STUDIOAIR ONG JIN MING CHRISTIAN | 629928 2015 | STUDIO 8 | BRADLEY ELIAS
TABLE OF CONTENTS INTRODUCTION PART A CONCEPTUALISATION 6 A0 DESIGN FUTURING 12 A1 DESIGN COMPUTATION 18 A2 COMPOSITION | GENERATION 24 A3 CONCLUSION 25 A4 LEARNING OUTCOMES 26 A5 APPENDIX
PART B CRITERIA DESIGN
32
B1 RESEARCH FIELD
36 B2 CASE STUDY 1.0 48 B3 CASE STUDY 2.0 56 B4 TECHNIQUE: DEVELOPMENT 60 B5 TECHNIQUE: PROTOTYPING 62 B6 TECHNIQUE: PROPOSAL 66 B7 LEARNING OBJECTIVES AND OUTCOMES 68 B8 APPENDIX
PART C DETAIL DESIGN
72 C1 DESIGN CONCEPT
C2 TECTONIC ELEMENTS + PROTOTYPING
85
91 C3 FINAL DETAIL MODEL
C4 LEARNING OBJECTIVES AND OUTCOMES
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INTRODUCTION
Being a kid that started remodeling his own home as early as I could draw logically-discernible pictures and with my craftiness in creating objects with my set of Lego building blocks, my father figured that one day I would grow up to be an architect. With him working in the property line, it only increased my interest in designing buildings as he constantly exposed me to countless projects that he was involved in. The past two years in the Bachelor of Environments was full of interesting design studios, however none of which is as unique as Studio Air. I have always been accustomed to designing buildings from bottom up, considering all the conditions and requirements myself, generating the
overall idea to final presentation design. Things are done differently in Studio Air though, with the whole idea of design computation being introduced and letting software like Rhino and Grasshopper generate design possibilities instead. I am also a professed Norman Foster fan ever since I found my interest in architecture. His technologically advanced designs have a strong consciousness on their environmental impact whilst maintaining a signature design elegance. I dream of one day having the opportunity to work in Foster + Partners and to experience the multitude of diverse projects they often participate in.
PART A
CONCEPTUALIZATION
A0
DESIGN FUTURING
As an architect you design for the present, with an awareness of the past, for a future which is essentially unknown. Norman Foster
CONCEPTUALIZATION 7
DESIGN FUTURING 30 St Mary Axe London, UK | 2004 Foster + Partners The distinctive form of 30 St Mary Axe was determined with the use of dynamic simulation, resulting in reduced wind deflections compared to a rectilinear tower or similar size. [1] The tower’s core is surrounded by a grid of interconnected diagonally braced structure which allows column-free floor space and a fully glazed facade that opens up the building to light and views, reducing the need for internal lighting during the day and increasing environmental efficiency.[2] The bearing system of the tower is secured by the outer steel armour whose cornerstone is formed by two solid inverted V’s which are two storeys high, a unique design that enhances the structural efficiency of the radial-based building.[1]
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Diagrams of wind flow generated by dynamic simulation which greatly contributed in determining the final form of the building, whose profile widens as it rises and tapers towards its apex. The diagrams show how the wind deflection is decreased at lower floors, maintaining a comfortable environment at ground level; while the stronger presence of wind on the upper floors creates external pressure differentials which are taken advantage of to naturally ventilate the building.[2] 6 intersecting pipes on each floor function as cooling components during summer, and for heating during winter by using heat from within the building.[2] Because the walls are freed up from bulky heating and cooling systems, more natural light is permitted into the building, resulting in a reduction in the cost of lighting.[1] 30 St Mary Axe is a clear example of how design software has assisted in optimising the structural and environmental performance of a building. From ensuring more efficient load bearing structures to energy saving systems, it is obvious how design simulation through analytic software has been influential in this project.
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| 01 + | 02 30 St Mary Axe by Foster + Partners | 03 + | 04 Wind flow research diagrams | 05 + | 06 Natural lighting and ventilation effects during winter and summer
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CONCEPTUALIZATION 9
DESIGN FUTURING London City Hall London, UK | 2002 Foster + Partners Designed by Fostrer + Partners using advanced computermodelling techniques in collaboration with their Specialist Modelling Group (SMG), the London City Hall represents a reconsideration of architectural form.[2] Its shape was derived from a string of form finding experiments with Arup to achieve optimum energy performance by maximising shading and minimising the surface area exposed to direct sunlight, whilst it flask shape enhances acoustic performance.[2] The Offices are naturally ventilated, photovoltaic provide power and the building’s cooling system utilises ground water pumped up via boreholes, resulting in this building using only a quarter of the energy consumed by a typical air-conditioned London office building.[2]
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This computer generated model for shows the impact of solar radiation on the buildings external envelope. The cones indicate the direction from which each of the facade panels receives sunlight; red represents the maximum level of energy received and blue the minimum. [2]
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A solar impact analysis study was also carried out based on an early iteration of the building, showing average annual heat gain. This information allowed the buildings components to be placed accordingly.[2] For example the chamber is located behind the “coldest” part of the facade to allow maximum glazing, while the photovoltaic elements are placed in the “hottest” part.[2] These computer generated models are examples of environmental optimisation of a building using architectural computation.
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| 01 + | 02 London City Hall by Foster + Partners
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| 03 Internal spiral staircase | 04 Section view of London City Hall | 05 Solar impact analysis diagram | 06 Solar radiation diagram
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CONCEPTUALIZATION 11
A1
DESIGN COMPUTATION
Computation augments the intellect of the designer and increases capability to solve complex problems Brady Peters
CONCEPTUALIZATION 13
DESIGN COMPUTATION Siemens Headquarters, Masdar Masdar City, UAE | 2013 Sheppard Robson The Siemens Headquarters in Masdar City is one of the first buildings completed under the master plan of Foster + Partners to create a zero carbon city in Abu Dhabi, United Arab Emirates. By undertaking parametric analysis, Sheppard Robson managed to find the best performing solutions to certain vital aspects of the design: u-values, layout of floor-plates, orientation of the building, and the ideal window-to-wall ratio.[3[ The Siemens Headquarters in Masdar City is a clear example of optimised building performance with the use of parametric design software. There was no predetermined aesthetic, but only a main focus of achieving maximum efficiency through design computation.[4]
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The variation in the form of the shading systems was designed to offer legibility to the architectural expression with each facade tailored to suit its solar orientation. [4] In addition to variation in facade treatment, 144 different floor-plates were analysed, and the architects picked the best for even distribution of daylight, flexibility, and optimal wall-to-floor ratios; producing column-free floor plates achieve a 92 percent usable-area efficiency.[3]
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These methods are examples of rule-based design computation, where you plug in the key factors and allow the software to generate multiple possibilities. Once all possible design outcomes are reviewed, a suitable one can be chosen with regards to how it meets the predetermined criteria.
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| 01 + | 02 Siemens Headquarters Masdar City | 03 + | 04 Details of parametrically designed facade sunshades | 05 Facade sunshade assembly diagrams
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DESIGN COMPUTATION Shenzhen Bao’an Int. Airport - Terminal 3 Shenzhen | 2013 Studio Fuksas The Shenzhen Bao’an International Airport - Terminal 3 is designed to cope with the vast economic growth of Shenzhen, better connecting with the world. The curving roof canopy is constructed from steel and glass wraps around the airport, accommodating spans of up to 80 metres.[5] Covered on both sides by a perforated cladding is the airport’s space structure, consisting of 60,000 unique facade components and 400,000 separate steel units. Hexagonal skylights perforate the surface of this roof, allowing natural light to filter through the entire terminal.[5]
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A parametric data model controlled the size and slope of the openings, which were adapted to meet the requirements of daylight, solar gain and viewing angles, as well as the aesthetic intentions of the architect.[6] Once the architects have set out the design requirements and their design intentions, design computation was put to good use in determining a suitable form for the building. Multiple outcomes would have been generated for example the size of the openings and even the locations and angle of them to achieve the desired lighting effect in the interior of the building, This is how design computation affects the design as to enhance its environmental performance through natural lighting.
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The curvy structure is is also a product of structural optimisation with design computation to ensure the structure of the terminal is able to cope with the vibrations from aircraft and loads of the 45 million passengers the airport is expected to cater for per year.
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| 01 Internal perspective of the airport | 02 Shen Zhen Bao’an Airport - Terminal 3 | 03 + | 04 + | 05 Internal perspectives showing parametrically generated undulating ceiling and roof
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CONCEPTUALIZATION 17
A2
COMPOSITION | GENERATION
it is now possible to materially realize complex geometric organizational ideas that were previously unattainable . Branko Kolarevic
CONCEPTUALIZATION 19
COMPOSITION|GENERATION Dresden Station Redevelopment Dresden, Germany | 2006 Foster + Partners Dresden’s main railway terminus is one the largest and most impressive late-nineteenth-century railway stations in Europe. It was unfortunately seriously damaged during the war and was rebuilt.[7] In 1990, severe signs of deterioration were noticed, and plans for remedial conservation were made. Structural analysis showed that reconstructing the original roof covering would add loading to the arches that would push them beyond allowable contemporary standards. [2] Foster + Partners hence proposed a large lightweight membrane roofing component. As membranes carry roof loads by their shape, they must be calculated by parametric analysis to ensure that the entire surface is always in tension, no matter what the loading pattern.[2]
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Above are screen grabs of the computer-generated model, and the resulting physical models; whose development allowed the design team to study and develop the form of the fabric roof canopy in great detail.[2] Using parametric software from membrane specialists Birdair, the generated 3D model formed the basis for an iterative form-finding technique.[2] Once the edge parameters were established, the Birdair software was able to generate a shape solution in seconds, which allowed the architects to analyse geometric options very quickly, and to develop a shape that harmonised with the arches.[2] The parametric model could be adjusted and the offset distance of the fabric from the arches could be changed; also allowing the tension that pull down points could be tightened - with the resulting shape calculated quickly.[2]
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This echoes what was found in the Brady reading which argues that through computation, the digital architectural design environment is both able to construct sophisticated models of buildings and provide performance feedback on these models.[6]
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| 05 | 01 Internal perspective of the station | 02 Dresden Railway Station | 03 + | 04 Parametric models of the roof | 05 + | 06 Physical models to further research based on parametric model
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COMPOSITION|GENERATION Khan Shatyr Entertainment Centre Astana, Kazakhstan | 2010 Foster + Partners Measuring in at 150m high, The Khan Shatyr Entertainment Centre is the tallest tensile structure in the world, and envelopes an area of more than 100,000 square metres. [8] This new facility provides numerous leisure activities including a 450m jogging track and a water park, together with cinemas, retail outlets and restaurants.[8] Astana can get as cold as -35 degrees Celcius in winter and can get as warm as +35 degrees in summer, hence the new structure’s performance in coping with the varying temperatures had to be optimised.
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The design team made use of a form-finding algorithm to generate quick design possibilities for the cable-net structure.[6] This is an example of design generation through parametric software as multiple possible structures were produced that fulfilled the set algorithm, and one suitable option was selected. This algorithm formed part of the parametric model that was used to develop and define the building form.[6] This has to take into account the tensile properties of the three-layered ETFE envelope, the weight of building components, shrinkage and expansion due to erratic temperatures, and other forces and loads. The Khan Shatyr Entertainment Centre and the Dresden Station Redevelopment both utilised tensile structures in collaboration with architectural computing. These could be very beneficial case studies for my project to design a canopy/hammock/cocoon, which could also be built around a tensile structure.
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| 01 Interior view of tensile structure and supports
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| 02 Khan Shatyr Entertainment Centre | 03 + | 04 Construction progress photos of the centre | 05 Detail of cable connections | 06 Internal perspective entertainment centre
of
the
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CONCEPTUALIZATION 23
A3
CONCLUSION
Internal view of the tensile roof structure in the Dresden Station Redevelopment
I found the order of learning about design futuring to computation, and to generation was an effective and way to transition into the core ideas of this subject. It was an incremental approach into the level of influence and impact computation had on design. My intended design approach will be one which relies strongly on architectural computation to generate multiple possibilities. This will create a diverse group of design options that meet the predetermined criteria of the brief
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with respect to on-site factors. My precedent projects also had a strong focus on environmental optimisation and hence my design would include a significant amount of environmental consideration. It is significant to design in this way as it is an effort to put a halt to man’s unsustainable way of life. This will not only benefit us but also future generations that will hopefully have the chance to inhabit this Earth.
A4
LEARNING OUTCOMES
Facade elements of the Siemens Headquarters, Masdar CIty
I have always had a very vague impression of what architectural computation was and how relevant the designs produced are, however after researching numerous precedent projects, I have come to realise that computation is crucial in optimisation of countless aspects of the building. This can be in a structural or an environmental sense. From generating floor-plate arrangements to unique load bearing systems, and from natural ventilation and lighting systems to generated facade shading panels. Human minds can only go so far in generating designs,
however with architectural computation, we as designers now have more control over more aspects that affect the design. We are more equipped to make sure our designs have the ability to respond to all these factors and choose an optimal design from multiple possibilities. I used to think that computer generated ideas were only conceptual and were never fully materialisable, I have never been more ignorant in my life. With the advancement of construction technology, these generated designs are no longer virtual entities but are starting to reshape the world we know today.
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A5
APPENDIX
Algorithmic Sketches
Grasshopper OcTree Command Exercise Model up a very basic NURBS surface replica of a famous building whose form is curved and apply the OcTree component to your surface(s) and create a ‘blocky’ version of your chosen building. I chose to model up 30 St Mary Axe for this exercise. I found it interesting that even though the surface curvature of the building seemed even, the points populated on the geometry were not, and hence the uneven grouping of points in the OcTree cubes.
CONCEPTUALIZATION 26
Grasshopper Kangaroo Physics Exercise I manipulated the anchor points using the Gumball tool to experiment with various different types of folding. I was aiming to create a tensile structure that could support the weight of human occupants whilst incorporating unique spaces and intersecting elements.
Grasshopper Kangaroo Physics Exercise For this sketch I experimented moving only one of the anchor points far away from the others and created this “scoop� like geometry. I could explore this further and create a space where people can congregate on the tensile structure.
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A5
APPENDIX
References
1 | “30 St Mary Axe”, Foster+Partners, last modified 2015, http://www.fosterandpartners.com/projects/30-st-mary-axe/ 2 | David Jenkins (Editor), Norman Foster: Works 6 (London: Prestel Publishing, 2013), 262. 3 | “Siemens’s Lean Efficieny”, MetropolisMagazine, last modified November 2014, http://www.metropolismag.com/Siemenss-Lean-Efficiency/ 4 | “Siemens Headquarters Masdar CIty, Abu Dhabi HQ”, e-architect, last modified January 3, 2012, http://www.e-architect.co.uk/dubai/siemens-headquarters-masdar-city 5 | “Studio Fuksas completes Terminal 3 at Shenzhen Bao’an International Airport”, dezeenmagazine, last modified November 26, 2013, http://www.dezeen.com/2013/11/26/ studio-fuksas-terminal-3-shenzhen-baoan-international-airport/ 6 | Peters Brady, Computation Works: The Building of Algorithmic Thought (Wiley, 2013), 15. 7 | “Dresden Station Redevelopment”, Foster+Partners, last modified 2015, http:// www.fosterandpartners.com/projects/dresden-station-redevelopment/. 8 | “Khan Shatyr Entertainment Centre”, Foster+Partners, last modified 2015, http:// www.fosterandpartners.com/projects/khan-shatyr-entertainment-centre/
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PART B
CRITERIA DESIGN
B1
RESEARCH FIELD
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B1
RESEARCH FIELD SECTIONING
| 01 Sectioning is essentially the breaking down of complex geometries into multiple surfaces, allowing for an easier and usually more economical method of fabrication. Just like making section drawings, sectioning in digital fabrication creates multiple cuts and slices of a defined geometry through the use of intersecting lines and planes, which decomposes the original geometry into manageable parts or pieces for fabrication. The image above shows the construction of the ICD/ ITKE Research Pavilion of 2010, which apart from demonstrating the elastic behaviour of bending plywood strips, clearly illustrate the idea of fabricating geometries in parts. The shell-like shape of the pavilion was divided into long sections with varying widths which generally tapered towards the centre. Along with the interchanging connection points, this resulted in the fabrication of 500 geometrically unique parts, all of which, once put together, materialised the overall geometry of the pavillion.1
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This method of sectioning allows designers to fabricate complex and even “blobby� geometries more accurately than manual construction methods, and more economically compared to using a 3D printer to fabricate the whole structure. With sectioning, designers are able to use readily available materials (such as the plywood panels described in the ICD/ITKE Research Pavilion of 2010) to recreate NURBS generated in 3D modelling software such as Rhinoceros and physically fabricate them. Sectioning also reduces the need for highly skilled construction personnel for during assembly, as these parts are often labelled and have specified connection details. Similar to other means of prefabricating structures, there is less wastage of material in construction as parts are fabricated off site, also reducing the time required for construction.
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| 05 The four images above are other examples that reproducing curvy and complex geometries utilizing the sectioning method. They demonstrate the different methods of sectioning certain geometries, all in efforts to achieve the most accurate representation of their intended design idea. There are however, numerous fabrication concerns when using the sectioning method.
the structure. Apart from this, the thickness of the materials have to also be determined before the parts are measured and cut as this will affect the suitability of type of joinery, and also the overall accurate assembly of the structure.
Issues of connections and joinery in these structures are crucial in recreating geometries successfully. If connection and joining efforts are poorly carried out, the structure will often fail and not be able to display its desired geometry. Hence, connection details of the structure have to be taken into consideration and defined by the design team before fabrication to ensure satisfactory construction of
| 01 ICD/ITKE Pavilion assembly | 02 BanQ Restaurant | 03 OneMain Street | 04 Hoshakuji Station | 05 AA Driftwood Pavilion CRITERIA DESIGN 35
B2
CASE STUDY 1.0
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B2
CASE STUDY 1.0 AA DRIFTWOOD PAVILION
| 01 The 2009 Summer Pavilion at The Architectural Association is commonly referred to as The AA Driftwood Pavilion because of its driftwood like outlook. It is the creation of Sibingo and three other group members in attempt to introduce a spatial affect that engages and overwhelms the senses through her original idea of .driftwood space”. The ideas were manifested through a computer generated
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script which manipulated the movement of lines in a continuous parallel fashion, creating line drawings which formed the basis of a plan. The pavilion is centred around the idea of carving, eroding and layering. The final design consists of twenty-eight layers of plywood which conceal an overall internal ‘Kerto’ (a renewable spruce plywood) structural system.
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B2
CASE STUDY 1.0 AA DRIFTWOOD PAVILION
Basic Geometry
Iterations
In the above iteration exercise I focused on recreating the AA Driftwood Pavilion geometry and try different sectioning methods. I changed the input geometries into the sectioning planes to produce different-shaped cuts. I also rotated the direction of planes and even the orientation of the planes on the X-Y plane. This gave me a variety of section cuts at different angles.
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B2
CASE STUDY 1.0 AA DRIFTWOOD PAVILION
I now tried to change the original geometry and attempt to apply the sectioning method from above. I created a spiral -like object and sectioned it at different angles and in different directions. This produced a few iterations of which demonstrated the many methods I could fabricate a spiral accurately with single pieces of material.
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B2
CASE STUDY 1.0 AA DRIFTWOOD PAVILION
These iterations were more of a creative exploration of a ‘curvy tower’ design, and how maybe even buildings could have a sectioned aesthetic or construction. Creating different sets of voids and permeability, making a tower virtually see-through at certain angles. It was here that I started experimenting with more depth the idea of making a solid item seem transparent at certain angles.
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B2
CASE STUDY 1.0 AA DRIFTWOOD PAVILION
|These iterations were an attempt of using my sectioning method in response to my studio specific brief of a hammock/ cocoon/canopy/net/web that had to be suspended over the site.
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B3
CASE STUDY 2.0
I believe that the material doesn’t need to be strong to be used to build a strong structure. The strength of the structure has nothing to do with strength of the material.
Shigeru Ban
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B3
CASE STUDY 2.0 METROPOL PARASOL
The Metropol Parasol is the world’s largest wooden structure. Located in Seville, Spain, and designed by J. Mayer H. Architects, this monumental structure presents itself in a waffle like structural composition. The structure, though an incredibly large scale and of a complex geometry, could be fabricated through this method of sectioning,
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namely the waffle grid. The geometry was broken down into slices in 2 or more directions, creating single surfaces for every cut. These surfaces were then carefully labelled before they could be fabricated to prevent complications during assembly. This is a great example of how sectioning allows complex geometries to be materialised.
The connections and joints of this structure were also meticulously detailed and specified before fabrication, as this is crucial to the assembly and safety of the structure.
Every piece had to be carefully connected to allow the structure to function as a whole, with little reliance on the strength of individual materials.
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B3
CASE STUDY 2.0 METROPOL PARASOL
REVERSE ENGINEERING
1
In reverse engineering the Metropol Parasol project in Grasshopper, I started off with creating a basic grid of intersecting lines along the X and Y axes using the Linear Array command, varying their distances between each other with number sliders for each direction.
2
These intersecting lines were then extruded in the direction of the Z axis, by using the Extrude and Unit Z components respectively, creating a grid of intersecting planes. The height of these planes were controlled by a number slider.
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3
I modelled up the geometry of the Metropol Parasol simply by using a single vertical line and the Pipe command in Rhino. The radius of the circle was the largest at the top of the line and tapered downwards to the bottom, creating the “mushroom-like� geometry.
4
This geometry was then referenced as a brep component in Grasshopper and moved into the grid of intersecting planes. A Brep | Plane intersecting component was used to find where the geometry intersects with the planes. These solutions used a curve component as output.
5
After obtaining the intersecting curves, I searched for a way to create surfaces from them. I attempted using the Loft command, which did create surfaces but realised that you could only loft between two curves and not within a single curve. The only loft success was with the base grid, which was not the desired effect.
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Multiple surface-creating components and runtime errors later, I achieved the desired waffle-grid-like structure as seen in the Metropol Parasol with the Boundary Surfaces command. This command created surfaces within the boundary of the individual curves, as these curves intersect one another, the surfaces generated also intersect one another.
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B3
CASE STUDY 2.0 METROPOL PARASOL
REVERSE ENGINEERING
Top View
Side View
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B4
TECHNIQUE DEVELOPMENT
In the matrix above I experimented with the idea of a canopy/hammock/cocoon that comprised of two thin surfaces which intersect lightly. The surface meshes were generated in Grasshopper using Kangaroo Physics and various manipulation of anchor points and force strengths to achieve the desired shape. These forms were then sectioned to reproduce the transparent or permeable effect of the structure at certain angles.
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The matrix on the right displays my experimentation through numerous iterations of mesh forms and sectioning densities. It was discovered that with thin materials, a larger sectioning spacing (lower density), and a simpler sectioning method (line directions and angles), the permeability of the surface would increase and become seemingly transparent and non-existent.
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B4
TECHNIQUE DEVELOPMENT
Front
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 0
Vertical Rotation Angle 0
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 45
Vertical Rotation Angle 0
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 0
Vertical Rotation Angle 45
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 0
Vertical Rotation Angle
90
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 45
Vertical Rotation Angle 45
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 45
Vertical Rotation Angle
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90
Perspective
Right
I decided to attempt sectioning simpler geometries in order to achieve the maximum permeabilty of the structure. Top
X + Y Section Planes 18 Section Plane Spacing
Perspective
Right
3
Horizontal Rotation Angle 0
Vertical Rotation Angle 0
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 45
Vertical Rotation Angle 0
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 0
Vertical Rotation Angle 45
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 0
Vertical Rotation Angle
90
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 45
Vertical Rotation Angle 45
X + Y Section Planes 18 Section Plane Spacing 3
Horizontal Rotation Angle 45
Vertical Rotation Angle
90
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B5
TECHNIQUE PROTOYPING
I produced a simple prototype to experiment with connections and materiality. The box-board pieces fit together using simple notches and are held in place by a small amount of glue. They assume intended positions and orientations through the cut directions of the notches. The assembly sequence starts off with the separation of the vertical and horizontal members of the prototype. The horizontal members are then arranged according to predefined labels and the vertical members are slotted into them
where their notches meet. My design relies heavily on this to achieve the desired effect of being an open and yet somewhat closed space. If the material used is too thick, my design would appear bulky and the openings between the individual members would not be big enough to provide a sense of openness in the closed space.
Design is not just about the way it looks. Design is about how it works. Steve Jobs
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If I was to suspend my design over the creek, it would not be favourable to obstruct the views along the creek. I find that defeats the purpose of our design in contributing to the surroundings. My selection criteria relies on the affect I am trying to achieve with my design, which is the maximum permeability through the structure to preserve views along the creek. Hence I have selected to prototype models that are seethrough from certain angles, as seen in the image above.
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B6
TECHNIQUE PROPOSAL
My design takes the idea of a cocoon and breaks it down to its fundamental ideas, just like how sectioning breaks down geometries into parts. Cocoons are essentially a translucent or opaque casing woven by insects to protect the pupa inside from predators. Similar to my chosen site along Merri Creek, the dense tree cover and other growth protect the creek from negative human impact. From the design brief our designs should express, support and even amplify relationships between technical, cultural and natural systems. My design aims to do just that CRITERIA DESIGN 62
and exemplify this idea of protection, with the protection enclosure being permeable and open. A sense of protection and the idea of a closed yet open space are the fundamental underlying concepts to my design.
Site Map
Intended area of work
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B6
TECHNIQUE PROPOSAL
My technique enables the creation of an enclosed geometry, yet allows it to be punctured at various points to create a permeable space, an “open� space. This is in line with amplifying characteristics of my chosen site, punctured at certain points and openings made towards the sky which create a sense of openness. With relation to the idea of the cocoon, my design provides a sense of protection and shelter in an innovative way. The dense tree growth on the banks of the creek at my site give an impression of them forming a protective barrier from the surroundings.
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My approach is preferable in comparison to other possible options as sectioning allows for a more organised and systematic method of fabrication. The cocoon can be broken down into simple surfaces and economically fabricated out of inexpensive material. Sectioning also provides a means of puncturing my design with holes with the gaps between surfaces in order to contribute to the idea of permeability.
The drawback of my design is its bulky outlook - its visual weight, and even its physical weight. This could have been overcome by simply designing a lighter, floating structure that could look like a sheet of paper. However, I strongly feel that in order to express that sense of protection as seen in the ideology of a cocoon, and to communicate that effectively to the user, my design should retain certain obvious visual cues as to help the user understand my design without much explanation.
In my opinion, communicating design intents and ideas to the user effectively is an essential part of architecture. It would defeat its purpose if my design was visually appealing to me and other designers, but completely confused the everyday user.
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B7
LEARNING OBJECTIVES AND OUTCOMES
Through these iterations and experimentation process I was able to deduce my form and research the desired aesthetic effect of my design. By starting with reverse engineering projects that had sectioning as the underlying fabrication method, I was able to gain a deep understanding of how sectioning works and formed the basis for my exploration in using sectioning to fabricate my design. There were times when the definitions supplied were not always sufficient in the whole of my Part B process, separate Grasshopper definitions were required and downloaded from Rhino forums and some definitions had to be reconstructed in order to prevent over-complication of my model. Definitions like transforming meshes into surfaces was downloaded to aid me in my reverse engineering efforts. Apart from this, having a clear design intent and selection criteria was a key in deciding on the form and design of my cocoon from the countless iterations done. As my design progresses into the final stage, I am interested to see how it continues to evolve and grow into the final fabricated product.
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Simplicity is the ultimate sophistication.
Leonardo Da Vinci
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B8
APPENDIX ALGORITHMIC SKETCHES
Apple Ball Sketch This algorithmic sketch was a creative experimentation with image sampling logo’s onto solid objects. This created complex spheres which were populated with circles with formed the images of the chosen logos.
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Patterned Meshes This algorithmic sketch was an extension of the Apple Ball Sketch by image sampling images of the rocks in the creek onto canopy meshes. With the idea of permeability affecting the definition of the image sample on the mesh.
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PART C
DETAILED DESIGN
C1
DESIGN CONCEPT
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C1
DESIGN CONCEPT FEEDBACK RESPONSE
- Bulky
- Simple
The initial design of a suspended capsule was regarded to be bulky as it would hinder views along the creek instead of being permeable.
The geometry of a capsule or egg was too simple and did not satisfactorily display the fabrication capabilities of my research field - sectioning.
Design critics advised that I create a structure that encompassed more flexibility and that displayed a stronger utilization of computational tools in Rhino and Grasshopper. The initial design geometry could be easily replicated in Rhino and would not demonstrate my understanding and use of computational skills required in this subject.
I was advised to revisit the design and attempt to create a geometry that was more tailor suited to my site. This would give my design a stronger relationship with the site as it would respond to the locations of usable tress for suspension and topography for users to access my design.
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I was also advised to focus my Grasshopper efforts on generating a more complex and refined geometry instead of using Grasshopper to section my geometry. It was acknowledged that it was fine to experiment with sectioning methods to achieve the effect of a see-through structure along the creek, however the capabilities of Grasshopper could be pushed further.
In response to the feedback from the interim presentation session, I decided to restart my design. I started off by re-watching the Mesh Relaxation tutorials by Daniel Piker and experimented with simple square meshes which were joined together using the Boolean Union for mesh tool. This created a hollow 3-sided mesh geometry which could be relaxed in Grasshopper to give it a more organic form in response to creating a cocoon.
Anchor points were placed on the 4 corners of every opening of the 3-sided hollow mesh and referenced into the Grasshopper definition. Once the Kangaroo Physics and Springs components were set up, the anchor points were manipulated in terms of their location in the X, Y, and Z axes; and also their orientation and direction in which they open-up to.
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C1
DESIGN CONCEPT DESIGN REGENERATION
After experimenting with a 3-sided mesh, I added in another “arm” and referenced the new mesh into the same Grasshopper definitions, including an extra set of anchor points for the added “arm”. This did give the geometry more complexity and more limitations in terms of maximum and minimum values of the Spring rest lengths and the extents to which the anchor points could be displaced from their original position.
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Once I was confident in my abilities to manipulate the mesh geometries in Rhino and Kangaroo, I redid the process, this time with the data incorporated in my digital site model. This data included: - Tree heights - Location of trees - Width of creek - Topography This information was crucial in determining the span of my design being suspended over the creek, the location of the anchor points to suspend my design from the trees on site, and to ensure the accessibility of users to my design with regards to site topography.
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C1
DESIGN CONCEPT DESIGN REGENERATION
The mesh was placed into the digital model and stretched out using the Kangaroo Physics component in Grasshopper. This was done by toggling the rest lengths of the springs and the displacement of anchor points which marked out the openings in my design. The locations of these openings were manipulated to create entrances for users to access the cocoon, these openings had to respond to the topography of the site and location of trees as to ensure the viability of user access. Some openings were placed higher up and intentionally made inaccessible to users on the ground to create spaces for users inside the cocoon to dwell in. These spaces could be used for the user to enjoy views among the tree tops or to pause and maybe read a book.
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Once the overall shape of the mesh was settled and the location and orientation of the access openings were set, the geometry was sectioned with the use of a sectioning grid. This sectioning grid was similar to the one used in the reverse engineering exercise, however the spacings between the section cuts vertically and horizontally had to be adjusted taking into consideration how the model and actual design would be fabricated. Once again the cocoon design was sectioned to create that idea of a see-through structure along the creek as seen in the bottom image. This meant that the cocoon mesh had to be rotated horizontally and vertically on the sectioning grid in order to achieve this visual affect.
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C1
DESIGN CONCEPT FINAL DESIGN
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C1
DESIGN CONCEPT FINAL DESIGN
The internal perspective shows how the cocoon design could be used. Users can take their time to pause and enjoy the space inside, they can read a book have a chat with friends, or enjoy the surrounding views. The permeability of the cocoon design allows for virtually
unobstructed views of the surrounding environment. The sectioned pieces also allow for sunlight and air to penetrate the design, flooding the design with light and providing natural ventilation, reducing the need for lighting during the day and providing and comfortable enclosure for users to enjoy.
Users can pause and dwell.
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The spacings between the sectioned elements could bring about the danger of users falling through, and the easy solution would be to cover up the underside of the cocoon.
As crawling forces the person to really look where they are placing their hands and feet, it will minimised the risk of them falling through the section slices.
However, to preserve the simplicity and permeability of the design, the height of the internal space of the cocoon was reduced so that users would have to crawl when inside it.
Other precautions have also been taken as to reduce the spacing between the slits and to use thicker materials to minimise the risk of users falling through.
Users are meant to crawl.
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C2
TECTONIC ELEMENTS + PROTOTYPES
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C2
TECTONICS + PROTOTYPES SPECIFICATION DIAGRAMS
Horizontal Dimensions
Vertical Dimensions
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Assembly Diagram - Horizontal Elements
Assembly Diagram - Vertical Elements
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C2
TECTONICS + PROTOTYPES SPECIFICATION DIAGRAMS
Openings for users to pause and dwell in
Openings for user access to and from site
Direction of views from inside cocoon design to surrounding site
Direction of movement in and out of the cocoon design
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Connection member detail between cocoon design and trees
Connection member detail between vertical and horizontal elements
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C3
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FINAL DETAIL MODEL
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C3
FINAL DETAIL MODEL ASSEMBLY
Assembling the final detail model was very challenging as there were about 80 separate laser-cut pieces that needed to be put together. The notches were lined up and glued together, relying on the strength or the notches and glue in between the horizontal and vertical members to hold the members in place. Each arm was assembled individually first before joined together with the other arms to form the overall cocoon.
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The site contours are 3mm thick MDF boards which were laser cut and sanded off, and the creek was represented with a layer of black perspex. The physical presentation model is at a 1:100 scale and fits nicely onto the an A2 sized site.
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C3
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FINAL DETAIL MODEL COMPLETED MODEL
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C3
FINAL DETAIL MODEL SHORTCOMINGS
MATERIAL: POLYPROPYLENE WHITE THICKNESS: 0.6 MM METHOD: LASER CUTTER The selection of this material for the fabrication of my final model was due to its thickness. As one of the underlying ideas of my design was to create a largely permeable enclosure, I wanted the section cuts to be as thin as possible, and still have some amount of rigidity. As the pieces to be fabricated were very small, and in fear of the laser cutter cutting through my pieces while cutting the notches, I decided to hand cut the notches. It seemed like a viable method until I realised that the elements started to bend as the material was too thin. This made it really hard to glue the pieces together as the material always wanted to collapse on itself. The smaller elements were fine when glued together, however the larger pieces were difficult to hold together. I needed to use a thicker and stronger material to prevent this from happening.
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MATERIAL: PERSPEX WHITE THICKNESS: 2 MM METHOD: LASER CUTTER After the unfavourable attempt with polypropylene, I decided to try using a thicker material, this time 2mm thick perspex. With the thicker material, I increased the spacings of the pieces accordingly. As perspex would be difficult to cut by hand, I decided to include the notches into the FabLab, this would have saved me time and effort during assembly. However, due to the notches being 1mm deep into the pieces and the pieces having only 2mm width, some parts of the pieces broke off easily when removed from the perspex board. This job alone took 1 week to be fabricated and upon realising the weakness of this material, I had already run out of time to send in another file to the FabLab to rectify these errors.
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With the shortcomings in my attempts to produce the perspex model, I had to resort to using the polypropylene model as my final presentation model. With the many changes throughout my design process and the need to spend time on other subjects which have exams, there was not sufficient time to produce another model for the final submission. It is incredibly frustrating that I am not able to present my design and ideas in a refined and professional manner, and it is with a reluctant heart that I submit my final presentation model. If given more time, I would have made an attempt at fabricating my cocoon design using the 3D printer. This would give an accurate representation of my model, however the main connecting elements such as the notches would not be visible.
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C4
LEARNING OBJECTIVES AND OUTCOMES
During the process of completion of the cocoon design, there were times when I focused too much of my efforts on creating a geometry that was visually appealing which utilised as much of the computational skills that I acquired throughout this subject. However, I realised that I was drifting away from the overall purpose of my degree, which was to learn to create architecture. It was very challenging to find a right balance between computational input and manual designer input into the design. I discovered that creating meaningful architecture should always come first, and computational methods and definitions to be used as a tool or media to express these ideas instead. There were moments in the design process where definitions were applied for the sake of applying them to demonstrate my knowledge, however I realised that this was overcomplicating my design and causing my design ideas and intentions to seem confused. Studio Air is by far the most challenging architecture design studio I have encountered in my degree. Time management and organizational skills were largely required of me in order to complete the subject. I have never used Rhino and Grasshopper as much as I have used any other computer software in my entire life, and I am still discovering new and exciting capabilities these programs have to offer as the possibilities are endless. I have learned a lot from this subject, but above all else, I am thankful that my computer and I made it out alive.
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A huge thanks to my studio leader Brad for being incredibly helpful when it came to problems in the design process, and understanding when it came to meeting design progress goals. Thank you to all the guest critics that evaluated my design and ideas and provided feedback with was very helpful and constructive. And also a huge thanks to my studio mates for all the feedback and support throughout the semester, could not have made it through without all of you.
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