STUDIO AIR
FINAL JOURNAL
Jaime Lee 636903 Brad #08 | 2015
CONTENTS
PART A CONCEPTUALISATION INTRODUCTION
04.
DESIGN FUTURING
06.
DESIGN COMPUTATION
08.
COMPOSITION/GENERATION
10.
CONCLUSION/OUTCOMES
12.
PART B | CRITERIA DESIGN RESEARCH FIELD
16.
CASE STUDY 1.0
20.
CASE STUDY 2.0
24.
TECHNIQUE | DEVELOPMENT
28.
TECHNIQUE | PROTOTYPE
32.
DESIGN PROPOSAL
36.
CONCEPT
38.
SITE
40.
PRECEDENT
42.
44.
FABRICATION AND CONNECTIONS
LEARNING OUTCOMES
46.
ALGORITHMIC SKETCHES
47.
PART C | DETAILED DESIGN FEEDBACK
50
REFINED CONCEPT
52
PRECEDENT
53
REFINED DESIGN PROPOSAL:
58
PROTOTYPE
72
FINAL MODEL
84
LEARNING OBJECTIVES
96
REFERENCES
98
INTRODUCTION I’m Jaime, studying architecture at the university of melbourne. My interest in arts and design began at a very young age, probably due to the influence of my dad, who’s an arts teacher/ part-time lecturer, I was introduced to all forms of arts like painting, sketching, photography etc. although I enjoyed my time doing arts and crafts, I never really considered them as a possible future career.I had dreams of becoming a fashion designer, a pilot,
04.
professional pro to different plac differnt perspec traditions...archi last year of high to an architect w at his firm durin say without dou was fascinated b so real standing initially be just a on realised that able to see som people benefitin of studying ar consequtive late I was introduced summer work ex frequently in de outside uni, ho forte, hence I am not only need to designs using so but I also feel exc softwares that co
otographer... careers that could take me ces around the world, to see things in ctives, to experience unique cultures and itect was not in my mind at all until the school when I was introduced by a friend who kindly offered working experience ng the summer break. I could onfidently ubt that that summer, changed my life. I by how buildings work, how something g tall and majestic on the ground could a ‘thought’ in an architect’s mind. I then this career is a perfect one for me, being mething you’re a part of creating and ng from it is truly rewarding. The journey rchitecture, apart from the countless e nights, has thoroughly been enjoyable. d to architectural dr softwares during that xperience and I’ve since been using them esign subjects and my own design work owever digital modelling was never my m quite anxious about this studio as we o model digitally but also further derive oftwares. Although I am somewhat scared cited about learning new techniques and ould further extend my design options.
A1. DESIGN FUTURING
TITLE: Heydar Aliyar Center ARCHITECT: Zaha Hadid Architects LOCATION: Baku, Azerkaijan Year\\ 2013
06.
This example of Hadad’s work, I think represents a ‘future thinking’ in the design industry. In architecture history, buildings have almost always been quite rigid in shape, perhaps technology hasn’t been that advanced in allowing people to work with much flexibility. But this design of Hada’s has really triggered my feelings towards the evolution of forms in architecture. Although this might not be a computer generated design, but the boldness of this work is truly fascinating, the flexible, elegant curves extend to the interior of the building, creating an even stronger emotional impact to the occupants. This project reminds us that architectural design is always moving forward, what would be considered as ‘impossible’ and ‘unsafe’ in the past can be made ‘possible’ and ‘comfortable’ in the future. The curved mass of the entire design is what shows the futuring in design.
Design futuring doesn’t only mean the futuring in shapes and forms, but also about how well it can harmonise the relationship between human and the environment. Sustainability is a big issue in today’s society, since human behaviour contributes enourmously to the effect of such, architecture plans an even bigger and influential role in assisting and controlling the consequences of human behaviours, limiting the NAME: One Central Park negative outcomes that would ARCHITECTS: Ateliers Jean Nouvel be produced, eg. pollution. LOCATION: NSW, Australia One Central Park’s architectural
YEAR: 2014
design portrays exactly the ultimate harmonization and peacefulness between human and nature by inserting plantations of all sorts into every detail of the building, making it seem like the structure is being wrapped by nature. I think this design demonstrates a sense of futurisation because it’s very open to new ideas and concepts, the architects were not afraid of showcasing the need of society to protect plantations by maybe only designing a roof garden or a tranquil vegetated lounge, but to fill up the entire
frame of the structure with plantations, creating emphasis in the design purpose and accurately convey the strong message of sustainability. On top of the plantation elements, this building features an incredibly impressive cantilevered structure, hovering to the penthouse of the tower next to it, this definitely is another wow factor of this building, not only its rarely seen in architectures these days but also suggests that there are unending possibilities in this industry.
A2. DESIGN COMPUTATION
As computers become more competent in handling human needs in all sorts of perspectives, designers also began to rely more heavily on the aid of computers, whether it’s structural calculations or form generation, it is also extremely common for communication processes to be relied on computers. Computers are basically something not to live without!
How it affects design process? Computor softwares provides aid in research. Architecture and design are inclined to be human-oriented nowadays. The big picture or purpose is always about benefitting human and the environment. Satisfying human needs or even providing more than expected in doing things that we might never think would be possible.
Computer softwares previde great assistance in all stages of a design process. Beginning from the research stage, seeking out for what potential users need and want in a building. Design development is where usually using the outcomes of the research in finding the most desirable deisgn form, then using softwares to accuratle document the design for construction.
Computer aided design softwares affected designs in ways that they are seen to be more... / organi c / h uman- o ri e nt ed / fre e f o rm / sus t ai nabl e / u nexpe c t ed This advancement redefined the practice from being simply a space FOR human activities to having human activities DEFINING a space. Needs come before design, affecting the features within the structure.
res earch des i gn devel opm ent docu m en t at i on
NAME: Spiratomic Space DESIGNERS: Loop.ph (spatial laboratory) LOCATION: Petersburg Russia YEAR: 2010
This is a genearative, emerg a luminuous and responsive participation. The concept of systems and patterns would it needs for it to generate
Urban lobb tower in L investigate addresses spaces inc lounge. Th
08.
gent light and sound environment with growth which is dependent on users’ this project is emergence. How complex emerge to create a spatial effect.All these patterns are simple interactions.
NAME: Urban Lobby ARCHITECTS: MRGD Architects LOCATIONS: London, England
by is a speculative development of the Central Point office London. It depicts a contested transcient space. Designers ed the creative and critical speculations on how one contemporary mdoes of urbanity and interfacing. These clude board rooms, private open spaces eg. business he form is generated from the image of strands of hair.
A3. COMPOSITION GENERATION
NAME: Smart Masonary ARCHITECTS: Zaarchitects
This project Zaarchitect has taken to embark on is to change the concept of masonary as we know them and incorporate digital fabrication techniques. Modern technologies allow dead-weight to be optimised and minimised, in another words, ensuring structural loading requirements while also minimising the mass of the building. The complex geometries generated can also be replicated in great precision thanks to generative computational softwares. This assists the production of the accurate seamless effect between each component that traditional masonry might not be able to achieve.
10.
The soon-to-be-built new modern mosque designed by Henning Larsen in Copenhagen is an example of computational design contributing changes to the architecutral discourse, through improving and modifying traditional monumental designs and structures, people can observe and experience the transition of architecture moving into a more advanced, digital age. The application of computational design is not merely for the aesthetics, I believe it takes advantage of this digitalise advancement in creating more comfortable spaces and experiences for users., through lighting and other accessities. This modification of a traditional mosque would also create a more approachable and welcmoing feeling for any non-islamic believers. It has been mentioned in the proposal that this new mosque aims to bring younger generations in contact with the monument while also keeping elements of the tradition in respect to the older generation. It’s clearly seen that the computarised generation is more attracted by the younger generations of society, symbolising the futuring in design .
CONCLUSION Design is a tool to reflect society’s values, needs and desires. It’s not something you can follow a manual on but of experience, trial and error. Today’s society is moving towards cyber-based, communication, leisure, research...you can never escape from being in contact with the internet or any kind of digital devices. The design industry also is relying much heavier on digital softwares, they assist designers in not only in documentation and research but also design generations and developments. In the field of architecture, effects of such can be seen through the rising works of parametric, computer-generated designs. These gnerated designs have stregths and weaknesses but most importantly, I personally think they show an evolution
12.
of societal change and advancement. My intension for this design project would be, relating to my definition of design, a reflection of societal values, with a focus on human needs and desires, mainly surrounding the topic of sustainability and environmental protection which I think is appropriate given the nature of the project site. I think it is important to have a design in this approach because human are lacking quiality interactive experience with nature, I hope my design would arouse people’s curiosity and their desires to make a change to the environment. The target user groups would be families, working class around the area and school students. This design is intended to benefit, in the big picture, the environment and consequently the users and the ecology in the site.
LEARNING OUTCOMES I walked into the first studio feeling nervous and had no expectations of what’s going to happen. The terms ‘computation’ and ‘grasshopper’ gave me chills as they are never things that I am fully confident in. After understanding the structure of the course and our tasks for the week, knowing that there are resources and guides for us, I immediately felt much more at ease. The first three weeks of the course have been very informative and useful in terms of getting the basic touch of what we have to do for our design project, while watching tutorials and getting a grasp of grasshopper, the readings are incredibly helpful, especially the precedents we were to research relating to the readings, they provided a fuller picture of what’s to be expected from the course and along what lines we have to base our designs on.
I now have more knowledge and understanding in the field of computational design, which I used to have practically none given I was ‘scared’ of it, and I find it very interesting as the forms generated are indefinte, it’s a practice of not having full control of a design, letting the rules and mathematics lead you to a generative form. My previous designs are sll pretty linear and performance-based, I didn’t put much attention in creating fancy shapes and forms, I only expressed my concepts and ideas in forms that are direct, easily formulated and simple. Looking back to these projects, I think I can definitely improve my designs using computational designs to generate more interesitng forms wvhich can possibly convey a stronger message that fits into my design concept.
CRITERIA DESIGN
B.
Material Performance
16.
B1. RESEARCH FIELD Departing from the research-based exercises completed in part A, it has come to a stage where things are put into practice and it’s the initial process for finding a form for the main design project in part C. A research field was required to be chosen to focus on for the design and since there were quite a few availble for picking, I personally have kep an open mind about each field and am flexible for any change of minds later on in the process. The research field I chose for this sectiion is material performance, this form of algorithm has been featured in one of the weekly tutorial videos and it was more appropriate and comfortable for myself to start off the section with something relatively more familiar while still getting the hang of manouvering in Grasshopper. Material performance puts focus on the outcome of forms under the influence of forces such as gravity and lateral forces, using computational designing softwares like Grasshopper is particularly beneficial in producing such forms as more precision to the outcome can be obtained, while also giving more control to the designer in choosing how the forces could act, exploring unexplored
possibilities at a distinctively more efficient time frame. The case study chosen to explore this scope of technique is the installation art, Voussior Cloud designed by Iwamoto Scott. The geometry and form of this installation is generated through computational techniques as the arcs , which are the main outstanding features of this artwork are generated through inputting the base geometry and anchor points then inserting gravitational forces to observe the effects it’s influenced what would have been a rigid and planar form. This introductory exercise reinforced the conclusion summed up in the research based part A of how computational designing softwares should act as a tool to push architectural forms and structures, to use ‘the greater mind’ to assist designers in achieving unpredictable yet utterly controllable outputs. Another up side of such that have not been thought of before this case study is the ability to check if a form is actually practical and would perform the way designers expected them to perform, this takes out a lot of guess work or extra research in a design process .
B1. RESEARCH FIELD Gridshells. A technique that bypasses the need of frequent structural supports from the ground, it creates spaces of openess and complete exposure. Tensility is another word to describe a gridshell structure, one is constantly in tension state, requiring precise calculations or the assistance of computational softwares in order to consummate. Fascinations towards this area of design grew during the initial process in criteria design, a leap from material performance to gridshells has been made to further broaden the possibilities of the outcome of my final design form. The brief requires a suspended structure andit is to my interest that a suspended canopy wouldbe my design destination. Gridshells allow a surface of a large span to be constructed with minimal vertical supports, having a brief of suspending systems would challenge the definition of gridshells, as no vertical supports are even allowed to exist in the final design. However gridshells are actually a form of diagrid, which are supports from diagonal beams. It provides greater support to a structure but requires less amount of material, this would hopefully guide me to achieve a gridshell like-suspended structure.
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Csiby Zsolt, Gridshell 00
0 (2012) <http://www.grasshopper3d.com/photo/gridshell-00> [accessed 27 April 2015].
Gridshells
Varying Column Sizes
scale-base factor mvmt
Varying Point Positions
# of points scale-base factor mvmt
Mesh Bending
6 arcs
1 arc
2 arcs + Mesh Blur
Case study 1.0 is a foundational exercise in producing unexpected outcomes of a definition using The project chosen is the Voussoir Cloud by Iwawmoto Scott, the forces applied through Kangaroo p process of generating a form created very smooth and expressive outcomes and in this exercise I generate something that is unrecognisable in a way that the emotions projected by these forms a and â&#x20AC;&#x2DC;dangerousâ&#x20AC;&#x2122;. The first two species generated are variations using the mesh produced before Kang was applied, the changing of points, sizes of the base and their cooresponding movements on the achieved a series of forms that look different yet hints of the original form can still be seen. These tw generations allowed a clear observation in what the definitions in this algorithm are doing, hence being the forms further choosing other definitions to input such as, mesh bending and thickening and we
20.
B2. CASE STUDY 1.0
Mesh Thickening
distance offset type
Grasshopper. physics in the would like to are more rigid garoo Phyiscs e Z axis have wo species of g able to push eaverbird etc.
Patching
Weaverbirdâ&#x20AC;&#x2122;s Sierpinski Carpet
distance inset type
span flexibility
SUCCESSFUL ITERATIVE SAMPLES Selection Criteria 1) Aesthetically appealing 2) Grant designers control over the form 3) Flexibility 4) Practicality
Outcome of the mesh bending definition. Different locations of arcs and amount of arcs have been inputted and put into trial for a successful form production. A ‘successful’ outcome is deemed to be controllable and practical in a sense that it can be potentially fabricated. The above output form, to me is a very sleek and simple with a twist. This is also the first time for myself in using this definition and the ability for it to generate unexpected forms is quite high and therefore I find this iteration successful.
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The four selection criterias are general guidelines when output. Aesthetically appealling should be in all selec pleasing to the eyes. Granting designers control over f usually go all over the place when too much informat in order to alter, reproduce and improve their designs. more control means more flexibility, the lack of deve criteria is the practicality of it. This architecture studio physical, allowing actual experience and touch can be q
The mesh thickening definition has been added to the series of inputs and this is the most outstanding one in terms of it’s versatility while still holding some traces of its original form. This output can be seen potentially fabricatable and that more developments on it can be done. The factors affecting this series of outcome the distances, the offset type and also the mesh itself, this form shows the output of a small offset distance which explains it’s recognability of the pre-derived form.
n deciding when to settle on a final outcome and what, to me, defines a ‘successful’ ction criterias of designers as design is all about visual communication and what’s form is equally important especially in the world of computational design. Outputs can tion is inputted and sometimes designers lose the control they are suppose to have . Flexibility is somewhat similar to the control the form gives to its designer, having elopment in a form would result in possibly a not-too-interesting design. The last o requires a physical fabrication of a generated form, converting something digital to quite a challenge, hence it is crucial in selecting forms that potentially is fabricatable.
This is another successful iteration using mesh thickening, however showing contrasting effect to the other similarly generated forms. Although it is safe to say this cannot be fabricated to the utmost precision but it is considered successful before of how different this result is from it’s primitive form
The above form is produced using the Weaverbird’s Sierpinski Carpet definition, which is derived from the formula haveing a square divided into nine smaller squares and having the central one removed and repeating such process indefinitely. Thisformula can be a starting point to the fabrication process while the form also allowed further conceptualisation in development it into a suspended structure having the base of the ‘columns’ as anchor points and strings could be pulled in tension to achieve such form.
B3. CASE STUDY 2.0
top: interior of the pavilion left: close-up perspective of the connection method used to tie two intersecting paper tubes together right: PVC membrane covers the paper tubing structure for fire safety protocols
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ArchitectureandArts,JapanPavilion(2012)<http://architectureandarts.tumblr.com/post/5579921
Canadian Architect, Environmental Mediation (2015) <http://www.canadianarchitect.com/asf/ principles_of_enclosure/environmental_mediation/ environmental_mediation.htm> [accessed 14 April 2015].
Architecture and Arts, post/5579921450/japan-pavilion
1450/japan-pavilion-hanover-expo-2000-designed-by>[accessed14April2015].
Japan Pavilion (2012) <http://architectureandarts.tumblr.com/ n-hanover-expo-2000-designed-by> [accessed 14 April 2015].
ARCHITECT: SHIGERU BAN LOCATION: HANNOVER, GERMANY CONSULTANT: FREI OTTO YEAR: 2000
The Japan Pavilion is designed for the Hannover Expo where Shigeru Ban showcased once again his skillful incorporation of recycable materials in architecture. The pavilion features a gridshell structure constructed simply by tying paper tubes together and layering the entire structure with PVC membrance for fire safety reasons. The backbone of this design would be the arches positioned at an even spacing across the structure, they also assist in forming the overall triple hemispherical shape. Secondarily, there are ribs intersecting diagonally to provide rigidity and strength to the entire gridshell structure, the intersection points are where ties are used in order to secure the two coinsiding components.
B3. REVERSE ENGINEERING
plot points using vector to create a set of lines
point 1 point 2
line
divide lines in segments, set up a series of arcs
count
loft surface
divided arc
point 3 point 4
line
count
divided
vector curve
point 5 point 6 point 7 point 8
line
count
divided arc
line
count
divided
move
vector
The reverse engineering exercise aims to strengthen studentsâ&#x20AC;&#x2122; ability to produce a managable and co crucial as the later design development would most likely be based of take off from what is produced i the gridshell structure would be originally based from, to trying to write algorithms that match the g all, producing points, that create the series of lines that later on create the arcs of the gridshell struc
form variations and to have the flexibility to push definitions to the max by having full control of it at
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2. 1.
3.
4.
divide surface into panels
draw lines between 1 and 3, 2 and 4, draw curves on lofted surface pipe surface alone curves
cull list items
loft
subsurface divide subsurface
curve1 cull pipe cull curve2
radius
cull
ontrollable algorithm through studying a particular precedent of our choice. This stage is particularly in this section. The exercise, personally involved a long process of trial and error, from analysing how given outcome. The resulted algorithm was successfully completed with no dependence on Rhino at cture by defining point locations through vector. The independent use of grasshopper allowed more
t the same time.
varying widths
Arc Heights
Division on arc
subsurface division
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B4. TECHNIQUE DEVELOPMENT Lunchbox Plug-in
Point variation
pipe radius
Kangaroo Physics
weaverbird bevel edges
weaverbird offset mesh
patching
weaverbird thicken mesh
weaverbird stellate/cumulation
Gridshells are about long spans with less support from the ground, and in our design brief, we are requi support, therefore in my selection process, I will choose iterations that will ultimately have less anchor being aesthetically pleasing and practical to fabricate. The sample from the top is an outcome from patching a mesh, I was able to control the points, span and be a commendable definition to intergrate for my suspended canopy. The sample on the left is a result of a cocoon but I find it intriguing that in between the wrapped space, the intricate intersecting lineworks formulates, showing traces of a cocoon and a network. The oucome on the left is one of the initial speci the width of the arcs, placing points on different position would affect the form very differently, this fo in fact, the sample on the top was initiated by the form on the right. The last sample, also the one on other forms, itâ&#x20AC;&#x2122;s constructed with squares, having rigid sides that make it appear to be more blunt than
30.
ired to design suspended forms with zero ground points required to suspend the whole form, while
d the flexibility of the patching, which I think would f thickening mesh, it resembles the appearance of are exposed, showing how the structure actually ies of iterations Iâ&#x20AC;&#x2122;ve generated by simply changing orm was also chosen to produce further variations, the bottom express a different emotion from the n other generated outcomes.
B4. TECHNIQUE DEVELOPMENT
B5. TECHNIQUE:PROTOTYPE
In this section, I explored the materialisation and fabrication of some of the generated outcomes I’ve produced in previous parts of the journal. Apart from only testing out the forms, it is also to my concern that the foundation of the fabricated method is practical and will allow optimisation of further development, hence not only aim to create the ‘form’ but to create a sub-form that builds the form. The objective of this fabrication process is to achieve versatile surfaces which they correspond to external fores acting upon and the various anchor points that could be connected with. The brief requires the end product to be a suspended form and hence the anchor points and forces mentioned above is a crucial element to consider when prototyping. However at this initial process of experiementation with fabrication, it is my focus in seeking the most appropriate technique in achieving the form explored throughout the design development stage. Therefore the prototypes I produced at this stage are of covering as big of a scope of materials and connection techniques as possible. The prototype on the right is an initial fabrication inspired by the case study on Shigeru Ban’s Japan Pavilion, using pin to secure the two coninsiding components. A collapsable structure has been produced, where force is applied to one side, the other side would have similar reaction. In progressing with the development of this sketch model, it would be challanging to produce a similar but suspended prototype that involves interactions with forces.
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cable ties | tension Cable ties are used for one of the technical fabrication prototypes, the loops are interconnected letting potential forces to be transferred across, producing a similar effect like in the balsa wood model where the reaction of force can be visualised through the movement of different components of the structure. Cable ties are looped together in tension, being a desirable material to be used in a suspended system. However during the process of fabrication, the loops would get somewhat messy that increases the difficulty in producing an accurate model in a larger scale.
strings | network
A prototype is dedicated to strings, using a particular knitting technique to knit a net that could be of whatever shape and form, with optimised opportinity and potential embeded in it. For the purpose of prototyping, I only tested the knitting techniques which would allow the most variation of form to be done. The method I used basically is what produces common fishing nets or baskets which the planar surface of a network is knitted together to form a fishing net, the fabrication process is relatively simple yet the resulted form could potentially be endless, suspension could easily be attached within one of the loops, responding to controlability of a form I wish to put some focus on.
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mesh | versatility
With intentions in constructing a sketch model of the more successful outcome from the iterations generated in part B4, I explored the geometry and the behaviours of such form using a simple piece of mesh (cut out from a laundry bag). The columns are not acting as columns in this scenario but temporary proppings that would allow me to investigate first-hand the form I have generated digitally physically. The result of this sketch model has made me realise that the mesh is not just one single component but is composed of the small cells and one alteration of such cells will affect the behaviour and appearance of the entire form. Through this fabricative process, I see the opportunity in not letting the force and natural performance of materiality but to take control over these factors to create a new form, generating a form that explains why it behaves that way in particular, and why control it to perform in this way. This concept is intriguing to me and I plan to continue pursuing in this direction for the next part of the design process.
B6. DESIGN PROPOSAL
CONCEPT
Ecology encompasses social relations and human subjectivity as well as environmental concerns. Felix Guattari The concept for my design is all about exploiting the complex relatioships between technology, culture and nature, how they all contribute in affecting local ecosystems. Although in the recent years, societies have started to inject ideas that the environment we’re living in is decaying, human behaviours are causing serious damage to nature and to sum it up, we are responsible for pollution, over the top energy consumptions that the nature, the living organisms around it are largely affected so we need to make a move, to make a change. But behind all these advertorial messages, do we, one of 7 billion earthlings around the globe really know and understand what we are facing? Do we really get the idea that every little thing we do can affect organisms living around us, changing local ecosystems completely? My area of interest is in the personal interactive realisation of this issue, although the scale of influence is small, but I stand by that a small change is still a change. I hope to create a utopian, if not close to, and constrained environment for potential users to slow down at one point on the site and to feel the constrasting environments of the good and the bad. The site chosen for my project is under the Eastern Freeway bridge, which is highly polluted compared to other areas of the Merri Creek, the plants and vegetation there are at a dreadful state where dead trees are seen to be lying on the river. With so little water flowing along the creek most days of the year, not many wildlife choose to make that location their home, but some every now and then would stop by for resting or a drink of water. I see this as a perfect opportunity to create something conflicting in this location, through the form and the interactive features of my design. Terrariums have an impeccably self efficient ecosystem that is easily maintained while being pleasing to appreciate. A similar idea of such can be featured in the design to encourage users to slow down and be emotionally acknowledged to the subject matter. The use of parametric design would be a metaphorical representation of the connection between systems while also showing the unpredictability of form. Outcomes of parametric generations are usually considered more ‘futuristic’, this could assist in the representation of that the environment wrapped by the design is a place that’s speculated, something for people to look forward to and to have faith in what can be achieved.
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SITE
The site chosen is approximately aroun Yarra river and the Merri Creek, just bridge. There are a few factors as to w relationships between technology, natu this particular site. Technological system infrastructures like the freeway bridg covers the plantations and local ecosyst defined in this case as what stereotypi society, espeically the Australian societ For example, the site located under the out the feel of unsafe and filthy, the g sides of the under bridge would also ma that filthy things might happen in this ar
unpleasurable feeling they already have about experiencing the good while youâ&#x20AC;&#x2122; grants the site a more developable potent
40.
nd the intersection of the under the East Freeway why I chose this site. The ure and culture is diverse in ms present are automobiles, ge itself; natural systems tems; cultural systems are ical meaning human in the ty has inserted into things. e bridge would usually give graffiti sprayed onto both ake people link to the idea rea at night, reinforcing the
e. My design concept is all ’re actually in the bad, this tial in it’s speculative design.
As mentioned previously, the site chosen is one of the more polluted one along the Merri Creek, the diagram on the left explains some of the human traces left on the site. Firstly there’s two road traffic of different densities, one high (Eastern Freeway), one medium (road next to the walking trail). Secondly, foot traffic. The site is not only the intersection of the Yarra river and Merri Creek, but is also the intersection of three walking trails, making it a location of high visibility. On the west side of the creek at the start of the site is a large drainage pipe that constantly has sewage water flowing out, this would not be a pleasing moment but would definitely help promote my design concept. Overall, I think the site I’ve chosen has a good mix of the different systems I’d like to explore, and placing my designing potentially under the bridge as a suspended canopy would not only act as an extra layer of coverage for users but to reinforce the sense of stepping into a small contrained world of perfect systems.
I personally came across this piece of installation art in Brisbane while visiting their state gallery of arts. The installation features intertwinning lines and networks, representing the complex yet interconnected relationship the systems have in our natural environment. Although this is not a fully suspended example but the concept and the way Saraceno executed this design is very precise. The scale of this installation, being hung up in the air, people will need to look up, walk around or across, indirectly empowering these spheres. The fabrication method can potentially be investigated at a later stage when the appropriate form is produced.
PRECE Title: Biosphere Designer: Tomas Saraceno Year: 2000
left: biosphere. Main sphere filled with small plants connected to b bled sitting on the ground inflated with water middle: close up image on the network of curves right: close up image on the main sphere
All photographs: Queensland Arts Gallery of Modern Art , Highlight: Tomas Saraceno â&#x20AC;&#x2DC;Biosphereâ&#x20AC;&#x2122; (2014) <http://blog.qag.qld.gov.au/highlight-tomas-saraceno-biosphere-2009/> [accessed 24 April 2015].
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The High Line Project by Diller Scofidio is an architectural approach to the similar concept that I want to pursue in. Using the elevated site of an obsolete train station where rail tracks are still in place, Scofidio recreated this area into a small utopian city , aiming to provide a green getaway in the midst of the concrete jungle of New York City.
EDENTS
bub-
>
Title: New York City High Line Architect: Diller Scofidio Year: 2004-2009 top: aerial view of the entire high line project left: pavement merge in with remains of railway and garden top right: benches look like peel off of pavements, making features link with the site. top left: A glimpse of the view from the high line
All Photographs: Cilento, Karen, The New York High Line officially open (2009). ArchDaily. <http://www.archdaily.com/?p=24362> [accessed 01 May 2015].
FABRICATION & CONNECTIONS With a more detailed concept of what I want to achieve in mind, there are two fabricative methods that can be considered at this stage of design development: Joints and networks.
JOINTS The final design form can be divided into segments so to be represented by tubings, joints can be used to connect these parts to create a larger linked product. Using joints will increase the weight of the entire structure therefore using hollow tubings rathoer than solid parts will make the structure relatively more light weight. For suspension, steel cables would be used to ensure the structure is securely elevated, the potential anchor points of such cables would be the steel barriers that run along the Eastern Freeway. U-shaoped steel plates can be bolted around one of these barriers and metal hook connecting the suspension cables can than be installed. This option can be considered if the final form requires more structural support in terms of carrying a large load and for a long-term installation purpose. This way the steel would be much more desirable undergoing harsh weathers, which would ensure the safety of users.
Primary tubing Coupling Joint Secondary tubing-terrarium
Metal Hooks
44.
U-Shape Steel Plate
Steel Wire Cables
NETWORK Towards the end of the 5 weeks in design development, I have looked into Frei Ottoâ&#x20AC;&#x2122;s work for some structural inspriation as he is prolific in tensile structures. I came across the Diplomatic Club Heart Tent which used steel strings for the tensile roofing. I tried incorporating this into my design, making it one of the possibilities in fabricating my final design form. But since I wish to integrate terrarium tubes in my design I could not just suspend strings and connect them together to form my product, I need to think of a way to put these glass tubes within the string network. I have then done some research to find a way of knitting nets that would allow me to have the opportunity to insert other objects within the network. The net I chose to work with has been fabricated as one of the prototypes and the glass tubes can be incorported with the following parts and joints. The way of suspending the entire form is still pending on more research, it would potentially be a connection point where the bunch of strings would have to attach to in order to form the final network.
terrarium tube The Diplomatic Heart Tent, Frei Otto, 1980. Architect Magazine, Diplomatic Blub Heart Tent ([n.p.]: , 2015)
strings
plastic end caps
B7. LEARNING OUTCOMES The objectives of the studios and this section of the design profress is to depart from the research and text based work that we did in part A, and to get fully handson and interact with Grasshipper, experience the power and limitations of computational design first-hand. These five weeks have also been very helpful in pushing students to develop the computational design skills of their own, skills of not only altering a pre-defined algorithm, but also creating a complete and successful algorithm of our own. Personally, I spent the most time on reverse engineering becaue it was the first time for me to have to generate a digitial model merely using softwares, that feeling of creating something without using pen and paper or fiddlearound with objects is really strange to me, but the sense of reward and success after the algorithm is generated is truly overwhelming. This is the point in time when I actually started to enjoy the process of generating a form. Through this exercise, it made me see architectural projects in a different perspective, I now would look at a weirdly-shaped building and think â&#x20AC;&#x2DC;hmm, how would they generated that in Grasshopper...â&#x20AC;&#x2122;. This transformation opened the door of parametric wonders that I would never have opened before and have allowed me to explore things in a broader context.
46.
B8. ALGORITHMIC SKETCHES
DETAILED DESIGN
C.
Feedback from the final presentation has p previously held. The comments on differen of ways to refine the details of my entire s the design process, it is easy to get lost in sign idea that a frame is formed to restrai fore I have decided to fetch back the learn and integrating the feedbacks from final p my concept and design.
The design pathway has adjusted slightly a there are two particular comments listed b refinements in the final stage of project. 1. Waffling form suspending is not enough
With the original material and form I chose structure is too bulky to convey an accura To refine, a different set of fabrication me opmental stage. Waffling can produce larg of curvature form I generated, waffling is t delicate irregular curves in the form.
Along with the alterations to the design co in an assitanve but crucial role in producin tion. Further description and explanation o latter in the journal.
2. Terrariums sitting on top will create unc
Terrariums were featured in the design be efficient ecosystems, by using the shapes rameters that generated an outcome for t need soil as bases will create visual obstac constrasting environment under the canop questions assisted me in directing to a mo The placement of terrariums will need to b Why are terrariums needed in part of the d Can this feature be replaced? What consequences would that cause, will Are there any parameters that will need to
50.
pushed me to extend beyond the concept I nt parts of my design have made me think scheme for the subject. At the stage of n track or too doved into a particular dein one to refine beyond its ability. Therening outcomes from both parts A and B presentations in order to seek depthness in
after the feedback from final presentations, below that push me into making the design
h.
e to proceed with, I agree the suspending ate perception of the design. ethods will be considered in the next develge heavy-weighted outcomes but in terms the best method in order to abricate the
oncept and scheme, digital fabrication acts ng the shape and form, by waffle generaof the fabrication method will be mentioned
clear view of plantations from soil
ecause of their unique qualities of a self s and mass of the terrariums, I set up paterrariums to sit on but the fact that they cles for users to fully enjoy the positive py. Therefore asking myself the following ore resolved design pathway for the project. be rethought. design?
l it affect the form? o be considered accordingly?
REFINED CONCEPT
T
Through this design project, I hope to utilise digita
to take thse journeys in a natural ‘green’ environment,
enlightens one’s mind unless one enlightens himsel
rails are journeys, whether it is a journey to work, to
get your daily exercises fulfilled or satisfying your dog’s
outdoor needs, each journey is different. By deciding one would ultimately hope to seek for the qualities that
natural environments provide, the fresh air, the smell
of trees and flowers, the chirpings of the birds... We often take the nature for granted, and even though we
were urged to act on protecting it, we might still find
it ‘not really my business’. The relationships between technology, culture and nature are commonly seen as
controversial, technological and cultural systems ruin nature, and as a matter of fact, human behaviours are actually contributing negatively to our environment. 52.
artchitecture and abstracted design to convey such
message to the public. An abstract representation o
the matter will raise one’s curiosity, and nothing trul through personal experiences and thought processes.
The concept of this design scheme is to allow users to
realise and experience that human behaviours are directl
affecting the health of nature. Through computationa
design, an abstracted, ‘manufactured-like meshes will be
generated to represent the barriers human themselve
are producing that keep them away from desirable nature
Using the existing gradual vegetation density of the site
to form the foundation of my design, having a gradua
journey from not being able to see ‘nature’ clearly from
al
all the obstacles created by the mesh, to finally having
but also the human-manufactured aspects of it in order
of
the â&#x20AC;&#x2DC;natureâ&#x20AC;&#x2122; is unreachable, raising questions as to why
traditional designs and the relationships between the
h
ly
lf
o
ly
al
e
es
e.
e
al
m
a clearer glimpse of it at the end of the journey, but still are there barriers keeping us from it? Why does nature look so close but yet we are still unable to enjoy it?
In response to earlier parts of the project when computation
design
researches
were
undertaken,
the idea of computational design acting only as an assistance to design was concluded and is what I
personally believe it to be. The project, with chosen focus on the relationships between technology, culture
and nature, the idea taken from the research can be
further explored and intergrated in the project, aiming to produce a design object that will not only showcase
the technological aspects that have gone in the design,
to link between ideas of the coexistence of digital and three systems.
Materiality and fabrication methods have been adjusted. One of the criticisms from final presentations was the
design object being too bulky and whether it needs to have such a rigid structure to it. Flexibility, transparency,
and light-weight have become the targets material
characteristics in order to divorce the bulkiness and intergrate sunlight. It is also a target to search for a
material that will reinforce the idea of the imergence between technology and nature represented by digital fabrication and hands-on fabrication. This will be further explained in the following sections.
Yasuaki Onishiâ&#x20AC;&#x2122;s reverse volume installation art demonstrates sophistication and complexity in des Integrating the elascity and strength from hot glue with the versatiliy and transparency of plastic she a wondrous and striking outline of mountain landscape is depicted. This complex yet direct metho fabrication could possible support the idea explored in the current design project, where a harmo relationship could be formed between computation and traditional designs. The level of control and versity of forms that can potentially be fabricated with this method is highly commended in this proj and will be considered as part of the final fabrication method.
Following the adjustment of design concept, a selection of precedents were referenced and used as developmental guidance to strengthen the refined concept.
PRECEDENTS 54.
sign. eets, od of onius d diject,
The Green Roof designed by Matthew Soules Architecture is a project that targets to create immersive sensory experience through the spatial journey the illuminated lush greenry roof constructed out of inverted pyramid mesh that have incorporated a series of plantation cover. In acknowledgement to the unsuccessful incorporation of terrariums in previous design scheme and feedback, an alternative method of showcasing the equivalent or similar is necessary in order to proceed with the initial intention of the project. The use of plantation and mesh can be referenced and trialed in fabricating as it will be acting similarly to the purpose of terrariums in the original design proposal. However the practicality of using plants that need more intensive maintanence than terrariums is to be considered and may change the nature of the design object.
The experimental parametric project on elastic merphogenesis showed a strategy in intervention and presented developmental approaches to parametric modelling in relations to the implementation of attractor points, which is the computational technique undertakent to generate the design intervention. The hair dynamic system which has been a part of the precedent project is to be also a part of the targeted final outcomes of the design, and will be explored further in latter parts of the journal.
56.
REFINED DESIGN PROPOSAL | SITE INFORMATION
The criterias for a desirable site for this project is one that would feature most of three systems of technology, culture and natur which would enhance the experience and assist in conveying a stronger and impacting message behind the proposal.
Site analysis were conducted in specific to gather information needed for th parameters in the design generation process. By inputting specific data, the site specific and complimenting the assistance of computational techniques in
Vegetation density has been measured showing graduation of vegetation to further in along the trail, backing up the the concept of a journey from the nature) and the unreachable (able to see but unable to reach)
| Circulation |
the elements in the e through the design
No
rth
he location, formation and e design outcome would be n design. automobile
density from under the bridge m the unseen (barriers blocking
foot bike
| Annotated Pathways |
Merri Creek Trail
Yarra Bend Trail
Main Yarra Trail
y wa
ree
nF
er ast
E
ter as
y wa ree
nF
E
Merri Creek
The specific site for the installation of the final product is chosen according to the data gathered from the above site analysis which would most support the concept with 1) Strong experience of the relationships between the three systems 2) Gradual but obvious change of vegetation density 3) High circulation exposure to attract as much users as possible in the limited exhibition period Due to the contraints presented by the materiality, proposed fabrication method and the inclusion of actual plantations (all will be further explained in latter parts of the project), the project outcome will be a temporary intervention for a period of up to 7 days. Target users will be the existing users of the trails whom include: working class around the area, locals, tourists (due to the popularity of the three trails, being in the junction of the tree will creat high exposure to the intervention), passerbys (drivers on road and freeway),cyclists etc.
REFINED DESIGN PROPOSAL | DEVELOPMENT & IMPLEMENT
The technique and points wa this last part o and lightweig the concept a design object environment disruption for enough to be pause under th behind.
Taking off from which is to pr luscious green Layering certi trasparent dep
creating visua implemented a final form be be individually
I propose a form acting as barri on the site th are what thatâ&#x20AC;&#x2122; the top layer unreachable. T further out th sense of grad at one end of but even if it humans have but if we are able to reach
04.
TATION OF TECHNIQUE
e of patching after obtaining a set of arcs as finalised as a developable technique for of the design development. The flowyness ghtedness of patching echoes well with and the context of the design. Placing a with such qualities outdoors in a natural will create less visual obstruction and users and existing habitants and fit it well e welcoming and comforting for users to he intervention thinking about the message
m the experiencial target of this intervention rovide a journey of gradual exploration to nery, the method of layering came to mind. ian types of material in certain ways allow pthness to form which supports the idea of
al obstacles and the parametric technique allows that to happen without letting the too messy and clumsy as each layer can y controlled through inputting information.
m consisting a total of 4 layers with 3 layers iers (representing the three main locations hat feature heavy human circulation which â&#x20AC;&#x2122;s keeping us away from the greenery) and as the green sanctuary, the wanted but The 4 layers will be parametised to extend han the bottom layer in order to create the dualness, making the 4th layer fully visible f the intervention with no barriers at all, t is visible, it is unreachable, symbolising visions to a better, healthier environment not putting actions into it, we wonâ&#x20AC;&#x2122;t be it.
In further development of such technique, more limitations have surfaced and has limited the possible design outcomes that could be produced. An alternative technique has been developed using attractor points. Parameters such as the number of field attractors, the magnitude of field, the location of the points etc can all be altered in order to fit in the data collect from the site analysis to inject more reliance on the assistance of computational techniques in the designâ&#x20AC;&#x2122;s form finding process, which is the main conclusion from the initial researching part for this project. Identical qualities can be achieved using attractor points, but the greater amount of parametric inputs allowed with this technique has provided more site and user specific outcomes. Parametric inputs for the definition included: a) the number of attractor points this will produce significant crests on what was initially a flat planar surface, the crests are key elements to the form as they have two purposes 1. visual points that users will want to look through at, because they would be the closest parts of the intervention to them 2. visual obstacles to enhance the barrier between human and the green sanctuary located at the top of the intervention. b) magnitude of attractor points this also represents the depthness of each point, this parameter can be altered to involve user-interactions and control the level of visual disruption wanted to create for each point in each individual layer. c) location of attractor points this parameter runs closely with the magnitude as the latter will affect the flat surface which will alter the location of other neighbouring points and their behaviour accordingly. This parameter contraints visual interaction with the top greenery layer but can also act as a gradual guidance for users to walk through the journey and explore what is to offer.
REFINED DESIGN PROPOSAL | DESIGN DEFINITION
The number of attractor points is etermined in the following manner estimated time one will pause under the intervention: 30 seconds
Boundary// parameter input of surface dimensions in millimeters
a = point b= magnitude therefore the larger the magnitude of b the flatter the surface
Average number of people walking past the site in a 30 second time frame = number of points
SDivide Evaulate Srf Domain
Boundary
Surface
Evaulate Srf Evaulate Srf Evaulate Srf
Evaulate Srf
62.
Vector 2pt Dist.
Function (a/b)
Vector 2pt Dist.
Function (a/b)
Vector 2pt Dist.
Function (a/b)
Vector 2pt Dist.
Function (a/b
Vector 2pt Dist.
Function (a/b)
e
)
)
)
b)
)
if (x<y && x<z && x<u && x<v ) ( A=0; }else( if (y<x && y<z && y<u && y<v) ( A=1; }else ( if (z<u && z<v) ( A=2; }else (if (u<v) ( A=3 ; }else A=4; } } } }
The attractor point definition is only set for working with up to two points, if multiple points are needed, a manual scripting is required. In this case the script is edited to accomodate 5 points.
Amplitude b= Amplitude
V Dist
b= Amplitude b= Amplitude b= Amplitude b=
Edit Script
Pick n Choose
Amp Unit Z
Move
Mesh
REFINED DESIGN PROPOSAL | FINAL DESIGN OUTCOME
Boundary: Y=400 ; X=700 b(pt1)=20 b(2) =32 b(3) =29 b(4) =32 b(5) =34
Boundary: Y=380;X=650 b(pt1)=15 b(2) =25 b(3) =30 b(4) =33 b(5) =24
Boundary: Y=360 ; X=600 b(pt1)=15 b(2) =30 b(3) =16 b(4) =29 b(5) =19
Boundary: Y=340 ;X=550 b(pt1)=18 b(2) =24 b(3) =15 b(4) =17 b(5) =15
64.
REFINED DESIGN PROPOSAL | FINAL DESIGN OUTCOME - EL
7m
elevation-north
elevation-south Individual elevations of each layer that make up the entire composition design are shown beside each corresponding elevation. 66.
LEVATIONS
4m
elevation-west
elevation-east of the
REFINED DESIGN PROPOSAL | FABRICATION & CONNECTIO
The design intent for the layers of mesh are to represent the choatic and unpredicting qualities of barriers created by human behaviours and cultures. Hair dynamic parametric systems are the target of what is to be achieved in terms of the aesthetics of the outcomes. However using digital fabrication with this particular goal will result in exceptionally complex systems that would need some level of regularity in a fabrication process that is not desirable in conveying the design concept. With reference to one of the precedent studies on reverse volume, hot glue seems to be a controllable and â&#x20AC;&#x2DC;desirableâ&#x20AC;&#x2122; fabricating method in representing the irregular choatic lineworks on these meshes. This method is only successful with the assistance of moulds fabricated digitally using the waffling method.
Laser Cut Waffled Outcomes
Assemble Segments
The uppermost layer is will be covered with actu offsite before installatio same mesh-fabricating m but this layer will nee coating in order to mainta form. The mesh and mo a plant nursery offsite a process, which a cocktail will be applied to the me as a supporting frame t during the plantation pro take up to three days, an started growing, it can b the workshop for the soft
Hot Glue Application Remove Mould Harden and Strenthen
Envisage Construction Program 68.
ONS
a greenery mesh that ual plantations nurtured on and exhibition. The method can be utilised ed extra strenthening ain the given shape and ould will be sent out to after the strengthening l of seeds and fertilisers esh. The mould will act to the entire structure ocess. This process will nd once the plants have be transferred back to t connection procedure.
Send out Top Layer for Plantation Work
Flexible (Soft) connections are used to connect the different layers with structural integrity while maintaining a consistent visual effect offered by the meshes. These connections are precedented in the reverse volume installation project where hot glue is applied from one upper element, using gravity hot glue will land naturally on the lower layer, creating a flexible connection between the two elements. Due to the unknown climatic exposure of the intervention, a back-up connection with stronger structural integrity will be used in cases where soft connections were to fail during the exhibit period. The details of back up connections will be explained on the next page.
Soft Connections
On Site Installation Steel Temporary Railings
Back up Connections between meshes
C.1. REFINED DESIGN PROPOSAL | FABRICATION & CONNE
The overall weight of the design is relatively light, therefore heavy duty connection hardw steel railings will be used to suspend the intervention off the group, by shallow drilling into t minimal damage to existing infrastructures while providing sufficient and safe support fo conditions. Back up connections are considered in this situation because of the outdoor expo sufficient if the intervention were to be exhibited indoors. These connections are also kept not affect the performance of the design forms.
2
m
0m
300
30mm
m
0m
10
3 pieces of cold-formed U-shape steel plates (railings) will be connected using nails to the underside of the bridge. Each railing has 3 sets of holes on each side for the metal hook to hook through for suspension of the design object.
*Rail not to scale
m
2mm dia.
50m
150mm
550mm
150mm
Individual deformed steel rods (with grilles) are differ from the one welded to the hooks as they assist in the inbetween connections of meshes. The grilles are to allow maximum friction for nuts to be fastened in a most fixated manner.
70.
This steel bracket is designed specifically for this project, with the objective to provide the ability to connect all layers while not damaging the fragility of the design. A hinge is designed so the bracket could be opened up, scoop through the gaps within the mesh and reattached using bolts and nuts.
Metal this p of the when be fas
ECTIONS
wares will be of minimal use. Thin cold-form the bottom of the bridge with nails, causing or this intervention under extreme climatic osures as soft connections would have been minimal in sizes and weight where they will
20mm
2000mm
l hooks are specially designed for the use for project with a welded steel rod at the bottom e hook where most tensile force is positioned n suspending the design. Ends of the rod will stened and secured by metal nuts.
72.
C2. PROTOTYPE
At the prototyping stage, trials on the workability of materials including the waffling moulds and hot glue applications is the main focus, the following targets are to be achieved as results of this process: 1)Waffling Moulds - Materiality - Sturdiness 2)Mesh Layers a. Cover that will retain the form of the mould when hot glue is applied over, and easy for hot glue to be peeled off b. Hot glue mesh needs to be able to hold its shape when mould supports are eliminated, 3) Connections Layers should desirably be in place for 2 weeks minimum to ensure consistent experience can be provided for users over the course of the exhbition period.
TRANSPARENT PERSPEX
2.
The most important stage an accurate fabrication of t into segments from two di allows control in the distan designed form. A series of curves in order to observe transparent perspex, plywo have resulted in cracking a of its compactive nature.
74.
.8mm PLYWOOD
Prototype Series 1 Digital Fabrication
3mm MDF
of fabrication is the waffling moulds as they are the product of the parameter inputs of the design, the digitally designed form needs to be constructed and itâ&#x20AC;&#x2122;s believed that by sectioning one form irection will have ability to showcase all curves and details precisely, hence waffling. This method nces between segments and the depths of each rib, adjusting the level of accurate portrayal of the prototypes have been tested on one small section of an entire form, a section with more dynamic its ability of realistic representation. Three materials have been chosen to proceed with this series, ood and MDF. With the different material thicknesses and compositions, the two former materials and breaking of parts during assembly, whereas MDF is the most sturdy material, probably because
76.
PLASTIC
TISSUE PAPER
PLASTIC + HEAT
CLING WRAP + HEAT
Prototype Series 2 Cover | Materiality
This prototyping series is to search for the most efficient material that will allow hot glue to be peeled off the easiest and cause minimal damage to the fragile mesh. 4 sets of trials were conducted (shown on images beside) including plastic, tissue paper, plastic with heat applied and cling wrap with heat applied. Using just plastic without heat will require tape to secure it on the waffling mould in order to obtain the form, which was extremely difficult. While tissue paper works superbly with the peeling off process, but due to the fragility of tissue paper, some would break off and stuck to the mesh which is not desirable. Applying heat seemed to be the most efficient method in getting the form of the moulds, cling wrap melts quickly but too soft in nature for hot glue to be peeled off. Applying heat to plastic is the most desirable way where the plastic itself has some strength to it and will benefit the later fabrication procedures.
LOW INTENSI
Prototype Series 3 | Intensity of Glue
This set of prototype focuses on the limitation that hot glue has where different thicknesses of the strings will respond to its tensile strength proportionally. The intensity of the glue application also has effect on the general coherence of the form, affecting the look and shape of the products. In order to optimise the accuracy of the form these hot glue meshes portray, the intensity of such are tested. The top two images on the right are of a low intensity and it resulted in a loose and extremely fragile form that would not hold its shape. Medium intensity was trialled however there are still looser strings were still hanging out, creating a sense of messiness to the entire picture. High intensity was then tested where a base layer was first applied, then drizzle glue all over the mesh, with minimal gaps and holes.
78.
MEDIUM INTE
ITY
LOW INTENSITY - FAILURE
ESITY
HIGH INTENSITY
Prototype Series 4 | Fabrication Supports
Tensile strength each of these layers hold are important in the optimisation of safety and performance of this intervention. Practical considerations of how the interconnections between layers could be conducted in workshop is crucial. Since the main supporting suspension railings are installed on site at the last stage of the process, therefore a temporary supporting device has to be utilised in order to successfully hold up the different layers while connections are being applied earlier in the fabrication process. The following supporter has been designed specifically for this purpose:
80.
Prototype Series 5 | Tensile Strength
Tensile strength each of these layers hold are important in the optimisation of safety and per of interconnected meshes are left on a temporary supporting device for close observation to structure.
24 hours since installation
82.
48 hours since installation
rformance of this intervention. In order to put this into test, one set o책 take place, noting down the changes gravity has acted upon the
7 days since installation
14 days since installation
C3. FINAL MODEL
84.
REFINED FABRICATION PROCEDURES
The prototyping stage of design eliminated and reinforced some fabricating ideas and method require adjustments to the original envisaged construction program.
LASER CUT WAFFLING IN MDF ASSEMBLE SEGMENTS TO FORM MOULDS
COVER MOULD W/ PLASTIC APPLY HEAT TO PLASTIC FOR MOULDED FORM
86.
ds that would
APPLY HOT GLUE : 1. create continuous base layer 2. apply glue with height across entire fabric 3. fill large holes and gaps 4. apply more glue on edges for tensile strengthening in latter steps ALLOW 24 HOURS RESTING THEN APPLY STRENGTHENER AND HARDER PEEL OFF AND REST FURTHER ON MOULD SEND UPPERMOST LAYER TO NURSERY FOR OFFSITE PLANTING PROCEDURES
HANG 1 LAYER (FROM TOP) ON SUPPORTING DEVICE. POSITION LAYER BELOW IT ON GROUND LEVEL WITH DESIRED ALLOWANCE BETWEEN APPLY HOT GLUE ON TROPHS, ALLOWING GRAVITY TO PULL GLUE TOWARDS UNTIL IT TOUCHES BOTTOM LAYER REPEAT PROCESS FOR THE REST OF THE LAYERS
FINAL MODEL | INITIAL FABRICATION STEPS
Snapshots above feature the individual processes of moulding, hot glue application, final model frame ass
88.
sembly, installation of steel tracks and the final design object.
90.
FINAL MODEL | GENERAL VIEWS
FINAL MODEL | GENERAL VIEWS
92.
Top Left: Installation of design to steel railings, apply extra hot glue connecting railings and top layer for more visual effect and additional support for structure Middle: Close up of the inbetween, showing flexible connections Right: General view from under the intervention, the level of visual obstruction is high, raising curiosity as to what would be on top Bottom Left: a partial section of the design, showcasing all the different layers and their diverse forms Right: general view from the SE side of the design
FINAL MODEL | MACRO-SHOTS
The four macro snapshots show the intricate details between each layer and also the idea of trasparent yet barriered effect that is crucial in convey the concept. These photographs show each individual layer still hold their shape while be connected together, seeing the product of digital fabrication and computation design.
94.
C4. LEARNING OBJECTIVES AND OUTCOMES
Arriving at the last stage of the project, the objectives are extensive and comprehensive, it is the been done in the past are put into context in terms of grasping techniques, utilising computatio digital modes. Having received positive feedbacks on the previous iterative generation process, I ha the script for my project in order for it to respond harmoniusly with the design concept.
Being used to working with traditional design modes starting from conceptual sketches, precede designs, the requirement of parametric in this project was challenging as I was not used to giving s no idea how many possible outcomes one simple input could produce. However through the rese part A, which I concluded as computation is assistive only, man should retain its power and contr thought throughout the semester to try and incorporate this statement into my own design. The for me to seek balance between computation assistance and traditional design, to attempt and computational and what is manufactured. I believe I have showcased this through forming para by using digital fabrication to reate moulds for hand-fabricated products, a direct representation computation in design processes.
Through this design process, I have experienced the convenience, accuracy and unlimited possibilitie able to offer. By inputting and manipulating parameters ‘customised’ outcomes, I was able to gene the site, and date collected from analysis in order to optimise a design’s performance and intended
The requirement of producing a ‘close to 1:1’ final model led into practical investigations and reea was never really a ‘must’ in previous design studio projects. This truly symbolises a leap from a final year ‘must-be-a-masters-potential’ project. Being practical and realistic about design is one about architectural design, through this project, especially when the use of computational tools sophisticated and detailed forms, you cant just 3D print everythings, but need to develop the sen generated outcome into smaller, fabricatable parts with corresponding tectonic joints. This also test whether you understand where to locate joints are the most appropraite and resembles the digita
This entire semester has been challenging yet fulfilling, I started initially with a blank mind in not knowin design to now ending up with a project that I am happy with, is truly satisfying. The things I have lea to digital design and fabrication only, but also some design attitudes and presentation skills that when accomplishing any sort of design work. I’d like to thank Brad deeply for his time and valuab semester!
96.
e part where everything that has onal abilities and fabricating with ave put in full focus in developing
ents to developing fully resolved so much control away and having earch on computational design in rol in design, I have developed a project has been an opportunity push the boundaries of what is ameters in my design script and n of what I believe is the role of
es that computational design are erate designs that are specific to d effects.
arch in tectonic elements, which ‘beginner’s’ design project to a e of the many things I’ve learnt generates all sorts of beautiful, nse of practicality to dissect the ts how well you know the design, al model accurately.
ng anything about computational arnt in this studio are not limited a designer should have in them ble advice given throughout the
REFERENCES A1. DESIGN FUTURING cover photo https://www.etsy.com/market/sage_leaves precedent 1 all photos from http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/ precedent 2 all photos from One Central Park: http://www.archdaily.com/551329/one-central-park-jean-nouvel-patrick-blanc/ A2. DESIGN COMPUTATION cover photo https://www.youtube.com/watch?v=SMnvNAlz3Xo precedent 1 all photos from http://loop.ph/portfolio/spiratomic-space/ precedent 2 all photos from http://www.dezeen.com/2007/11/01/urban-lobby-by-mrgd-architects/ A3. COMPOSITION AND GENERATION cover photo http://people.ece.cornell.edu/land/courses/ece5760/FinalProjects/f2009/nic4_sck76/nic4_sck76/
precedent 1 Rawn, Evan. “Digitized Stone: ZAarchitects Develop “Smart Masonry”” 13 Mar 2015. ArchDaily. Accessed 13 Mar 2015. <http://www.archda com/?p=609108> all photos taken from the above website, courtest of Zaarchitects.
precedent 2 Rosenfield, Karissa. “Henning Larsen Receives Planning for Danish Mosque” 19 Mar 2015. ArchDaily. Accessed 19 Mar 2015. <http://www.archda com/?p=611429>
Wanande Christian, ‘Copenhagen to Get New ‘Designer’ Mosque’ 17 Mar 2015. The Copenhagen Post. Accessed 19 Mar 2015 <http://cphpost. news/copenhagen-to-get-new-designer-mosque.13042.html>
PART B
1. Architecture and Arts, Japan Pavilion (2012) <http://architectureandarts.tumblr.com/post/5579921450/japan-pavilion-hanover-expo-2000-designed-by> [accessed 14 April 2015]. 2. Architect Magazine, Diplomatic Blub Heart Tent ([n.p.]: , 2015) 3. Canadian Architect, Environmental Mediation (2015) <http://www.canadianarchitect.com/asf/principles_of_enclosure/environmental_mediation/environmental_mediation.htm> [accessed 14 April 2015]. 4. Cilento, Karen, The New York High Line officially open (2009). ArchDaily. <http://www.archdaily. com/?p=24362> [accessed 01 May 2015]. 5. Csiby Zsolt, Gridshell 00 (2012) <http://www.grasshopper3d.com/photo/gridshell-00> [accessed 27 April 2015]. 6. Iwamoto Scott Architecture, Voussoir Cloud (2015) <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 10 April 2015]. 7. Queensland Arts Gallery of Modern Art , Highlight: Tomas Saraceno â&#x20AC;&#x2DC;Biosphereâ&#x20AC;&#x2122; (2014) <http://blog.qag.qld. gov.au/highlight-tomas-saraceno-biosphere-2009/> [accessed 24 April 2015]. PART C C.1. 1. htvtp://mumeditation.tumblr.com/post/97875960389/qagoma-last-days-tomas-saracenos-biosphere
aily.
2. http://www.archdaily.com/541903/move-over-green-walls-living-canopy-comes-to-west-vancouver/53ff3984c07a807fce00006c_ move-over-green-walls-living-canopy-comes-to-west-vancouver_vs-night_worm-eye_credit-sandywang-jpg/ right http://thecreatorsproject.vice.com/blog/yasuaki-onishi-captures-impressions-of-negative-space-in-ireverse-of-volumei
aily.
3. http://exhibition-ism.com/post/26104905575
.dk/
4. http://www.archdaily.com/541903/move-over-green-walls-living-canopy-comes-to-west-vancouver/53ff391ec07a802fab000058_ move-over-green-walls-living-canopy-comes-to-west-vancouver_vs-day_axial_credit-kristajahnke-jpg/ 5. http://massimilianomanno.com/2013/06/12/elastic-morphogenesis/ 6. http://candy-box.ch/agriculture-urbaine/?m=201306 7. http://alanatracey.com/2012/10/20/yasuaki-onishi/