Hao jia 663139 final jornal by Jiajia

Studio Air

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STUDIO AIR HAO JIA 2016

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Table of Contents 4 Introduction 6 A.1. - Design Futuring 8 Case Study 1 10 Case Study 2 12 A.2. - Design Computation 13 Case Study 3 14 Case Study 4 18 A.3. - Composition & Generation 22 Case Study 5 24 Case Study 6 26 A.4. - Conclusion 26 A.5. - Learning outcomes 28 A.6. - Appendix - Algorithmic Sketches 30 B.1. Research Field - Patterning 34 B.2. Case Study 1.0 48 B.3. Case Study 2.0 54 B.4. Technique: Development 76 B.5. Technique: Prototypes 78 B.6. Technique: Proposal 90 B.6. Technique: Proposal 92 B.7. Learning Objectives and Outcomes 94 B.8. Appendix - Algorithmix sketches

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Introduction

A 3rd year student at the University of Melbourne pursing her Bachelor of Environments Degree major in Architecture. An avid for taking photos, much of her free time spends in the gym and traveling to maintain a healthy lifestyle.

She was born and grow up in China where she spent much time experiencing different styles of architecture and listening their stories. The development of architecture is quickly, so when I was young, I think I grow up with most of building in China.

Well, learning software tools such as Rhino and Grasshopper is out of my comfort zone. I firstly tried to use Revit and Rhino in my Water studio. And I developed my skills in a Chinese architectural office during my summer holiday. I am look forward to taking a more advanced in computation design form Studio Air. I believe that creativity starts when you are not afraid of exploring new things.

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A.1. - Design Futuring

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What might future skyscraper look like? It might be under the earth or suspending on the water or floating in the air. What kind of symbols might be hyper-urbanization? It might consider more on computation design and the characters of sustainability. Architecture is not an art or sculpture any more but starts to response to its own natural, economic, cultural and social conditions. It is time for architects to explore a new dynamic system with new materials, new structures, new technologies and new ways of thinking. I will introduce a few building to prove my argument in the following case studies.

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Case Study 1 - Fibrous Tower By Kokuggia

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Firstly, structural skin is used instead of load bearing external wall to carry structural load. Fibrous Tower by Kokuggia demonstrates that structural skin is not for decorations but to be used to response spatial organization. This project also uses similar patterns of other structural skinâ&#x20AC;&#x2122;s projects, which is Voronoi-like structural shell. No any columns exists inside the building only using structural skin and floor plates to do load carrying, which is new rules for 21st architectural design contrast with Le Corbusierâ&#x20AC;&#x2122;s five rules of architecture. The Marsa Dubai by Zaha Hadid also uses structural skin, but unlike other projects using Voronoi-like pattern, it uses Islamic geometrical motif, which shows structural skin is flexible and benefits for cultural expression. Furthermore, the Times Eureka Pavillion by Nex architects also applied structural skin, but they used timber as their own materials.

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PROGRESSION OF S T R U C T U R A L S YS T E M PAST

PRESENT

FUTURE

FIG.2 - Load bearing exterior and internal wall - Fixed spatial organization

- Load bearing columns - Limited spatial organization

- Load bearing external wall - Free spatial organization

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Kokuggia also applies systematic functions for the facade, for example, bigger aperture and less dense will benefit for sunlight. In this part, Soma advanced to add more programatic functions on it. For example, Figure 7 shows that Modeled on the unfolding of flowers, there are “biomimetic lamellas” like mechanism flowers, which can respond to weather conditions rather than only learning from nature by opening or closing themselves to protect inhabitants 10 when they walk around the structure biomimetic lamellas overhead [1]. In Soma’s project, a flexible PV system will be placed on the outer structural skin of the entire tower, so then it will transform this local landmark into a solar absorber. As we can see, architectural’s technology and techniques move forward in a rapid speed. Parametric design is used to generate the building’s outcome.

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Case Study 2 - BanQ Restanrant Boston, MA,USA, office dA architects, 2006-2008 BanQ Restaurant is located at the base of old banking hall in the old Penny Savings Bank. The restaurant was divided into two segments, the front served as a bar and the large hall behind as the dining area. In the dining hall area, the space was formed as â&#x20AC;&#x153;Zâ&#x20AC;? axis between the ground space and services in the ceiling, which is formed satisfying the aesthetic feeling of the ceiling and wall, and at the same time to enable different segment to own its functions [2]. When designing restaurants, it will be considered more about flexible to movement because sometimes the numbers of serving people is related to parties and other events, sometimes for two seaters, sometimes for fours, or sixes. So most services such as the structure, drainage, mechanical equipment, sprinkler system, lighting and the acoustic systems in ceiling instead of concealing into the walls are more freedom.

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This project demonstrates that the form follow functions, because in the historic setting of the building always used wallpapers or some pictures to decorate spaces, instead in this project, it uses a striated wood-slatted system as the ceiling systems to organize the relationship among different spaces to enable different parts functional. Furthermore, the project is related to ceiling design for PartC. Firstly, the materials is Neopolitan Strand Bamboo Plywood, which creates a warm atmosphere. Secondly, in this project, it is made of multiple planar surface places in sequence, which can be created by offset a curve at the bottom, then extrude into a series of planes and finally use section box to analyze surfaces and divide parts as tool paths for CNC milling.

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A.2. - Design Computation The terms computerization is different from computation. Computerization describes anything operates by computers, but computational design is used to help designers to solve complex problems, such as material optimization, digital materially, digital fabrication and efficient construction process [3]. Computer enables drawing and modeling to be more quickly and accurately, and also can analyse possibilities into reality whether the ideas can work or not, which makes architects work more freedom and easy to try different formal possibilities [4]. Computation Design assist architects in digital fabrication and construction.

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Case Study 3 -Great Court at the British Museum London, UK, Foster + Partners architects, 1994-2000

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The glass roof was designed to create an indoor space as a centralized circulation to connect all the wings of museum. The roof is made of metal frame structure. The whole heavy structure is divided into various smaller panels of glass and metal frame work. Fosters and Partners say â&#x20AC;&#x153;Its unique geometry is designed to span the irregular gap between the drum of the Reading Room and the courtyard facades, and forms both the primary structure and the framing for the glazing, which is designed to reduce dollar gain.â&#x20AC;? So these designs and forms are created with computation design and parametric modeling, which are not only to achieve aesthetics form but also to reduce energy usage of the building. In the construction process, the grid of metal roof choose clockwise and anti-clockwise spiral lines and radials to construct the stable triangle grids instead of quadrilateral grids for their instability. The form is more complicated and possibilities, which allow large space with less columns by weaving those steel.

Computation design was used as a platform for designers to do formal experiments with relevant materials and hierarchy organization, not copying traditional patterns but considering more external factors. For construction, human do not need consider more details or rationalization of geometry, but considering how to control and transfer those data. Additionally, the glass roof uses the method in construction 3D mesh form 2D grid, which is more general and convenient in design and computation when compared to the williamâ&#x20AC;&#x2122;s methods [5]. Those glass panels are easily manufactured in straight panels while being able to panelize along the curves of the structure. Architects learn this kind of new language to meet their creative potential, which is also a new challenge in profession on computation design. Combining design and fabrication together encourages sustainable development and changes in architecture culture.

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Case Study 4 - ICD & ITKE Pavilion 2011

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ICD and ITKE Pavilion is a research by University of Stuttgart, which tried material-oriented computational design, and production process with biological structure. This project focus on development of a modular system which allows a high degree of adaptability and performance due to the geometric differentiation of its plate components and robotically fabricated finger joints. The sand dollar was chosen as a modular system to form a polygonal plates. Firstly, by using computation processes, it makes it efficient to create different geometries related to materials (sheets of plywood)’ properties and biological structure’s principles. At the same time the application of new design and fabrication processes are not only performance driven, but also open up a new architectural repertoire regarding spatial quality, structural articulation, and level of detail.

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Secondly, for scripting, Burry [6] explains “At its simplest, scripting affords a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time.” Those outcomes have already considered with material possibility and structural limitation to enable the design more efficiently. In this project, teachers and students write specific scripts to achieve high-level performance requirement, not just making scripting as a cloning tool. Designers who have learnt scripting can use computers to control design and final outcomes, which means they can be easy to modify scripts to create an initial project.

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Lastly, computation design can be used as a time-saver, utilizing various combinations of relevant information to allow construction and fabrication to follow the design. Nature structures with material efficiency and functional integration like ICD & ITKE can be found in the current building construction. Computation Design can combine and analyse complex geometries and different material properties to form into biological structures. In other words, architects use computational design to efficiently achieve constructionally to get accurate result and behaviors. Lastly, computation design can be used as a time-saver, utilizing various combinations of relevant information to

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A.3. - Composition & Generation

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COMPOSITION COMPOSITION CAN BE EXPLAINED THAT DIFFERENT GEOMETRIES ARE COMBINED TOGETHER TO FORM DIFFERENT SPACES, WHICH IS A KIND OF EXPRESSION OF ANCIENT ARCHITECTURE USING SPECIFIC DECORATIONS AND FORMS TO CREATE A HARMONY RELATIONSHIP BETWEEN FORMS AND FUNCTIONS FOR BUILDINGS.

GENERATION NEW TECHNOLOGIES AND SOFTWARES ENABLES DESIGNERS TO EXPERIMENT DIFFERENT FORMS AND DIFFERENT STRUCTURES EFFICIENTLY. FOR EXAMPLE, SOFTWARES CAN ANALYZE STRUCTURAL LOADS OF SPECIFIC MATERIALS OR FORMS AND SIMULATE EARTHQUAKE OR OTHER NATURAL DISASTERS BASED ON LOCAL CONDITIONS, WHICH MAKES THE BUILDINGSâ&#x20AC;&#x2122; DESIGN CONCEPTS EASY TO TRANSFER INTO REALITY. ADDITIONALLY, COMPUTERS CAN HELP US ANALYZE SOLAR PATH AND WIND PATTERNS TO GENERATE A SUSTAIN FORM. BASED ON COMPUTATIONAL TECHNIQUES, IT IS EASY FOR ARCHITECTS TO GENERATE VARIOUS OUTCOMES.

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Shift CAD softwares firstly meets the shift between composition and generation to create and generate design concepts easily and quickly into reality. The shift removed those traditional symbolics, geometries and decorations to achieve futurism. The important example is Frank Gehryâ&#x20AC;&#x2122;s Guggenheim Museum in Bilbao which utilizes design and digital production. FIG.25

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Algorithmic thinking Algorithmic thinking needs to kick in when similar problems have to be solved over and over again [7]. For example, Grasshopper can analyze wind pattern, and it has a code which can be used every time except for changing a few components and numbers. So algorithmic thinking makes computation design more logically into different segments.

Parametric Modelling Parametric design is a new logic of digital design thinking. Additionally, parametric modeling is similar to ecosystem where individual parts can interact each other to create a new form. In other words, the movement of each particle can be affected by the neighbor and also can affect its neighbor, which means they have a close relationship between objects and their parts-and-whole relationship. The basic rule can generate infinite numbers of possible forms and solutions which give architects more choices to pick up and give more opportunities to put designed forms or concepts into reality efficiently and accurately.

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Advantages and shortcomings Although there are a lot of advantages to explore different forms, one of the major problems is that there is a gap between initial deign and final products because of poor algorithmic scripting skills. So it is better to develop computational design techniques to improve the knowledge in scripting to follow the trend of digital architecture.

Scripting cultures Burry (2011) explains â&#x20AC;&#x153;At its simplest, scripting affords a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time.â&#x20AC;? Scripting is a not cloning tool, but using them to achieve a high-level performance. Designers everywhere should improve their techniques to make accurate calculations and experimentations, only relying on othersâ&#x20AC;&#x2122; scripting and just changing a bit. FIG.27

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Case Study 5 - Beijing National Stadium Beijing, China, Herzog and de Meruon architects, 2004-2008 Parametric design enables architects to complete a programmatic complexity form, which can be translated into the exterior (the steel system) connecting with the interior (Stadium seating). That form cannot be achieved by conventional and traditional method, but it is easy to control by parametric modeling and algorithmic thinking. With scripting techniques and parametric modeling, designs will not exist limitations whether for structures or construction process and those designs are extremely stable after accurate calculation of natural disasters.

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Case Study 6 - Guangzhou Opera House Beijing, China, Zaha Hadid architects, 2009-2014 The design of Guangzhou Opera house brings ideas from natural landscape like most ZaHa projects, such as Wangjing SoHo-the design of Wangjing SoHo tries to connect commercial buildingâ&#x20AC;&#x2122;s exterior look with traditional Chinese brush drawing. All the ZaHa projects, she makes exterior or interior environments full of fluid continuity of planes and surfaces. The glass was fabricated similar to Great Court at the British Museum where glass panels are easily manufactured in straight panels while being able to panelize along the curves of the structure. Different glasses have different angles, which was calculated by computers. In addition, softwares are used to simulate structural analysis to meet the design initials.

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A.4. - Conclusion

Different buildings and design have been shown in PartA. Those buildings all utilized digital aids to create their forms and structures. Computers as a drivers make shifts from composition to generation. Architects use those tools to solve problems to meet their creative ideas accurately. Those problems can be simulated by computers easily, while impossible for calculating by conventional and traditional method. Furthermore, those tools can save architects a lot of time and at the same time it can save money and save energy consumption. So thatâ&#x20AC;&#x2122;s why those great architects use software and digital aids for their projects. These works have similar features which they all utilized structure as a part of aesthetics. They all do structural analysis while forming into final product. I will focus on materials and structural stability and use software to do force analysis.

A.5. - Learning outcomes Within three weeks, I realized that softwares and computational aids will be used commonly in future and those are really beneficial to achieve human innovative ideas. I can widen my imagination and thinking of various forms and try to develop those ideas into reality.

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FIG.

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A.6. - Appendix - Algorithmic Sketches

In this selected Sketchbook, I use attrators to change my pattern on the plan and the height of extrude. Then different colors can different outcomes clearly. Different colors make us easy clear to choose which outcome is more relevant to your initial design. Different attrators present different situations in reality, so it is important to be familiar with them and control them. Additionally, if I want to create a ceiling, definitely I should find a structure or grid or surface, so I try some structures in grasshopper in the pictures presented on the right. Although now they are lines, but after I add “pipes“ component, it will be turned into 3D which I did not show. But now I haven’t try different geometry and using “section“ component to generate ceiling like BanQ reastanrant.

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B.1. Research Field - Patterning Patterning and ornamentations in architecture can produce not only spatial possibilities but also different perceptions and experiences of architecture1. Historically, ornamentations are complex to present the symbolism of specific culture or religionâ&#x20AC;&#x2122;s powerful spiritual aesthetic. They are different with decoration. A decoration can be an ornament, but an ornament is not always a decoration. Decoration can be described as an attached components, which were used to add aesthetics, while ornamentation can be seen as an element interacting within a system to create a holistic aesthetic presentation.

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FIG.34 FIG.12

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Haggis Sophia is an example of patterning for Christian churches and this is a patterning associated with nature2. The interior of church decorates flowers and birds in the spandrels of the gallery and mosaics of angelic figures and relative christian symbolism. Leon Battista Alberti defined ornamentation as necessary for beauty, which can be found in nature. â&#x20AC;&#x153;Beauty is a form of sympathy and consonance of the parts within a body... the absolute and fundamental rule in nature.â&#x20AC;?3 Here the relationships and associations he de nes is of an abstracted nature, which creates pattern. Interestingly, pattern is also linked to artin its expression of directly perceivable form which communicates and manifests the ideas of the world in a given period.

Ornament is to meant to communicate a sense of community. Surface pattern is independent of the architecture in content and form. and have nothing to do with th spatial or structural elements.

With the evolution of design computational software, patterning takes on new roles and meaning through the logic of generative computational systems by using grasshopper. My design focus is to explore design possibilities from variable patterning to create a strong visual, emotional and physiological architectural space. Except for visualizing, I also want to make my patterning is a functional application. With parametric designs, it provides unprecedented freedom form not only due to spatial layouts and component dimensions, but also in material composition and surface articulation (). Paramatricism allows to integrate design and construction, so it makes easy to achieve aesthetic and functional together.

1. MOUSSAVI, FARSHID AND MICHAEL KUBO, EDS (2006). THE FUNCTION OF ORNAMENT (BARCELONA: ACTAR), PP. 5-14 2. Garcia, Mark. Patterns of architecture. n.p.: London : John Wiley, 2009.

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An example of the use of patterning in architecture is the Water Cube in Beijing, China. It is a simple box that features a complex three-dimensional bubble patterning which is called Weaire-Phelan structure. This regular three-dimensional pattern was sliced with nonaligned, slightly rotated rectilinear box to produce the seemingly irregular patterning effect on the exterior. The wall was to be made without wasting floor areas. The materials filled into the wall is ETFE which is translucent and white to enhance the affect of patterning. When I design my ceiling, I want to try some modular structural system such as polygons and Wearie-Phelan to improve my visual effects. If one layer of this patterning cannot take emotional response, I will try two layers of patterns. http://www.arup.com/projects/chinese_national_aquatics_center/watercube_overview_1 FIG.12

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Another example is McCormick Tribune Campus Centre designed by OMA in 2003. Patterning, in the McCormick Tribune Campus Centre, is used on the curtain wall of the Welcome Centre. Some small diagrams, in the form of pixels, are used to represent human normal activities such as sleeping, sitting, studying and so on. The only two colors are used in the project. When seen from a larger scale, the smaller diagrams just disappear to leave place to a bigger holographic image, the ‘pixelated’ portraits3. It was made possible due to the arrangement pattern of the various pixels. These patterns are a visual mean of communicating to the students but also provide aesthetic values to the facade and partition panel and that both from a close range where we can only see an arrangement of small diagrams to a further range where the portraits appear. Moreover, the same patterns also act as a shading device thus reducing glare inside of the building.

3. ‘McCormick Tribune Campus Center’, Wikipedia, last modi ed 1 April 2014, http://

en.wikiarquitectura.com/index.php McCormick_Tribune_Campus_Center#Concept

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B.2. Case Study 1.0 In this weekâ&#x20AC;&#x2122;s case study 1.0, I decided to analyze De Young Museum as my particular project. The following matrices have shown some attempts to move away from the original definition, and create my own design. By understanding and learning the workings of the grasshopper definition in its components, I tried to demonstrate maximum innovative variation and potential possibilities for patterning. The patterning material system of Herzog & De Meuronâ&#x20AC;&#x2122;s De Young Museum in San Francisco is good for ceiling installation. As it uses the techniques of pixillation and unit assembly to create multiple aesthetic and functional purposes - the copper screen, which is not only a decorative architectural element, but also a rain screen, sun shade and a facade screen that hides the external mechanical ventilation system. The first step of experimenting with the provided Grasshopper definition involved simply changing and modifying each parameter to understand what each component was responsible for. Based on my design criteria of pixellation and aesthetics, my second step involved adopting different image, scaling with different attractors and changing its initial circles into different geometries to test the possibilities of new and exciting patterning systems. Lastly, I tried to use the patterns generated to create related 3D forms by directly extrusion geometries with different attractors and by using weaverbird. For this part, I still explored how to use kangaroo, so just one made by kangaroo.

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B.2. Case Study 1.0

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B.2. Case Study 1.0

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Geometric Differentiation The use of the image sampler influences the radius of each geometry to change the whole geometric pattern, which can enable base surface to creates a beautiful visual complexity. These geometries could be used for visual and functional purpose such as circles in the de Young Museum. The pattern is made of circles which can be used in the ceiling surfaces to deal with acoustic effect to reduce noise above ceiling. In addition

Shape Transformation

This specie explored the possibility of a pattern extruded out from one shape into another. Architecturally, this could be very interesting as one could establish distance based transformations. This would enable a design to gradually transform from one type of pattern to a completely different one from end to another.

Extrusion & Surface Orientation

This provides many directions for material experimentation. This is because the iteration itself does not offer much in terms of inhabitable space, but more on tactility and surface materials. It would create a very interesting effect when affected by wind movement for example. Its structure also could follow similar technique to the Seed Cathedral by Heatherwick Studios.

Heightmap Sampling

The surface extrusions when done in conjunction with a multitude of other variables, can create very interesting surface tectonics. Here, a wave like structure has been created

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IMAGE

SCALE

USING DIFFERENT

SCALE +IMAGE

USING DIFFERENT

IMAGE + SCALE + GRAPH MAPPER (PERLIN)

IMAGE + SCALE + GRAPH MAPPER (SINE)

USING DIFFERENT

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T IMAGE

TWO IMAGES + SCALE

CHANGE INNER AND OUTER GEOMETRIES’ BOUNDARIES -- 8

T IMAGE

TWO IMAGES + SCALE + EXPRESSIONS

CHANGE INNER AND OUTER GEOMETRIES’ BOUNDARIES -- 6

T IMAGE

TWO IMAGES + SCALE + CULL PATTERN

CHANGE INNER AND OUTER GEOMETRIES’ BOUNDARIES -- 6 & 3

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TRIANGLES FOR INNER AND OUTER SURFACE

ALL SURFACES ARE TRIANGLES, BUT UP IS MOVE ON X-AXIS TO FORM UPâ&#x20AC;&#x2122;S GEOMETRIES.

EACH POINTS HAS TWO GEOMETRIES: ONE IS SMALL EXTRUDE UP, THE OTHER IS EXTRUDE DOWN + USING GRAPH MAPPER TO CHOOSE WHICH ONE NEED TO BE EXTRUDE UP (SINE)

SURFACE(UP-DOWN): TRIANGLE- 6 SIDES- TRIANGLE

EXTRUDE UP AND DOWN +USING GRAPH MAPPER TO CHOOSE WHICH ONE NEED TO BE EXTRUDE UP (SINE)

SURFACE(UP-DOWN): TRIANGLE- 8 SIDES- TRIANGLE

EXTRUDE UP AND DOWN +USING GRAPH MAPPER TO CHOOSE WHICH ONE NEED TO BE EXTRUDE UP (SINE)

SURFACES ARE ALL SQUARE +CHANGE THE GRID OF BASE SURFACES + CHANGING HEIGHT FACTOR

EXTRUDE UP AND DOWN + USING ATTRACTORS TO INFLUENCE THE HEIGHT OF EACH SURFACE

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EXTRUDE UP AND DOWN + CHANGING GRAPH MAPPER + WITHOUT ATTRCTORS + EXTRUDE FOLLOWING VECTOR OF EACH POINT

WEAVEBIRD - CATMULLCLARK SUBVISION

WEAVEBIRD - CATMULL-CLARK SUBVISION + ADD MORE GRID OF BASE SURFACES

WEAVEBIRD - LAPLACIAN SMOOTHING

WEAVEBIRD - LAPLACIAN SMOOTHING + REDUCE GRIDS OF BASE SURFACE

KANGAROO

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ATTRACTOR CHANGING

ATTRACTORS, AND INCREASE HEIGHT

ATTRACTOR CHANGING

ATTRACTOR

EXTUDE TOWARD ONE TRIANGLE

EXTRUDE TOWARS ONE TRIANGLE, EXTRUDE TOWARS ONE TRIANGLE, EXTRUDE TOWARS ONE TRIANGLE, CHANGE HEIGHT CHANGE HEIGHT CHANGE HEIGHT

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B.3. Case Study 2.0

Another interesting project was the Dragon Skin Pavilion by Architects Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla, and Sebastien Delegrange. Like Gehrys â&#x20AC;&#x2DC;Fishâ&#x20AC;&#x2122; this is a lead and edge factory design. The only material used in this project was post-formable Grada Plywood (). It is a new material that can be heated and compressed into forms. This was revolutionary in the eld of moldable plywood. As well as the use of new materials, CNC machines manufactured the joins that connect each individual board. This project shows the importance to combine material performance and computation design together, especially when creating complex forms by simple geometry.

With parametric modeling, the thin wooden panels have slots that allow each to interlock with each other without any connections to hole the bending form workable. The interlocking system if the structure was configured through computational programing, analyzing where slots hold be placed to create the connections between panels prior to fabrication. Digital modeling allows the understanding of material performance such as internal forces or limitation of bending.

The dragon skin pavilion is a good example to explore the possibilities of new material

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B.3. CASE STUDY 2.0 Reverse two times:

First trial:

The Dragon Skin pavilion has a different structure to reverse engineer. The main concept was difficult to enable individual panels to be intersected rather than morphing on a certain panel. Attempt 1: Draw panels with picking up points from surfaces

1. Surface from curves The first step was to attempt to create a surface similar to that of the actual pavilion.

2. Divide surface into individual small panels Isotrim was used to divide the surface into small individual panels in UV directions at the same time.

3. Deconstruct individual panels To show individual panelâ&#x20AC;&#x2122;s vertices, deconstruct brep was used.

4. Pick up vertices and drawing lines perpendicular with surface UVâ&#x20AC;&#x2122;s directions 4 times for each group of vertices List item was used in the step to find the same position or points on the individual surfaces which has already been grouped into 4 coz each individual base panel has 4 points, into showing in one group, which has already been grouped into 4 coz each individual base panel has 4 points. Deconstruct Brep - list item (Start points) surface closest points - evaluate surface (to find the perpendicular direction from each points)

5. Choose points on those perpendicular lines one by one 6. create panels based on points on the curves (lines) 7. scale them to realize intersections between panels

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B.3. CASE STUDY 2.0

1. Surface from curves

The first step was to attempt to create a surface similar to that of the actual pavilion.

2. Creating diagonal web

The step is different from isotrim grid, which is creating a diagonal web line.

3. Creating surface within diagonal web

Picking up points to create a surfaces which built from 4 points.

4. Normal Morph - create target box on the surface

5. Prepare geometry, which was used to morph.

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It must also be taken into consideration that the Box Morph technique in grasshopper is inaccurate in some situation, as it divides an individual geometry along a surfaceâ&#x20AC;&#x2122;s domain. This means that if the surface divisions are bigger or smaller in certain areas, then the geometry will be morphed directly to it. So sometime after morphing some areas are bigger or stretched. But I still found the box morph is very interesting as an aesthetic because of those inaccuracy. And it built from lines but merged lines to form different patterning. I use box morphing technique to sketch my installation.

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B.4. Technique: Development Forms Generation via graph mapper

I used graph mapper to divide surfaces into UV divisions. Graph mapper is used to control UV divisions. For case study one, my research field is patterning, so I firstly want to change the patterning of the surface , which i show in the graphics below. I used box graph in this species to demonstrate box morphing aesthetic because of inaccurary. Because some areas of surface are small or bigger, it resulted different forms.

Movement effect can be shown in those graphic, which inspied me to give a ceiling installation a kind of movement in 3D dimensions rather than focusing on a surface, which is a little far away from my design intension coz I want to design a ceiling installation by using single modular geometry. But each graphic below has w

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B.4. Technique: Development

In This species , i continue useing box morph to explore the form. I explo box to achieve the movement of 3D pattern. The bottom is the most suc connections beween each one, which only one surface connects with ea in one direction connects with each other in case one surface is broken r

SURFACE BOX IN TWO DIFFERENT HEIGHT IN ONE VECTOR DIRECTION

SURFACE BOX IN FOUR DIFFERENT HEIGHT IN FOUR VECTOR DIRECTION

SURFACE BOX IN TWO DIFFERENT HEIGHT IN TWO VECTOR DIRECTION

SURFACE BOX IN TWO DIFFERENT HEIGHT IN THREE VECTOR DIRECTION

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ored different height and vectors of surface ccessful iteration because it enhances the ach other in previous trial, now a few sufaces resulting the whole structure is collapse.

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN TWO DEGREES

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN THREE DEGREES

1/3 PI & 1/4 PI

1/3 PI & 1/4 PI & PI

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN THREE DEGREES

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN FOUR DEGREES 1/3 PI & 1/4 PI & 1/2 PI & PI

1/3 PI & 1/4 PI & 1/2 PI

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN SIX DEGREES IN SERIES STARTING WITH 1/3 PI, THE SURFACES ON THE LEFT RESULT FOR ROTATING EACH DEGREES.

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B.4. Technique: Development

CHANGING GEOMETRY INTO POLYGON - EACH POLYGON V

First row: Morphing polygon in diagonal web grid. Then cha of geometry just meet with each other and I cull pattern a few

Second row: Following previous species, morph surfaces are

Third row: Following previous species, rotating those surface vector continue rotating different degrees to be target surfac

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VOLUMES INTERSECT WITH EACH OTHER

anging the surfaceâ&#x20AC;&#x2122;s size. The last one enables each line w ones to locate services or flexible using.

changed into different vector to extrude those box.

e box extuded in different ce boxes.

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B.4. Technique: Development CHANGING TRIANGLE INTO TRIANGLES

In this part, I have dicided to explore something about paper fold and triangle can be seen in any method paper folding, and behaviour of triangle can be easily achieved by plywood. I still continues made those triangles intersected with each one. Finally, I chose the one on the right side to be a sucessful one, which can benefit for my design. Although that one is not sysmmetry, it has rhythm becasue of arranges of triangles showing in the peak side of triangles, which will show in my design.

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B.4. Technique: Development

Before continuning to development my design combined with tessellation, I consider more about material perfprmance. Wood ususally is used to domonstrates history and also can be used to represent a kind of livable. So I tried to use weavebird and kangaroo connecting the ceiling installation with nature to give people a kind of feeling that the ceiling is growing everyday.

WEAVEBIRD’S CATMULL-CLARK SUBVISION, WEAVEBIRD’S MESH WINDOW WEAVEBIRD’S CONSTANT QUADS SPLIT SUBVISION,

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B.4. Technique: Development

THE REASONS FOR ME TO COMBINE TESSELATION INTO MY DESIGN

Architecture should take nature as a resource engine from structures, patterns and shapesâ&#x20AC;&#x2122; aspects. Nature itself is full of various irregular shape and form which is capable to develop through parametric design, which I tried in case study one to explore different patterns or geometries combined with nature(Figure 11 demonstrates tree trunk, while Figure 12 demonstrates flowing of gas or liquid). After those trials, I focus my design on trees trunks and the petal of flowers, which have large span and cantilever-like structure, which enabled e to consider my design with structural skin mentioned in Part A (Figure 13 is a structural skin of Fibrous Tower by Kokuggia demonstrates that structural skin is not for decorations but to be used to response spatial organization. ).

Way of generating structural skin varies. In this case, I will specialize in Tessellation which is one of the skin generative techniques. So I changed my design focus on tessellation. Tessellation is an installation approach that breaks up of complex surface into multiple repetitive elements. As a curvy organic geometry is hard to create and out of efficiency, it is feasible to develop a surface using the method of panelization. These segments provide lots of possibilities and flexibility of creating continuous geometry. Tessellation can generate free-transformed geometry that is twisting, bending or folding. The performance criteria for tessellation skin are seeking the balance of form making and structure optimization, which is very suitable for the ceiling projects.

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FIG.44

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B.4. Technique: Development

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For tessellation, I reverse another project to learn how to tessellation by using kangaroo. ICD/ITKE Research Pavilion 2011

The project explores form-finding through the integration of biomimetic principles, manufacturing constraints and physical simulation. I want to learn how it formed from a flat mesh into a geometry by using a gravitational force. I want to implement this method into my project, so I tried firstly reverse this project, chose a final geometry which is suitable to be a geometry for my project, and finally combined with “dragon skin” project.

1. Create the hexagonal pattern and curves of the pavilion by using Voronoi 2. Convert the pattern into a mesh by creating triangle surface in each polygon surface and join them together into a mesh 3. Prepare for Kangaroo forces’ setting from SpringsFromline, Pressure, Force, CurvePull. Turn pattern into an elastic web with SpringsFromline, inflate pattern and increase volume with pressure, set force to lift pattern with Unaryforce, fix inflated pattern to the initial curves made and finally gather all forces into one force data. 4. Convert curves extruded from Kangaroo in a mesh

Then to achieve second skin, it would scale the curve and move curve by Z direction, loft and cap all extrude polysurfaces, but I did not do that step coz I only need one skin for my project.

FIG.45 CRITERIA DESIGN

B.4. Technique: Development PICK UP THREE POINTS TO FORM INTO TRIANGLE ----- CHANGE THE SCALE OF TRIANGLE TO BE MORE CLAERLY

PICK UP FOUR POINTS TO FORM INTO RECTANGULAR SIMILAR TO DRAGON SKIN ----- CHANGE THE SCALE OF RECTANGULAR BIGGER AND CHANGE THE UV DIVISION OF BASE GEOMETRY

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- CHANGE THE SCALE OF GEOMETRY BIGGER TO ENABLE THEM TO BE INTERSECTED

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- CHANGE UV DIVISION OF BASE GEOMETRY AND SCALE DRAGON GEOMETRY

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- FIND THE BEST PATTERN ON THE GEOMETRY

LAST ONE TO FIND ANOTHER LAYER ABOVE AND THEN USING KANGAROO

CRITERIA DESIGN

B.4. Technique: Development TOP VIEW PICK UP THREE POINTS TO FORM INTO TRIANGLE ----- CHANGE THE SCALE OF TRIANGLE TO BE MORE CLAERLY

PICK UP FOUR POINTS TO FORM INTO RECTANGULAR SIMILAR TO DRAGON SKIN ----- CHANGE THE SCALE OF RECTANGULAR BIGGER AND CHANGE THE UV DIVISION OF BASE GEOMETRY

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- CHANGE THE SCALE OF GEOMETRY BIGGER TO ENABLE THEM TO BE INTERSECTED

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- CHANGE UV DIVISION OF BASE GEOMETRY AND SCALE DRAGON GEOMETRY

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- FIND THE BEST PATTERN ON THE GEOMETRY

LAST ONE TO FIND ANOTHER LAYER ABOVE AND THEN USING KANGAROO

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B.4. Technique: Sucessful interation

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The structure of this trial has already tested by kangaroo, so the whole form can be achieved following design intension. The connections are just attached each one not influencing the whole form. The whole form is similar with ICD pavilion with an opening, so services for screen can be located. In addition, when I built this form, six small geometry was built from one point (top view can show clearly). Thus, it can be achieved paper foldingâ&#x20AC;&#x2122;s movement if I add a force (maybe some sensors ) in those points.

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B.5. Technique: Prototypes

“MAKEING IS THE MOST POWERFUL WAY THAT WE SOLVE PROBLEMS, EXPREE IDEAS AND SHAPE OUR WORLD.” ---DANIEL CHARNY, ‘ THINKING THROUGH MAKING’

It is very important to consider the relationship between architecture and material performance. Different materials will result different visual effects and different forms based on itself material performance. Using parametric design, it can be solved during pre-digital petriod, for example, tesing structure can be achieved by using kangaroo or other components to give a workable struccture. Thus, it gives more opportunities for designers to build their complex geometry by fabrication and materlisation combined with computional process.

The process of designing and manufacturing the surface, use flat pieces of laminated thin media wood (in fact, we use plasterboard instead, and the material if so soft, it would be not suitable for this installation, coz those geometry intersected with each one after bending, which means the materials should give a force in tension or compression together to avoid falling), square shaped, which, have made them the slits required to resolve in lace with each other, the slits are different depending on the position and shape of the prototype, and subsequently bent following appling patterns in the surface instead heating process shown in dragon skin.

CRITERIA DESIGN

B.5. Technique: Prototypes

Then we explored a few patterns applied on our surface to achieve bending performance. We prototyped two, one is workable, the other is easy to crack. The difference between those two panels is the axis of bending. The first one is rotating the pattern in different directions and in this axis circles, rectangle, edges of small geometry, points together to achieve bending, while the second oneâ&#x20AC;&#x2122;s axis is the same geomtry and directly bends at the edge so it is difficult to bring into effect.

CRITERIA DESIGN

B.6. Technique: Proposal

The project is to create a wooden ceiling installation, proposed for a 6000*4000mm space surrounding by glass wall at three sides and a leather laced wall at the forth side, where is a meeting room of an office. The target for this installation is not just to hide services such as ducts, pipes and wires but also to consider room functions with this installation, for example, the lighting would be served by the screen by the movement of the ceiling. Being parametrically designs, the complexity of the design elements in non-standard form are to represent the technology innovation and creative ideologies while achieving optimum performance in the designs.

Design Concept: Learning from the ICD pavilion 2011 with its the integration pf natural principles into architecture design, for this project I form the whole structure by uisng natural principles. And the whole form can be folding by adding forces maybe manually or add some new technology to achieve different form during meeting time. In addition, the lighting can be changed by those movements. For patterning, we still continue using one simple geometry learned from dragon skin, but we add some pattern on it to meet acoustic effect similar to the autrim at msd. Although during the whole design process I tried some complex patterns, those are beautiful visually and are difficult to be fabricated. The connections are also learned from dragon skin paviliion. The connections avoid the structure failing. For functional analysis, we firstly considered how to hide ceiling services such as ducts or pipes, because the timber is different from concrete. If the ceiling is concrete, ducts maybe need not hidden coz they are not belonging to warm color. Thus, timber must find a way to hide those services pipes.

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B.6. Technique: Proposal

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B.6. Technique: Proposal

I am fascinated by conceptualization of â&#x20AC;&#x2DC;Fermidâ&#x20AC;&#x2122;. Fermid is a kinetic sculpture created by Behnaz Babazadeh that uses technology and parametric design principles to combine living organisms from natural environments with human perception. I found the overall geometry is quite interesting as the surface can be deformed by human movement. It seems like the geometry is breathing. The movement of one small piece leads to the move of adjacent piece is right because it is using tessellation technique. In parametric design principles, it is efficient to design a panel-based installation. The resulting movement is seducing and engaging a viewer to explore.

Fermid is similar with our design intention to create a installation by repeating basic pattern unit at similar scales producing an interesting overall pattern. But this project is made of polymer material, easily to biomimetic movement, which is very different with plywood.

Futhermore, by watching video of fermid, I was still very interested with breathing in-out, so I thought I can produce a pattern seems like breathing, seems like the ceiling wants to interact with human, seems like open-or-close.

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FIG.46

FIG.47

FIG.48

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B.6. Technique: Proposal

FIG.49

CRITERIA DESIGN

KENGO KUMA’S FOLK MUSEUM FOR THE CHINA ACADEMY OF ART OPENS IN HANGZHOU

The design is topped with discarded roof tiles, giving the museum the appearance of a small local village. the tiles are also used across the structure’s façades, held in place with stainless steel wire. these elevations help control external views, creating a dramatic internal play of light and shadow.

Those tiles can move based on light to form an interesting shadow interior, so I want to connect that concept with our ceiling installation.

Our ceiling installation’s connections are not easy to install movemen, but it also can be improved in some aspects. The method is although they cannot be moved individually, it can be moved in the chain in rows horizontally or vertically, thus the ceiling is divided into different chains which avoid to add wires or addiitonal connections individually, only adding controls on the both sides end of chains.

Finally, the ceiling installation concept is divided into two parts, the one applied at the lappet of ceiling installation below ceiling level is breathing, the other one applied for the ceiling level use chains to control movement.

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B.6. Technique: Proposal

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B.6. Technique: Proposal

LIGHT ACONSTIC FABRICATION MATERIAL PERFORMANCE DESIGN OVERAL COMMENT

FIG.33

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B.6. Technique: Technique:Proposal Proposal

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B.7. Learning Objectives and Outcomes

The learning process was an iterative exercise moving back and forth from one case studies to another case studies. Although one case study was selected at the beginning to understand how algorithimc and programming scripting are used to generate designs, it is often needed to go through other case studies to explore other potential techniques. In this way, various possibilities and limitations of the techniques could be explored and extended into a new design definition. While searching for potential strategies using parameter manipulation, sometimes it might gives unexpected outcomes that could be useful in generating another techniques for the design. For instance, the technique for cuting pattern

. After knowing various potentials techniques, it is easier to come up with an intesting proposal for the project. Hence, the concept of the design was finalised after realising what are the pros and cons of the techniques. Also, the design ideas change constantly throughout the process due to various limitations and possibilities. Although parametric design allows flexibility in various designs, fabrication strategies and the materials system have to be considered along the process to make sure the design is constructable and the materials are not difficult to source. For that, some design ideas have to be changed or dismissed.

To illustrate, although dragon skin cells were used as the patterns studies for the design, polygon structure were used instead in the design for the ease of materials selection in fabrication process. The advantage of the proposed design is that it allows a straight fabrication process due to individual geometry with different sizes. The limitation of the installation is that it would need some props during fabrication process to gather those geometries into a form. Although majority of the work from unrolling digital model into surface to be cut and labelling documenting was generated through scripts there is still a significant amount of work done by hand such as to cut and connect the tubes together. Unlike conventional design process, integrating parametric design can be quite complicated in the beginning, however it is worthwhile to be explored due to its flexibility in design solutions.

CRITERIA DESIGN

Part C

CONCEPTUALISATION

CONCEPTUALISATION 95

C.1

INTERIM PRESENTATION

CONCEPTUALISATION

FEEDBACK

Four projects has been proposed from Part B. All of them has been considered as sucessful proposals. These four have different figures. But they all use modular volumn as their basic geometry, for example, the first one is using voronoi, the second one is useing circular tubes, the third one is using triangle, the four one is using strip. In terms of differences, although they all have concept on tessellation defining the whole geometry by using repeating elements, there are some different methods they used on solving how officers commnicate with ceiling installation and how lights install in this project. For example, the top two want to bring nature into offices whether follwing ideas or forms, while the bottom two want to form similar to nature by installation natural movement into their design, which can change following the movement of people or changing because of weather.

CONCEPTUALISATION 97

C.1

INTERIM PRESENTATION

CONCEPTUALISATION

FEEDBACK

K The concept idea is based on biommicry. In these two projects, they both want to bring the sense of nature or the form of nature into interior environments. In addition, they both use simple modular system to commnicate with complicated human feelings by controlling lights, not just a kind of forming following nature. When combining these two projects, firstly we start to find difficulities from Part B process. The first project is that voronoi creates a complex and volumetric form which is desirable and it gives the place a sense of singularity but it does not reflect the main concept. Voronoi is a very volumetric form whose mass is not an appropriate form for a ceiling installation that can be fitted into a 24 square metres meeting room unless it would be a combination of voronoi surface and volume. The second project is that long circlular tubes are growing branches connecting with each other, which can be considered as different ideas from different people in the office communicating with each other. The difficulties of this project are how to control light without interrupting officersâ&#x20AC;&#x2122; reading and how to correctly fabricate following initial design ideas. After considering those, we divided into different group on exploring geometry, patterning, connections, fabrication.

CONCEPTUALISATION 99

C.3 C.2F IGEOMETRY NALISING

100

CONCEPTUALISATION

GEOMETRY

CONCEPTUALISATION 101

SYSTEMIC GROWTH EXPLORING FORMS FROM BIOMIMICRY KATERINA REFERENCED HER PART B PROPOSAL TO STUDY TOWARDS BIOMIMICRY, WHICH MAKE OUR EFFORTS TOWARDS FLOWING BETWEEN CEILING INSTALLATION AND THE ENVIRONMENTAL OF THE MEETING ROOM, AS WELL AS DIFFERENT IDEAS OR THOUGHTS IN THE OFFICE. THE CONCEPT OF FLOW IS TO DIRECTLY INFLUENCE THE DESIGN INTENT OF FINAL MODEL, FINAL PATTERNING AND THE JOINTS. BY USING BOIDS AS AN ALGORITHMIC TOOL, IT IS BETTER AND CLEAR TO SHOW THE FEELING OF FLOWING WHETHER FROM LINES OR FROM SURFACES. BIOMIMICRY FOCUS ON THE SYSTEM OF NATURE, WHICH MAKES OUR DESIGN PUT MORE EFFORTS ON NATURAL BEHAVIORS, NATURE ENVIRONMENTAL SYSTEMS AND LEARN FROM HOW NATURE INTERACTS WITH HUMAN BEINGS. PUT MORE CONSIDERATIONS ON THE CONTEXT OF NATURE INTO OUR MEETING ROOM, IN ORDER TO MAKE OUR MODEL RESPONSE TO NATURAL AS MUCH AS POSSIBLE.

102

CONCEPTUALISATION

CONCEPTUALISATION 103

104

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#06

#03

#07

#04

#08

CONCEPTUALISATION

#09

#13

#10

#14

#11

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CONCEPTUALISATION 105

106

#17

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CONCEPTUALISATION

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CONCEPTUALISATION 107

C.2 Sucessceful interations

108

CONCEPTUALISATION

Selected Critia: Because our ceiling installation is designed between the 13 group members, it is difficult to meet everyone ideas to the model. But collaboration is good whether on gathering thoughts of designs or on deciding which one can be chosen for the final model. Chen and Eddie provide the iterations matrix to explore various geometries after considering the issues of fabrication. 1. Time consuming and easy to fabrication: The right one is to try to make geometry close into a point when meeting glass, which is easy to control than the left one which have different sizes of openings when attaching with glass. Big opening is difficult to be connected with glass wall. 2. Reduce changing Modular system is important for biomimicry and tesselation. The top left one is to try to make the small pieces into modular systems. Moreover, the two on the right side were successful because they are more suitable for design initial ideas - flow.

CONCEPTUALISATION 109

C.3

110

PATTERNING

CONCEPTUALISATION

PATTERNING CONCEPTUALISATION 111

C.3.3

LIGHT

EXPOSURE -

EVALUATION WITHIN

A plug-in for grasshoper called Ladybug is e shadow on the overall geomtry. Ladybug im files (.EPW) into grassgopper and provide a idea of our design also comes from those dia ent times. Nick started to study light within the meetin achieve this, he put various parameters of th “Sun path” component into Ladybug to gene of the operational of Ladybug, it is easier for the concept of nature. In addition, the radian different thickness of the timber veneer strip of undulation. From the diagrams “sun path” and “radiant a tribution of light from a sourced point onto nique was put into ceiling installation in ord etry exposed to the greatest amount of light, localizing attractor points that directly influe Strips might block the most of light, which m thinner avoiding with double-skin, so it is n to make the light go through. 112

CONCEPTUALISATION

THE METTING ROOM

explore the effects of loghts and mport standard energyplus weather diagram of lighting influence. The agrams to control the light in differ-

ng room by using Ladybug. To he hours, days and months of the erate four light locations. Because r our ceiling installation towards nt analysis will be changed by using ps in that the thickness and extent

analysisâ&#x20AC;? can demonstrate the disthe surface of a system. This techder to locate areas below the geom, allowing for the establishment of ence the thickness of the strips. means the materials should be more necessary to add some patterns on it CONCEPTUALISATION 113

C.3.4

L I N E A R P A T T E R N S - DIRECTION CHANG

INITIAL IDEA By using â&#x20AC;&#x153;Iso trimâ&#x20AC;? to explore the patterns of basic geometry created by Chen and Eddie, Nick and Windy created individual strip. Exploring different data into the script, many patterns can be created. And then we can pick up the best one which is more considered about environments or more unique patterning. Firstly, the patterning starts with the linear nature of the strips. Secondly, to better response environments, weaving patterns are put into basic geometry, which can produce unique effect and be easy to make connections between strips in order to achieve the initial idea of intent.

114

CONCEPTUALISATION

GE #1

CONCEPTUALISATION 115

C.3.5.2

PARAMETRIC TEST-PATTERNING

The individual strip are interlocke each other to try to response the initial design intent of flow in the design. At the end of each tube is replaced by a piece of cane. Regarding to environmental conditions, the holes are created to enable light to pass through. Compare two different methods of patterning below, the right is chosen because it can make much light going through.

116

CONCEPTUALISATION

ON STRIP

CONCEPTUALISATION 117

C.3.5.3

P A R A M E T R I C DESIGN

Diagram: Baisic Geometry - Patterning - Creating holes - Final Geometry 1. Basic Geometry A rectangle on a XY plane - create a line segament defined by start point on the edge of rectangle plane - divide lines by number of segments (10) - cull pattern - create a polyline connecting a number of points - changed into interpolated curve - divide distance between every two adjacent curves by 2 to get radius of circles - set curves as the boundary for the loft surface, otherwise the loft tube might overlap each other if we directly loft the circles.

2. Patterning for individual one extract an isoparametric subset of a surface - brep edges - interpolated curve - loft 3. Creating holes Line end points - move - weave a set of input data using a custom pattern - interpolate - cull pattern - split surface with a bunch of curves

118

CONCEPTUALISATION

CONCEPTUALISATION 119

C. 3.4.5 Final Geometry

The Final geometry combines suceccful geometry which is easy to fabrication

with patterning which considers much conditions on environments and lights.

The whole geometry consists of individual modular cane and a series of big tu

to present the natural flow and ideas interacting with each one. The concept o

for presenting different thought. The canes present different ideas coming to

redefining. The tube acts as a main network of brain. The whole geometry is t

nature. The geometry is the flow of nature to represent different meanings an 120

CONCEPTUALISATION

in reality,

ube

of flow is to provide a platform

ogether and then interacting,

to dominstrate the flow of

nd implications for designing. CONCEPTUALISATION 121

122

CONCEPTUALISATION

CONCEPTUALISATION 123

C.4

124

Prototype

CONCEPTUALISATION

Prototype 1. Ribs 2. Joints For Canes 3. Joints between ribs and canes 4. Joints for hanging

CONCEPTUALISATION 125

C.4.1

Structural Elements

1. RIBS 126

CONCEPTUALISATION

1. Ribs 2. Joints For Canes 3. Joints between ribs and canes 4. Joints for hanging

Structural Elements CONCEPTUALISATION 127

C.4.1

128

CONCEPTUALISATION

THE FORM-

DESIGNING WITHIN PARA

A M E T E R S // PROTOTYPE 1.

The purpose of ribs are to support the whole structure, which will be hiden by patterns. The ribs are connected with strips then. The design for ribs are also the flow of nature. It will be added a connection where three strips come together. When fabrication, they actually produce circles and they are bended into curve then. The first prototype is not sucessful because of the performance of material. The second one is sucessful with paper. The third one is sucessful to prove the design sucessfully. CONCEPTUALISATION 129

C.4.2

J O I N T S for canes

2. 130

CONCEPTUALISATION

1. Ribs 2. Joints For Canes 3. Joints between ribs and canes 4. Joints for hanging

JOINTS FOR CANES CONCEPTUALISATION 131

C.4.2

EXISTING GEOMETRY

In the geometry, canes and tubes are combined together to form final geometry. F above by using ribs to hold the whole structure. For canes, timber veneer cannot m form such small thickness. So Brendan and Hugh explored another material to con

By finding 3D printed joints, the canes can be positioned onto different directions, hold the most changing of the flow of cane. The hole in the circle is used to change tioning of the canes to keep the whole geometry. Similar to precedent analysis, thi a network to reflect the network of ideas. The joints influnce how the whole geometry achieved initial design ideas.

132

CONCEPTUALISATION

For tubes, it mentioned meet our design intent to ntinue the sense of flow.

the circles are used to e the direction or the posiis visible joints are used as

CONCEPTUALISATION 133

C. 4. 2

C.14

134

JOINTS

CONCEPTUALISATION

The joint are positioned parametricly. The joints are 3D printed to maintain the angles for the direction of cane. The holes are tight so it is easy to achieve the whole flowing.

CONCEPTUALISATION 135

C.4.3

J O I N T S between ribs and canes

3. JOINTS BETWE 136

CONCEPTUALISATION

1. Ribs 2. Joints For Canes 3. Joints between ribs and canes 4. Joints for hanging

EEN RIBS AND CANES CONCEPTUALISATION 137

C.4.3

J O I N T S - RIB

JOINTS

Jintao provides the connections between canes and ribs, ribs to ribs and ribs canes and canes by using 3D oriented joints. The method of joints provide the clips and slits to connect and integrate the whole geometry.

138

CONCEPTUALISATION

P R OTOT Y P E 1

CONCEPTUALISATION 139

or Ca

C.5.4. J O I N T S for hanging C.4.4 J O I N T S for hanging

4 140

CONCEPTUALISATION

1. Ribs 2. Joints For Canes 3. Joints between ribs and canes 4. Joints for hanging

4. CEILING JOINTS CONCEPTUALISATION 141

C.4.4

142

CONCEPTUALISATION

CEILINGJOINTS

CONCEPTUALISATION 143

C.4.4

CEILINGJOINTS

TRIA

Firstly, ribs acts as structural elements of the whole geometries. So I start to find a method of how to hang individual rib without cracking timber materials of ribs. Inspired by precedant analysis, I create a gap to lock the rib at the point when three sheets are going together.

Adva Disad

Deve L-sha Indiv that

TRIA

Adva the p insta

Disad

Deve Crea to ke

TRIA

Then

The w grow of flo

More 13.2m slide gap.

144

CONCEPTUALISATION

AL ONE

antages: It is easy to keep balance when hanging. dvantages: The geometry is not elegant. Not convenient to install cables.

elop: ape - in aesthetic aspects vidual bars - instead of holes - which make easy to 3D-printing, and neednâ&#x20AC;&#x2122;t cable to go through tiny holes.

AL TWO

antages: L shape is not influenced by patterning of the whole geometry, which can go through pattern and then add cable to hanging, so L shape is convenient to install cables. Cables can be alled lastly while U shape above should connect with cables before connecting ribs with strips.

dvantages: L shape is more elegant than U shape, but it has the risk of falling down.

elop: ating two holes in the middle in the same level instead of a hole in top level, which can be better eep balance.

AL THREE

n inspired by Johnson Tang, the sculptures made by hand are expression the idea of love.

whole geometry presents love, which is suitable to our concept of the model. The concept wing can be presented by love, because everyone is growing with love. In addition, the concept owing can be continued from the outline of geometry of joints.

eover, the joint is flexible than the previous ones. In the whole plan, the width of strips include mm, 16.5mm and 19.8mm, so I create one joints to be suitable for the other sizes of ribs. The e rail are used in this joint and additional beam located on the slide rail is to change the height of

CONCEPTUALISATION 145

C.4.4

146

CONCEPTUALISATION

CEILINGJOINTS

Prototype 1: Warning: the thickness of solid is so thinner, especially at the top of geometry where is less than 0.5 mm. Thus, it adds more difficulites to create a hole in that area. Develop: Try to find another way instead of the hole at the top, so firstly I changed the geometry which can provide a platform to make cables roll around the geometry. In addition, in case rolling on geomtry will be inconvenience and interrupt ribs, so add a beam in a position of the hole, similar to a hook, which can let cables hang onto.

Prototype 2: Develop the geometry and using two columns instead of holes to be connected with cables.

CONCEPTUALISATION 147

C.4.4

CEILINGJOINTS

The Process of Prototype: Firstly, I try to create a joint with gap to locate the sheets of rib, and then directly hang the joints with ceiling. But when I try to make the joint as small as possible, it is hard to form a hole in the 3D printing joint. Then, I try to find a new platform to locate the ceiling cable, so the second geometry outline which is similar to gear is to put the cable rolling around the geometry. But after locating ribs, it is hard to roll the lines as planning, still working.

148

CONCEPTUALISATION

Finally, 1. Still using the method of gap locking with ribs 2. Reducing the structure where is not necessary. 3. Instead of the hole, the two supports locate between columns on each side in purpose of hanging with cables. 4. The joint is stronger than others, more workable. 5. Comparing with L-shape, this changes by using U-shape, so it can keep better balance as well. 6. This geometry is printed by 3D as well, but it save much time because basic geometry is simple and could be achieved more easily.

CONCEPTUALISATION 149

C.4.4

CEILINGJOINTS

Prototype 3: three gaps instead of one gap - Different positions of ribs comparing with the other joints above Those ribs are not symmetry. So three sheets get together at the bottom of ribs, while at the top the ribs are seperated in three directions. This prototype is successful but it is bigger than others, but it can be used in my final proposal for ceiling installation.

150

CONCEPTUALISATION

CONCEPTUALISATION 151

C.4.4

CEILINGJOINTS

Ima

htt 152

CONCEPTUALISATION

age source:

tp://mamou-mani.com/burohappold/ CONCEPTUALISATION 153

C.4.4

CEILINGJOINTS

Precedant Analysis:

154

CONCEPTUALISATION

The Wooden Waves – Buro Happold – The ceiling Installation at 71 Newman Street The Wooden Waves is an architectural installation suspended in the 17 and 71 Newman Street entrance spaces of BuroHappold Engineering’s London offices to provide a visual link between the two. This functional art piece celebrates global engineering practice BuroHappold’s multiple innovations in the field of complex gridshell and other timber structures and was designed in collaboration with Mamou-Mani Architects and BuroHappold. The structure was made at the architect’s fabrication laboratory in London, The FabPub.

Image source: http://mamou-mani.com/burohappold/ CONCEPTUALISATION 155

C.4.4

CEILINGJOINTS

Image source: http://mamou-mani.com/burohappold/ 156

CONCEPTUALISATION

The Wooden Waves – Buro Happold – The ceiling Installation at 71 Newman Street Curvature formed by different patterning The components of The Wooden Waves form sinuous streams folded into unexpected configurations through an open-source and innovative digital fabrication technique of “lattice-hinge-formation”: This is a parametric pattern of laser-cut lines that alters the global properties of plywood sheets making them locally more flexible and thus controlling the 3D form without significant supporting framework. The lattice hinge method is a development of the traditional timber bending technique, using the kerf (beam-width) of the laser to form torsional springs within the material.

CONCEPTUALISATION 157

C.4.4

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CONCEPTUALISATION

CEILINGJOINTS

The Wooden Waves â&#x20AC;&#x201C; Buro Happold â&#x20AC;&#x201C; The ceiling Installation at 71 Newman Street

Reflection from Precendant Analysis Firstly, the whole structure is similar to our project . The patterning of geometry is connected with ribs, and long simple rectangle strips are connected beween ribs. The ribs has patterns on it, which is good for locate service such as LED and gives more opportunities to connect with ceiling because they have patterns on vertical directions which gives more supports rathan than two supports at the point where is connected with patterning sheet. Secondly, the project is different with ours in 3D demosion. Our ceiling installation has two sides of patterning and services will be concealed into the big bulb, while this one has one side of patterning, put services above patterning sheet. Our ceiling installation is more difficult to consider light conditions.

Image source: http://mamou-mani.com/burohappold/

CONCEPTUALISATION 159

C.4.4

160

CONCEPTUALISATION

CEILINGJOINTS

Image source: CONCEPTUALISATION 161 http://mamou-mani.com/burohappold/

C.4.4

CEILINGJOINTS

FIRST STEP: SECTIONING AND FIND THE LOCATIONS OF RIBS

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CONCEPTUALISATION

CONCEPTUALISATION 163

C.4.4

CEILINGJOINTS

SECOND STEP: FORM RIBS AND EXTRACT ISOCURVE INTERLOC

METHODS DESCRIPT

SImilar to the previous one

Ribs in the geometry are st top of individual rib is a pos above), while the bottom o

In my design, I extract two of baisic geometry while th

At firstly, I would like to onl as two functions: one is to l easy to locate ribs tightly w best structural elements. T

164

CONCEPTUALISATION

CKING WITH

TION:

es, the method is to create gaps to lock and position the ribs.

tructural elements, erecting within the strips for patterning. The sition where three sheets seperate with each one (in the right side of the rib is where three sheets come together (in the left above).

isocurves of each tube: one is selected at the top he other one is chosen from the bottom.

ly use the top one, but I find the extracted curves act lock into ribs and then connect with cables; one is which are structural bracing can help ribs act as the Then I changed into using two extracted curves.

CONCEPTUALISATION 165

C.4.4

CEILINGJOINTS

THIRD STEP: ADDING CABLE AND A SHOT-FIRED HANGER CONN

Fisso Perla Maxipack: Loop clamp for cable, slide through steel cable or nylon thread forming a loop and fast it with allen screw. Mounting: Loop clamp for cable, screw system Materials: Chrome-plated brass Cable thickness: 1.8mm diameter maxipack without mounting material

Shot-fired hanger solution Quick and easy fastening solution

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CONCEPTUALISATION

NECTION WITH CONCRETE SLAB

CONCEPTUALISATION 167

C.4.4

CEILINGJOINTS

FOURTH STEP: CEILING CABLE LOCATIONS: CABLE SPACING - 4 CONCRETE SLAB CABLES STRUCTURAL BRACING 1CM THICKNESS

STRUCTURAL RIBS

STRIPS AND CANES

BASIC GEOMETRY

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CONCEPTUALISATION

450MM

CONCEPTUALISATION 169

C.4.4

CEILINGJOINTS

FIFTH STEP: ACCORDING TO DIFFICULTIES OF FRACTION, CHAN

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CONCEPTUALISATION

NGING THE SHAPE OF BULB

CONNECTIONS CHANGED BECAUSE OF THE PROBLEMS APPEARED WHEN FABRICATION The tube turns to be close when meeting glass wall, in other words, the tube has too big change at the view of geometry. The structural ribs cannot be done when the geomtry turn into small volumes, so we decided to seperate the whole tube into three parts: one is the middle of tube structured by ribs, another two parts are replaced by canes because that area is too small to overlap patterns.

CONCEPTUALISATION 171

C.4.4

CEILINGJOINTS

SIXTH STEP: LOCATIONS OF CABLES FINALLY, FOR BULBS (RED

Ceiling connections layout: the red ones are for tubes, the green ones are for canes. Canes can be connected with ribs, so it is neccessary for too much joints hanging into concrete slab.

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CONCEPTUALISATION

D POINTS) AND CANES (GREEN POINTS)

CONCEPTUALISATION 173

C.5.4

CEILINGJOINTS

SEVEN STEP: BULB CONNECTING WITH CANE, AND THEN HANG

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CONCEPTUALISATION

GING UP

CONCEPTUALISATION 175

C.4.4

CEILINGJOINTS

EIGHT STEP: FRABRICATION - 3D PRINTING FOR OUR BIG MODE

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CONCEPTUALISATION

EL (SCALE 1:3)

CONCEPTUALISATION 177

C.4.4

CEILINGJOINTS

NINE STEP: PROTOTYPE PROCESS

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CONCEPTUALISATION

CONCEPTUALISATION 179

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CONCEPTUALISATION

CONCEPTUALISATION 181

C.5

182

FABRICATION

CONCEPTUALISATION

FABRICATION CONCEPTUALISATION 183

C.5.1

Digital fabrication

CARD CUT TER 1:10 SCALE

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CONCEPTUALISATION

CONCEPTUALISATION 185

C.5.1

Digital fabrication

Daniel DANIELproduces PRODUCES a 1:50 A 1:50 massMASS model MODEL of the OF entire THE ENTIRE GEOMETRY OF CEILING geometry INSTALLATION of ceiling TO SHOW installation INTERACTIONS to show interactions BETWEEN TUBES AND CANES. between FROM THE tubes MODEL, and canes. IT IS CLEAR From TO theSHOW model,OUR it CONCEPT NATURAL FLOW. is clear to show our concept natural flow.

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CONCEPTUALISATION

CONCEPTUALISATION 187

C.5.2

188

CONCEPTUALISATION

Big detail model

CONCEPTUALISATION 189

C.5.2

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CONCEPTUALISATION

FABRICATION

S E Q U E N C E - FROM RH

HINO TO REALITY

The scale is done as 1:3

After laser-cut, individual strip has been lay out in numbers. Fabrication ; 1. ribs: to hold the whole geometry following design initial ideas 2. connecting: overlapping individual strip by sewing. 3, final model material is good for flowing than that prototype one.

CONCEPTUALISATION 191

C.5.2

192

CONCEPTUALISATION

Big detail model

Material Timber Veneer - Paper back Veneer refers to thin slices of timber veneer, usually thinner than 3mm. The bending capacity of the timber veneer, the semi-translucency , and soft texture enable the big model to achieve initial design concept-flowing. The texture of the timber veneer is peeled from the truck of a tree or sliced from latge rectangular blocks of wood. The appearance of the gain and figure in wood shows the growth rings of a tree which will decide the direction of bending performance. Before this material, another timber veneer we tried firstly is stiff and hard to bend, which will crack in interlocked area. Then we changed into paper back, which is more flexibility and easier to bend following design ideas.

CONCEPTUALISATION 193

C.5.2

194

fabrication canes by making individual cane

CONCEPTUALISATION

go through joints

CONCEPTUALISATION 195

C.5.2

196

CONCEPTUALISATION

Big detail model

CONCEPTUALISATION 197

C.5.2

198

CONCEPTUALISATION

Big detail model

CONCEPTUALISATION 199

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CONCEPTUALISATION

CONCEPTUALISATION 201

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CONCEPTUALISATION

CONCEPTUALISATION 203

Appendix - Algorithmix sketches

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CRITERIA DESIGN

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B.8. Appendix - Algorithmix sketches

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CRITERIA DESIGN

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B.8. Appendix - Algorithmix sketches

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