functionality. This modular system uses moss to generate electricity.1 Its system of casting ENGO KUMA & ASSOCIATES also inspired us to explore the method of casting.

MOSS VOLTAICS/ELENA MITRO

Building as our site.

Our design proposal has 3 objectives we would like to achieve. First of all, we aim to

GREEN CAST/KENGO KUMA & ASSOCIATES

HYBRID S/ELENA MITRO

FACADE”, with the people inside the office or users being our clients and EY Office

V I S U A L I S A T I O N

the building and help face the issue of Urban Heat Island in the CBD.

GREEN GREENCAST/KENGO CAST/KENGOKUMA KUMA&&ASSOCIATES ASSOCIATES GREEN CAST/KENGO KUMA & ASSOCIATES

dents we were able to develop the final design proposal called “URBAN CORAL: ATOLL

BUILDING FACADE

F R LO NVT AI LE W V I F R O N T A

EDENT STUDIES

URBAN CORAL: ATOLL FACADE

NORTH FACADE

We looked through some precedents online that help inspire us during the process of designing.

PRECEDENT STUDIES

FINAL IDEA OUTCOME

V I S U A L I S A T I O N

Although not shown in the perspective diagram, we intend to make design different shapes for different modules. Each module would cater different purposes as mentioned before.

These basic geometrical shapes are the ones that we

will be working with. The size of the geometric shapes will determin the size of perforations and its depth.

Through the use of modules, we aim to prove that this

facade is applicable to any buildings, as parametric design allow the production many different variations that can adapt to different situations. By showing its

application on the diverse condition on the 4 facades of EY Building, we will be able to see the extent of our design.

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PROPOSAL MATRIX

MAT R IX AT R IX

This matrix shows the variety of possible forms of each module.

MODULE ARRANGEMENTS DEVELOPMENT OF MODULES MODULE 1 : TRIANGLE

MODULE 2 : PARALLELOGRAM

MODULE 3 : TRAPEZIUM

MODULE 4 : HEXAGON

We started thinking of basic geometric shapes (square, triangle, circle) and ended up with a triangle as our starting point for a module. Triangles, when combined with multiple other triangles can create different shapes, while square when combined will still conform into the same square or rectangular shape. Thus, we decided in the 4 different modules: Triangle, Parallelogram, Trapezium and Hexagon. Triangle being the smallest module and hexagon being the biggest (made of 6 triangles).

The perforation and depth of each module will differ depending on the size of each module. Thus, each module would serve different purposes.

As mentioned before, we have several objectives: a facade that reduce solar heat gain into the building, a facade that blocks the summer sunlight, but at the same time not blocking the view of the building. The four different modules would each cater to each of the objective, i.e. one module

The figure on the left side shows how each module can be attached to one another. The usage of triangles shows how flexible it is when tessellated. It can be tessellated into different shapes.

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After the past few weeks of Studio Air, I was given the op-

dition to exploring more of Kangaroo here, I tried to explore

program and to start developing a design proposal through

an interesting development was the discovery of trying to

portunity to start developing my skills for the Grasshopper the skills and knowledge that I have attained for the past few weeks.

very effective way because by playing around with the exist-

the casting process. I learned the usage of different materials

that I researched for in part B1.

Although we had opportunity to explore as much as we can

with the definition, creating the selection criteria made me

realize that although Parametric Design can help achieve

many variations of unimaginable forms, it is still important to think of our design goal. Selecting the iterations made me

realize that you cannot simply play around and create random iterations. You need to be able to start considering the contexts, the brief and architectural possibility. As designers,

we should realize that these parametric tools is simply an aid for us, that we are still the ones in control.

These past few weeks especially, I was able to intensively explore the technique of tessellation and the usage of Kangaroo Plug-in in Grasshopper. This is due to Case Study 1 and 2

that helped me to understand the parameters that drives the

form generation in Kangaroo. This particular plug-in helped me learn the effects of forces, especially gravity, to a form. In

addition to my research and understanding of tessellation,

this plug-in made me realize the importance of materiality in designing. Not only for its aesthetic purposes, but for the sake of its structural and overall form.

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quite a complicated method.

Aside from my exploration in the usage of computational

ing definition, I was able to better understand the technique

REFLECTION

make the mesh into a surface. I did not realize that it was

For the first case study, I find it as an opportunity to start un-

derstanding better the logic behind Grasshopper. This was a

B.7

creating the tessellation or pattern modules. What I find was

During the process of creating iterations, there were times where I faced difficulty to think of a new species or form.

However, this issue helped push me to start experimenting with different techniques in the Grasshopper. Aside from finding out different tips and tricks, I started to explore other

plug-ins such as Weaverbird, Lunchbox, MeshEdit, Panelling Tools, etc.

Through better understanding Kangaroo through Case

Study 1, I feel like it was not enough. I tried to use it again for my Reverse Engineering of San Gennaro North Gate. In ad-

design tools, I explored fabrication methods, in particular

and the actual process of building the formwork (may it be

traditional or through digital fabrication) until the finished results. I realized that digital fabrication can be such a helpful aid to fabrication method. It makes the process faster, more

efficient and much more accurate. However, since this is our

first time in exploring the casting methods, there are some

issues that we faced, that I hope I can tackle and explore more in Part C of this process. This reminded me of the Week

2 reading, regarding the attaining the benefits of Vitruvian Effect, where man and machine relationship is optimized.1

Lastly, we were given the opportunity to start to think as a

designer by creating a proposal for the brief “Responsive Skin”. It was a really challenging method of trying to combine the computational design aspect to the “designer” as-

pect of the whole process. It was hard to design, while being constrained by the skills and knowledge of Grasshopper. In

this part, I find that computational design skills might actually be a limiting aspect. Then again, during this process, we were able to create a design proposal by thinking about the context.

Overall, after reaching the end of Part B and realizing that

digital architecture is a strong driver for architecture in the future, I would like to develop a more focused skill that will

help aid my design proposal. I would also like to make a more

detailed understanding of our own proposal and the methods of its production. I hope to reach the optimum material

selection and method through the use of digital fabrication and computational design. I am looking forward to working

with my groupmates and see what final outcome we will be able to produce!

1 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1.

85

BIBLIOGRAPHY “About Building”, EIGHT EXHIBITION STREET, 2017 <https://www.8exhibitionst.com.au/about-building> [accessed 11 September 2017] Iwamoto, Lisa, Digital Fabrications, 1st edn (New York: Princeton Architectural Press, 2009).

Joucka, Riyad, “Hybrid Biostructures: The Final Post”, Hybrid Biostructure, 2012 <http://hybios.blogspot.com.au/> [accessed 11 September 2017] K.G. “Voussoir Cloud”. Architect 98, 8 (2009): 58-61 Peters, Brady, “Realising The Architectural idea: Computational Design At Herzog & De Meuron”, Architectural Design, 83 (2013), 56-61 <http://doi.org/10.1002/ad.1554>.

“POLYP.Lux – Softlab”, Soft Lab Architecture, 2017 <http://softlabnyc.com/portfolio/polyp-lux/> [accessed 11 September 2017] “San Gennaro North Gate – Softlab”, Soft Architecture Lab, 2011 <http://softlabnyc.com/portfolio/san-genarro-northgate/> [accessed 11 September 2017] “This Modular Green Wall System Generates Electricity From Moss”, Archdaily, 2016 <http://www.archdaily. com/782664/this-modular-green-wall-system-generates-electricity-from-moss> [accessed 11 September 2017]

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These forms or designs are generated using â&#x20AC;&#x153;Relative Itemâ&#x20AC;?. It is a further take on learning tree data and menu.

It is a very interesting tutorial as it is highly relatable to the technique I have chosen.

By altering different funcitons based on coordinates and data, I was able to generate distinct and different forms of patterns from the original shape of a sphere.

B.8 APPENDIX

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During these past few weeks, I tried out several video tutorials. Including those that would help me further understand the technique of tessellation.

However, these are a few of the algorithmic sketches that I find is interesting and might actually help me with the idea of tessellation.

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