Design Studio Air Journal - Justeen Tsai by Justeen Tsai

STUDIO AIR SEMESTER 01, 2017 FINNIAN WARNOCK HSIN-TE TSAI (JUSTEEN)

C O N T E N T S

04 I N T R O D U C T I O N

06 A . CONCEPTUALISATION

32 B.

CRI T ERI A

DESIGN

90 C.

DETAILED

DESIGN

170 R E F E R E N C E

I N T R O D U C T I O N

HELLO,

my name is Hsin-te Tsai

or you can call me Justeen, currently in my final year of my architecture undergraduate degree in the University of Melbourne

Family is definitely not the only and first reason why I’ve chosen architecture, but for sure one of the most influencing one. I’ve chosen architecture among all other type of design due to I personally think

I am born and rose in Taipei. I’m interested architecture is the most powerful one, in photography, traveling and of course architecture have the ability to shape design in architecture and interior design. peoples lifestyle, also the power of change Both type of design has been part of my the shape the existing environment. I life since I was small, playing around with tracing paper, scale rulers and markers is all part of my childhood memories, the love of design runs in the family.

believe it is architects responsibility to solve problems pertaining to the human needs and vision and prepare for the later 10 years or more living style, environment change and reshape the design system.

DIGITAL

DESIGN

AND

DESIGN

STUDIO:

WATER

DESIGN

STUDIO:

EARTH

FABRICATION

2016

BOATHOUSE

2016

SECRETE

PAVILION

2017

ARCHITECTURE ASSOCIATION VISITING SCHOOL : HYPESCAPE 2017

P A

CONCEPTU 08 - 13

A .1. FU T U R IN G

14 - 19

A.2. COMPUTATION

20 -

A.3. COM

R T

UALISATION

- 27

POSITION

28 - 29

A.4. CONCLUSION

30 - 31 A .5. O U TCO M ES

A.1

DESIGN FUTURING

FI G 01. V ERY L A R G E S T RU C T U R E BY M A N UA L D OM IN G U E Z, 2013

“DESIGNERS

SHOULD

BECOME

THE

FACILITATORS

OW, RATHER THAN THE ORIGINATORS OF MAINTAINABLE ‘THINGS’

SUCH

DISCRETE

PRODUCTS

IMAGES"

- JOHN WOOD, 200

[1]

the past, designers follow the ideologies of form

and function, which was limited in space and time, could be delivered in a fix form such as a design plan [2]. On the other hand for design now is mainly focus on the future design, a design that aimed to solve problem, create a better tomorrow and continuous defines a system that shape the society rather than fixed the existiing society.

In this case, design in future not merely about the improvement of hardware like technology and material that helps find a better alternatives for building, more importantly

feature

design

help

elevate

peoples

concept of design, even though in some case it may not be radical at that time but it helps expands the possibility of problem solving or the perspective of design that can change and handle problems that exits now and may happened in the future. Moreover, the design that is "unbuilt" or seen as impossible to built can been seen as a goal for designer and the industry to achieve in the future, and once it is achieve it set a milestone for the industry that set a new definition to design and constructibility.

[1]

Wo o d ,

[ 2] T h a c k a r a ,

John John

( 2 0 07 ). ( 2 0 0 5).

Design the

for

B u b b l e:

M i c r o-U t o p i a s: Designing

Making a

Complex

the

Unthinkable

Wo r l d

Po s s i b l e

(C a m b r i d g e,

MA:

(Aldershot: MIT

P r e s s),

G o w e r) p.

2 24

Fi g 02.

Fi g 0 4 .

F i g 02, 03 , 0 4 Ta o Z h u Y i n Yu a n r e n d e r i n g B y V i n c e n t C a l l e b a u t A r c h i t e c t u r e s

Fi g 03 .

CONCEPTUALISATION

CASE STUDY 1.0

TAO ZHU YIN YUAN TOWER Taipei, 2010 - 2017 | Vincent Callebaut

want to give hope for a better tomorrow" -- Vincent

Callebaut the head architect of the Tao Zhu Yin Yuan tower. This tower specifically aim for four main ecological objectives; first the reduction of the climate global warming, second the protection of the nature and the biodiversity, third the protection of the environment and the quality of

of C02 by the largest park Da-An park in Taipei City. Under the plants the actual model is design in an appearance of DNA, a double helix twisting 90-degrees from base to top. The appearances of the tower imply that responsibility of sustainability and protection of environment is born in our DNA but we usually forgot about it [6].

life and finally, the management of the natural resources

As Tony Fry said: "‘sustainable design’ have arrived in

and waste. Compare to a unbuilt conceptual design

most industrialized economies but for all the rhetoric,

project in Singapore “The Homefarm” by Spark Architects

organizations,

in 2014, which also have a focus on architecture’s potential

‘sustainable design’, the actual and enormous changes

to contribute positive affect on the environment and

required to establish the ‘sustain-ability’ of the artefactual

change the approach of city's design in the future [3], the

world we create, use and occupy has hardly begun."

Tao Xhu Yin Yuan had step out the first step of changing and

This project is innovative in ways that it begin the action

achieving the future design that has been planed for years.

of resolving the existing problem, and also achieving the

The project is built in Taiwan's capital city Taipei, which

design concept that has been replicate several times, and

Taiwan in a year generates more than 250 million’s of

create an example of achieving paper architecture that

carbon dioxide emissions each year it is rank number 17th

allows new opportunity to be create in the future design.

in Asia [4]. The design of Tao Zhu Yin Yuan is covered with

The Tao Zhu Yin Yuan tower is planed to finish in September

23,000 trees and shrubs, the plants in total will absorb 130

2017, once it was done the maintenance and the result

tons of carbon dioxide emission each year, it equals to

of the building will become the next challenge for the

approximately 27 cays and one third of the absorption

design future and main essential to influence other design.

policy

and

examples

advancing

[3] S p a r k A r c h i t e c t , " H o m e f a r m S i n g a p o r e C o n c e p t D e s i g n", 2 0 1 4 < h t t p: //w w w. s p a r k a r c h i t e c t s .c o m /p o r t f o l i o _ p a g e / h o m e f a r m / > [4] Z h u , Yu a n Ta o, Ta o Wa n g , a n d Fe i Y i n . " T h e A p p l i c a t i o n o f P S D i n V i b r a t i o n M e a s u r m e n t ." A p p l i e d M e c h a n i c s a n d M a t e r i a l s 3 8 0-3 8 4 ( 2 0 1 3): 8 2 0-2 3 < h t t p: //e d i t i o n .c n n . c o m / 2 0 1 7/0 1 /0 4 /a r c h i t e c t u r e / v i n c e n t-c a l l e b a u t-t a o-z h u-y i n-y u a n / i n d e x . h t m l > [6] C A L L EB AU T, D a n i e l . “ V i n c e n t C a l l e b a u t .” V i n c e n t C a l l e b a u t A r c h i t e c t u r e s , < h t t p: // v i n c e n t .c a l l e b a u t . o r g/o b j e c t / 1 1 0 1 3 0 _ t a i p e i /t a i p e i /p r o j e c t s > [ 7 ] Fr y, To n y ( 2 0 0 8). D e s i g n Fu t u r i n g: S u s t a i n a b i l i t y, Et h i c s a n d N e w P r a c t i c e (O x f o r d: B e r g ), p p . 1–1 6

CASE STUDY 2.0

DYNAMIC, WIND POWER ROTATING TOWER Dubai, 2008 | David Fisher

THIS

project is planning to be built in the city centre

will have to be build on-site. This construction method

of Dubai, designed by architect David Fisher. Dubai is a

will allows the building cost 30% less time than a normal

city skyline that filled with skyscraper; to build a traditional

skyscraper with the same height and size [10]. Furthermore

skyscraper without the view being cover by the other

the performance of the building after its construction

skyscrapers is impossible. Therefore The Dynamic Tower is a

according to architect Fisher: “It is a green power station.

new form of skyscraper; each level of the tower will rotate

It will power the entire building.” The dynamic building

360 degrees independently, which allows each apartment

is propose to be powered from wind turbines and solar

have a fresh panorama view. As architect Fisher Said "It

panels, the electricity that produced by the tower can be

will never look the same" [8] this building will be constantly

a supply for five other similar size building in vicinity [11].

changing in its appearance as shown in (figure 04). Dynamic tower is consider a design futureing building due to beside its new feature of constantly changing appearance and a solution of view blocking issue in a dense city area, the process of reaching the solution is sustainable way; Dynamic tower will be the world first prefabricated skyscraper with 40 factory to supply the module for each floor [9], according to Architect Fisher said the 90% of the tower could be build off site safely and assemble on side however the core of the building

This building demonstrates that even all design started from humans need and unsatisfaction, the process, construction and performance of the design can still be sustainable, and have the capability to set a example of solving current environmental issues. As long as we (the design and client)

are willing to change the

current mindset and design value and willing to pay more attention to the outcome of the design will cause or benefit then the cost of the process of the structure.

[8] O x b o r r o w, I a n . “ D u b a i i n L i n e f o r Wo r l d ’s Fi r s t R o t a t i n g S k y s c r a p e r.” T h e N a t i o n a l , T h e N a t i o n a l , 1 9 Fe b . 2 0 1 7, < h t t p s: //w w w. t h e n a t i o n a l . a e /u a e /d u b a i-i n-l i n e-f o r-w o r l d-s-f i r s tr o t a t i n g-s k y s c r a p e r-1 .1 1 6 5 8 > [9] “ D a V i n c i To w e r.” D a V i n c i To w e r, D u b a i < h t t p: //s k y s c r a p e r p a g e.c o m /c i t i e s / ? b u i l d i n g I D=62 0 5 5> [1 0] “ D U B A I | D y n a m i c To w e r .” D y n a m i c A r c h i t e c t u r e, < h t t p: //w w w. d y n a m i c a r c h i t e c t u r e. n e t /_ P R EFA B R I C AT I O N . h t m l > [ 1 1 ] R o c c a , Fr a n c i s X . “ B e l i e v e H i m o r N o t , H e P u t s a Fr e s h S p i n o n A r c h i t e c t u r e.” T h e Wa l l S t r e e t J o u r n a l , D o w J o n e s & C o m p a n y, 1 1 Fe b . 2 0 0 9 < h t t p s: //w w w.w s j .c o m /a r t i c l e s / S B 1 2 3 4 3 2 2 1 3 6 0 9 97 1 51 9 >

Fi g 05 .

CONCEPTUALISATION

Fi g 0 6 .

Fi g 07.

F i g 0 5 , 0 6 , 07. C o u r t e s y D y n a m i c A r c h i t e c t u r e Re n d e r i n g i m a g e s b y D y n a m i c A r c h i t e c t .

A.2

DESIGN COMPUTATION

“IT

POSSIBLE

CLAIM

THAT

DESIGNER’S CREATIVITY IS LIMITED BY THE VERY TO

PROGRAMS FREE

THAT THEIR

ARE

SUPPOSED

IMAGINATION."

- KOSTAS TERZIDIS 2

F i g 0 8 L e o c o p t e r a 4 c o m p u t a t i o n a l i m a g e o f t h e I CD / I T K E Re s e a r c h P a v i l i o n b u r g g r a f

2009 [12]

The

CONCEPTUALISATION

process of design in Architecture are first recognized

in the 1450s, when Leon Battista Albertis introduced a new form of design method using scaled drawing, and physical model to create a visualized communicative relationship between the architecture and the builder. Early structure and visualization of the architecture are explained and guided through technical plan, section and elevation [13]. Before computation are brought into the design process architecture project delivered through complex physical and mathematical testing and the result of the project may have a different between what it is intended to be. During 21st century computer are introduced into the design industry and the process of design has changed, but at the same time been criticized as a “fake creative". Computational design uses algorithms as a method to solve complex problem, endless iteration of design style, suitability and environment and speed up the development of design and produce. Computational design allows the capability of expanding the design potential [14]. I do not agreed with the idea of computation equal to a fake creativity process of design instead a “intergraded art form”[14] computational design allows a preserve and vision of the original design idea, moreover it allows the process of design “unlimited”, unlimited in away that there is more opportunity of problem solving during the design and fabrication process and become more efficient and allows a expiation of form finding possibilities.

[1 2] T E R Z I D I S , KO S TA S ( 2 0 0 9). A LG O R I T H M S F O R V I S U A L D E S I G N U S I N G T H E P R O C E S S I N G L A N G U A G E (I N D I A N A P O L I S , I N : W I L E Y ), [1 3] Y E H U D A E K AYAY, A R C H I T E C T U R R E ' S N E W M E D I A , 1 S T E D N (C A M B R I D G E , M A S S .: M I T , P R E S S 2 0 0 4), . P 6 . [1 4] O X M A N , R I V K A A N D R O B E R T O X M A N , E D S ( 2 0 1 4). T H E O R I E S O F T H E D I G I TA L I N A R C H I T E C T U R E (LO N D O N ; N E W Y O R K : R O U T L E D G E ), P P. 1–1 0

CASE STUDY 3.0

ICD / ITKE RESEARCH PAVILION Germany 2016 - 2017

THE

ICD and ITKE design pavilion focus on the

The ICD and ITKE research pavilion is a representation of

research of material, construction and reflect the process

future computation design due to the design process is not

of biomimetic investigation on to the design of the pavilion.

completely rely and limited on the computation, instead

The construction method reflect the biomimetic investigation

the design team uses the ability of computational to create

of natural construction, the team examined two species of

a innovative design and fabrication, which provide a

leaf miner moth, which there larvae spin silk "hammock" that

successful example of using new type of material to produce

stretch between two connection points on a bent leaf [15]

a real building scale project. This project's computation

[Fig 09.]. The pavilion focus on the capability of using glass

process provided a detail analysis on the design structure

and carbon fibre-reinforced composites on building-scale

of the original nature inspiration which computer program is

fabrication, the characteristic of the material has a unique

used as a form finding tool. Furthermore the materiality of a

accordance on tensile strength and lightweight, which

project is always been the key part of the design; in this case

creates a possibility of new approach of fabrication process.

the analyzing and testing of new form of building material's

The pavilion is constructed with new technologies like low-

strength and characteristic through computation proven

payload yet long-range machines, limited reach industrial

that computation has the ability to acknowledged the

robots, and unmanned aerial vehicles. This collaboration

potential of using unusual material to construct building and

between new material use and new technology involve

understand it's structural capability. Computational design in

in the fabrication process enables a scalable fabrication

way changes the way for us to discover design, but at the

for long span fibre composite construction [16][Fig 10., 11.].

same time provide us more option in design and fabrication that allows us to create fantasy design in a realistic process.

Fi g 0 9.

[1 5] I CD / I T K E Re s e a r c h P a v i l i o n M a d e U s i n g D r o n e s a n d R o b o t s .” D e s i g n b o o m | A r c h i t e c t u r e & D e s i g n M a g a z i n e, 1 4 A p r. 2 0 1 7 < h t t p s: //w w w. d e s i g n b o o m .c o m /a r c h i t e c t u r e / i c d-i t ke-r e s e a r c h-p a v i l i o n-u n i v e r s i t y-o f-s t u t t g a r t-g e r m a n y-r o b o t-d r o n e-f a b r i c a t i o n-0 4-1 4-2 0 1 7/ > [1 6] I CD/ I T K E Re s e a r c h P a v i l i o n 2 0 1 6-1 7.” I n s t i t u t e f o r C o m p u t a t i o n a l D e s i g n a n d C o n s t r u c t i o < h t t p: // i c d .u n i-s t u t t g a r t . d e / ?p=1 8 9 0 5 >

Fi g 1 0.

CONCEPTUALISATION

Fi g 1 1 .

Fi g 12.

Fi g 1 4 .

Fi g 1 5 .

F i g 0 9. C o m p u t a t i o n a l a n a l y s i s o f t h e n a t u r a l f o r m Fi g 1 0. D i g i t a l f a b r i c a t i o n p r e p a r a t i o n a n d a n a l y s i s Fi g 1 1 . R o b o t i c Fa b r i c a t i o n F i g 1 2, 1 3 , 1 4 . F i n a l P a v i l i o n l o o k . All images from Universit y of Stuttgar t and Institute for Computational Design and Construction

Fi g 1 6 .

Fi g 1 7.

Fi g 1 5 .

Fi g 1 8 .

Fi g 1 9.

[ 1 7 ] I n h a b i t a t - G r e e n D e s i g n , I n n o v a t i o n , A r c h i t e c t u r e, G r e e n B u i l d i n g.” I n h a b i t a t G r e e n D e s i g n I n n o v a t i o n A r c h i t e c t u r e G r e e n B u i l d i n g < h t t p: // i n h a b i t a t .c o m /m e t r o p o l-p a r a s o l-t h e-w o r l d s-l a r g e s tw o o d e n-s t r u c t u r e-o p e n s-i n-s e v i l l e n > [ 1 8] “ G e o m e t r y S t u d i e s Wa f f l e S t r u c t u r e -M e t r o p o l P a r a s o l .” A A A C o n s t r u c t i n g a n A r c h i v e, < h t t p: //r i k u r o s a k a u s h i . b l o g s p o t .c o m . a u / 2 0 1 5 /02 /g e o m e t r y-s t u d i e s-w a f f l e-s t r u c t u r e. h t m l > [ 1 9] H a p p o l d , E., L i d d e l l , W. I ., ( 1 976), Ti m b e r l a t t i c e r o o f f o r t h e M a n n h e i m B u n d e s g a r t e n s c h a u , T h e S t r u c t u r e En g i n e e r, N o 7., Vo l u m e 5 4 (J u l y, 1 976), < h t t p: // s h e l l . p r i n c e t o n . e d u /M a n n I . h t m l > [ 2 0] S e v i l l a , D i a r i o d e. “ U n P r o y e c t o I m p o s i b l e.” D i a r i o D e S e v i l l a , D i a r i o d e s e v i l l a . e s , 1 5 O c t . 2 0 1 6 , < h t t p: //w w w. d i a r i o d e s e v i l l a . e s /s e v i l l a /p r o y e c t o-i m p o s i b l e _ 0 _ 3 4 076 6 4 03 . h t m l >

CONCEPTUALISATION

CASE STUDY 4.0

METROPOL PARASOL Seville, Spain 2011 | Jurgen Mayer

THE

largest wooden structure in the world The Metropol

The involve of computational design break through the

Parasol [17], designed by Jurgen Mayer. The structure of the pavilion

limitation of material use in geometric shape, through

is formed with 3000 laminated veneer lumber elements and

computation the free-flow form of the structure within a

arranged with a grid form of 1.5m by 1.5m waffle structure with a

grid form is no longer limited in a rectangular are square

curve mushroom shape that is inspired by the vault of the Cathedral

form. Compare to Mannheim Multihalle by Frei Otto one

of Seville and the ficus trees. The entire structure includes elevated

of the first timber grid shell design, constructed

walkway archaeological museum, market and restaurant.

suspended thread loaded with nails [19]. Metrpol Parasol

The design process of Metropol Parasol pavilion begin with a

computational design process is far more efficient in terms

traditional way witch is sketches on paper, where the structure

of saving time by visualizing the outcome and calculating

of the building is set in a free form. The actual form of the

the structure. However computation design does not mean

structure is defined in 3D computational modelling. The process

that is 100% accurate and successful, in the constructing

of design begins with visualizing and setting the approximation

of Metrol Parasol there is a limitation of knowledge of the

shape of the structure and subdivision 3D program Maya. Later

material , there is a false on straight qualities, which leads

on in program Rhino the model is transferred into NURBS and

to more time are spent on the developing alternative

generated into a complex form that combine the form of the

plans to solve the problem [20]. In such, computational

design and the actual vision of the material in the structure. The

design have the possibility of redefining architecture design

detail of the structure joint, measurement, and patterer of the

practices but may not be a complete solution for design

waffle structured are calculated and design through Grasshopper

issue and process, moreover selection of method will also

and

be a factor of the design result and structural performance.

tested Fi g 20.

with

computation

program

[Fig

20,21.]

[18]

with a

Fi g 2 1 .

F i g 1 6 ,1 7,1 8 ,1 9. T h e f i n a l i m a g e s o f M e t r o p o l P a r a s o l b y J . M AY ER . H a r c h i t e c t Fi g 2 0, 2 1 . T h e d e s i g n p r o c e s s o f M e t r o p o l P a r a s o l w i t h c o m p u t a t i o n a l - G r a s s h o p p e r

A.3

COMPOSITION /

GENERATION

Fi g 2 2. T h e C l i f f H o u s e b y Ko k k u g i a / R o l a n d S n o o k s

“WHEN ARCHITECTS HAVE A SUFFICIENT UNDERSTANDING

ALGORITHMIC CONCEPT, WHEN WE NO LONGER NEED TO DISC

THE DIGITAL AS SOMETHING DIFFERENT, THEN COMPUTATI

CAN BECOME A TRUE METHOD OF DESIGN FOR ARCHITECTUR

- SCHUMA

CONCEPTUALISATION

CUSS

ION

RE "

ACHER 2011

[21]

FROM

composition to generation, architecture design

has move from an era of using computational program to produce design to a stage of creating a software to achieve and generate the design concept [21]. The role of computational design has goes beyond being a tool for designer to create digital object, it is instead a algorithm that act as a generator, and explorer that modify the elements placement, configuration and relationship between elements in the design. For architect to adapt to the change in design process, and make sure the computational design technique is useful architect has to be flexible that they can easily adapt to the constant changing data, parameters of the architecture design in the program[22]. The emerge of computational generation does not equal to the replacement of composition design, even though in recent decade architecture design has adopt digitalization in design and fabrication, computational design in system, materiality, and structure still has to be related to the real physical world and reality consequence for example, human behaviour, site limitation, and materiality. As Stan Allen said " It does not matter what design tool or technique was used in the design of a building; however the choice of tools does have an impact on design [22]. Computational generation indeed is a benefit in the design industry it creates a more responsive design , allows architects to explore more option of design and allows detail analysis of architecture performance during the design process, but with the combine of composition concept the design result will more likely to be complete and suitable for the new design era.

[ 2 1 ] Pe t e r s , B r a d y. ( 2 0 1 3) ‘ C o m p u t a t i o n Wo r k s: T h e B u i l d i n g o f A l g o r i t h m i c T h o u g h t’, A r c h i t e c t u r a l D e s i g n , 8 3 , 2, p p . 0 8-1 5

CASE STUDY 5.0

AL BAHR TOWERS Abu Dhabi, 2008 | AHR

THE

tower with the world largest computerised dynamic

Therefore to keep the composition design the architects

facade - The Al Bahr Towers. The design of the tower facade

uses generative software like "ladybug" plugin for

is presented parametrically but inspired by the concept of

grasshopper [27] to create a systematic program that

adaptive flowers and the "mashrabiya" a local architecture

control the shading system of the tower is based on the data

wooden lattice shading and privacy system [25]. The

collection and analysis of the local sun path diagram and

design concept of the tower is a reflection of natural system

solar radiation that each level and each direction of the

- "breathing", where the facade of the building will adjust

building receive during the day. In this case, compositional

it's motion of open and close according to the amount

design and generation design works together in a cay that

of the solar radiation that it has to resist and privacy level

creates a greater opportunities for architects to produces a

that is need to provide for different use of the building [26].

better design that adapt to human behaviour and natural,

This building is a combination of composition and

which at the same time achieve a sustainable future.

generation, the tower under computerised fasade is

In the generation of computational design; design is no

arranged in compositional way, the cylindrical forms

longer like modernism, which focus on the perfection of single

maximized the volume and floor to wall area while offering

detail or style of design [24], instead computational design

views in all direction and layout the floor level under the

has the capability to develop a parametric families that

need of privacy and importance level. However this set

collects, control all data and allows a adaptation between

of composition design also allow a large amount of solar

existed compositional design and the physical environment.

gain problem with in the extreme local climate [27].

Fi g 23 .

Fi g 24 .

[ 2 5 ] A l B a h a r To w e r s Re s p o n s i v e Fa c a d e / A e d a s .” A r c h D a i l y, 5 S e p t . 2 0 1 2 < h t t p: //w w w. a r c h d a i l y.c o m / 2 70 5 9 2 /a l-b a h a r-t o w e r s-r e s p o n s i v e-f a c a d e-a e d a s > [ 2 6] A L B A H R TO W ER S .” A l B a h r To w e r s | O f f i c e & Wo r k p l a c e | A H R | A r c h i t e c t s a n d B u i l d i n g C o n s u l t a n t s < h t t p: //w w w. a h r-g l o b a l .c o m /A l-B a h r-To w e r s > [ 2 7 ] “A l-B a h r To w e r s i n A b u D h a b i .” D e s i g n b o o m | A r c h i t e c t u r e & D e s i g n M a g a z i n e, 5 M a y 2 0 1 4 , < h t t p s: //w w w. d e s i g n b o o m .c o m /a r c h i t e c t u r e /a e d a s-a l-b a h a r-t o w e r s / >

Fi g 25 .

CONCEPTUALISATION

Fi g 26 .

Fi g 27.

Fi g 28 .

Fig 23. Structural layer of the towers Fi g 2 5 . Re n d e r i n g 3 D m o d e l o f A l B a h r To w e r Fi g 2 8 Fa c a d e m o v e m e n t t h o u g h s o l a r r a d i a t i o n All images from cour tesy of Aedas

Fi g 24 . G e o m e t r i c m a ke-u p o f t h e p a n e l s y s t e m a n d i t s s t r u c t u r e, o p e n e d ( l e f t) a n d c l o s e d (r i g h t) Fi g 2 6 , 2 7. Fa c a d e d e t a i l l o f A l B a h r To w e r

Fi g 2 9. Fi g 3 0.

Fi g 3 1 .

Fi g 32.

Fi g 33 .

F i g 2 9, 3 2, 3 3 . 3 D M o d e l Re n d e r i n g o f N G V p a v i l i o n Fi g 3 0, 3 1 . C o m p u t a t i o n a l a n a l y s i s a n d g e n e r a t i o n d i a g r a m f o r N G V P a v i l i o n Fi g 3 4 . C o m p u t a t i o n a l a n a l y s i s a n d g e n e r a t i o n f o r B r a s s S w a r m

CONCEPTUALISATION

CASE STUDY 6.0

NGV PAVILION Melbourne Competition 2016 | Roland Snook

THE

NGV Pavilion 2016 competition entry designed

The design relationship between the Brass Swarm and

by Roland Snook explore a complex form of tectonic

the NGV Pavilion may not be directly documented by

where the finish project is an intricate irreducible whole

the designer, however I do believe that the similarity are

with a emerge of three elements, surface, structure and

a result of computational design. Computational design

ornamentation. The form of the pavilion is design and

allow architecture to use computer as a drafting board, it

generated through computation, it uses the capability of

makes edit, copy and increases the precision of the design

computation [Figure 31 & 32] to set a balance between

concept and the drawing through out different design

mass and filigree to create a visualisation of a mass

moreover the computational data from the design and

volume flake into surface and unravel at their edges.

fabrication of the Brass Swarm definitely have become

Moreover the prototype of the pavilion is produce through

a useful reference

robotic

polymer[28].

for the NGV Pavilion more efficiently and precisely.

This project has a high similarity with the Brass Swarm

Such design is an example of total computational design

(2015) [Figure 34] a collaboration design between

and fabrication process, the concept of the design are

Kokkugia and Roland Snook, where Brass Swarm is

developed through generation this design structure will not

developed through self-organisation algorithmic design

be form without the digital program and paramagnetic

and explore the design of spatial self-organisation

means, as well as without the input of the designer ideas.

fabrication

emergent

tectonic

with

and

fibre-reinforce

the

relationship

for the design and construction

between

algorithmic behaviour and robotic fabrication [29].

Fi g 3 4 .

[ 2 8] “ P R O J EC T S .” S T U D I O R O L A N D S N O O K S , < h t t p: //w w w. r o l a n d s n o o k s .c o m /#/n g v/ > [ 2 9] “ Ko k k u g i a .” B r a s s S w a r m - Ko k k u g i a , < h t t p: //w w w. ko k k u g i a .c o m / b r a s s-s w a r m >

CASE STUDY 7.0

THROUGH LEVIANTHAN'S EYE Architecture Association 2016 | Nathan Su

WHAT

is Architecture now? Architecture now is no

In this case study "Through Levianthan's Eye" by Nathan

longer limited in a presentation of rendering or 3D model

Su (Architecture Association Diploma 9 ), uses multiple

form, instead with the involve of computation it now allows

computer program for example Rhino, Grasshopper, and

architects to produce a new form of architecture design.

Cinema 4DX to generate a unknown virtual environment

From Brady Peter "Computation is redefining the practice

that is based on the collection of familiar physical world

of architecture." [30], computation as a new design tool

images and footages to create a space that reflect to

are developed to create a relationship between the virtual

the existing society [31]. The design of the film create

environment and the physical environment, the virtual

a link between reality and the virtual relationship by

environment that is create through computation became

exploring simply mathematical equation and program

a concept that may have the effect of deliberating a

component. Generative design allows design to go

visualization of the issue now and provide a result or a

beyond human ability, creativity and the limitation of

solution within that virtual environment, which the impact is

physical space, moreover it and break through the

similar to how architects now design building for the future.

boundary of past architecture design expectation and provide a new form of solution to the issue we are facing.

Fi g 35 .

[3 0] Pe t e r s , B r a d y. ( 2 0 1 3) ‘ C o m p u t a t i o n Wo r k s: T h e B u i l d i n g o f A l g o r i t h m i c T h o u g h t’, A r c h i t e c t u r a l D e s i g n , 8 3 , 2, p p . 0 8-1 5 [3 1 ] “ T h r o u g h L e v i a t h a n' s E y e s .” Ko o Z A / Rc h , 2 1 J u n e 2 0 1 7, < ko oz a r c h .c o m / 2 0 1 7/0 6 / 2 1 /t h r o u g h-l e v i a t h a n s-e y e s /. >

CONCEPTUALISATION

Fi g 3 6 .

Fi g 37. Fi g 3 8 .

F i g 3 5 , 3 6 , 37, 3 8 . S c e n e s i n Through Levianthan's Eye by Nathan Su uses digital productiom and real like footage as a reference.

A.4

CONCLUSION

ARCHITECTS

are one of the few designers that

have the ability to manipulate the value of people's aesthetic and the society by shaping humans way of living. Since the past, architect has been taking over the role of directing the way of people living

with their design, an inefficient design may cause

inconveniences in humans living and also creates unnecessary burden for the future that may influence the environment, however an affective design may not necessary reshape the society or solve the existing problem directly but it will definitely redirect people's thought of living and became a positive kinetic for people to change. With the use of computation, it revolutionized the way of design and fabrication in architecture, it allows architecture to explore new ideas, and increase the possibility of explore a form or function of architecture that is unprecedented or been listed as a "futuristic design". My design intended for the later semester will be focusing on the relationship between composition and generation. Now a days people generally set a boundary and comparison

between

composition design and generation design, however, I believe with the advantage of generative algorithmic thinking and parametric design combine with the composition design that is strongly related to human behaviour and the environment the concept of the design for architecture will create a third category of design, which is design method that make the result more complete and affective.

CONCEPTUALISATION

A.5 LEARNING OUTCO ME

the past three weeks, during the research and study

I have learn the concept of using computational design is powerful and important from both literature, and technical study. My perspective towards digital design have changed from computation is a tool to produce a visualization of my design to it is a design process that helps generate a design concept and helps it fabrication. To me computational design is like an advance drawing set that helps me generate different idea, different design in a very fast way, and during the process of generating design the unknown of the components sometime creates a unexpected result which became the next design inspiration or idea. However, these three week of learning programming is actually a big challenge for me I'm still not used to the idea and technique of transforming from scripting to 3D model. Among all the reading, research and practices of parametric design I have learnt to assess design, fabrication and design decision with a more critical mindset. Looking back my previous studio works, i feel that all design

have a lack of complexity and strong

design intend and I believe the learning of computational design will help me improve my previous design.

CONCEPTUALISATION

P A

CRITERIA 34 - 37

38 - 49

50 - 55

B.1. R ESE A R CH FIEL D

B.2 CASE STUDY 1.0

B.3. CASE STUDY 2.0

56 - 65

B.4. TECHNIQUE DEVELOPMENT

CRITERIA DESIGN

R T

A DESIGN 66 - 75

B . 5 . TECHNIQUE PROTOTYPE

76 - 85 B . 6 . TECHNIQUE PROPOSAL

86 - 89 B .7. LEARNING OBJECTIVE AND OUTCOME

B.1

RESEARCH FIELD

"TESSELLATION is a c

fit together without gap

surface. Tessellations can

so long they puzzle toge

Fi g 0 1 .

Fi g 02.

[1] L I S A I W A M OTO, D I G I TA L FA B R I C AT I O N S , 1 S T E D N ( N E W Y O R K : P R I N C E TO N A R C H I T E C T U R A L P R E S S , 2 0 0 9), P. 3 6-4 3

CRITERIA DESIGN

collection of pieces that

ps to form a plane or

n be virtually any shape

ether in tight formation." -

Lisa

Iwamoto,

2009

Fi g 03 .

[1]

Fi g 0 4 .

Fi g 0 1 . N e d K a h n - A r t i c u l a t e d C l o u d

Fi g 03 . E XO t i q u e c e i l i n g i n s t a l l a t i o n

Fi g 02 . B e h n a z B a b a z a d e h-F ER M I D

Fi g 0 4 . S o f t l a b C r y s t a l l i ze d I n s t a l l a t i o n

T E SSE L A

TESSELLATION

in architectural sense

repetition of geometry, patterning and is highly related

tessellation contains having the concept of constructional s between each panel, and the characteristic of the mate

With the growing and improvement of digital design and f

tessellation has changed from a 2 dimension screen decoration

findinGg possibility and constructing wise the design can be t

The Buckminster Fuller's Geodesic Domes of the U.S. Pav

tessellation to create s spherical shape with a inter volum

of tessellation allows structural stability and resistance t

also create dynamic forms, with the combination of tech

the movement of the structure is generated by the mimic

appearance of tessellation that follows the movement[2

to a space therefore the material selection is a crucial

connection will all affect on the performance of the struc

researcher on Tessellation I would have to focus on the sca

atmosphere that it create and the constructibility of the g

CRITERIA DESIGN

AT I ON

e it is a less complex design the design structure base on to digital design and fabrication. A successful design in

system as a initial form of design, the impotency of joint detail rial structural stability, resistance to shape deformation [1].

fabrication, the design ideology, structural performance of

n to a structure that define shape, and contributing to more form

translate into vector line work to be manufactured in factories.

vilion in Canada is an example of using the concept of

me with the pattern of triangle and hexagon, the concept

to deformation[1]. Parametric design of tessellation can

hnology. For instance, the FERMID by Behnaz Babazadeh

cry of natural organism movement and combine with the

2]. Tessellation in structure is more like a external envelop

l part, the behaviour of material in scale, pattern, and

cture and the atmosphere that is creating. In the following

ale of the structure, individual panel, material selection, the

generating and design process with computational design.

[1] L I S A I W A M OTO, D I G I TA L FA B R I C AT I O N S , 1 S T E D N ( N E W Y O R K : P R I N C E TO N A R C H I T E C T U R A L P R E S S , 2 0 0 9), P. 3 6-4 3 [2] F E R M I D B Y B E H N A Z B A B A Z A D E H .” D E S I G N P L AY G R O U N D S , 1 6 M AY 2 0 1 1 , D E S I G N P L AY G R O U N D S .C O M / D E V I A N T S / F E R M I D-B Y-B E H N A Z-B A B A Z A D E H /.

B.2

CASE STUDY 1.0

THE VOUSSOIR CLOUD San Francisco | Iwamoto Scott, 2008

THE

Voussoir Cloud by Iwamoto Scott with Buro

accurate tesslation pattern and force analysis (Fig 05.), the

Happold was a project the clearly elaborate the concept

laminate panel size is changes according to the structural

of digital design and fabrication of tessellation. This

logic where larger cell at the top of the vault, smaller cells

project attempt to challenge the combination of force

at the column base and the edge of the vault form and

and the characteristic of the material, in this case the form

the overall structure integrity is base on the density of the

is a pure compression volt and the material use is paper-

panels. The panel are also decided in certain range of size

thin wood laminate that is consider as a low compression

and uses digital fabrication to manufacture the panel.

material, to balance the two the design was created and

The major idea in this project really attract me is the

evaluated by computational design. The design process

form of the structure is

in digitalization is a evolution of the studies by Gaudi and

computational

Frei Otto, whom utilized the characteristic of force with

on the site and material limitation, which it is a very

hanging chain models to explore the potential of forms

success case of combining generation and composition

[3]. The overall rigidity of structure form was made through

it proves that there's no pure digital generation

design

discovered in the process of and

adjusted

slightly

base

or pure composition in the design industry now.

Fi g 05 .

[3] I W A M OTO S C OT T, " V O I S S O I R C LO U D," ( 2 0 0 8), < H T T P : // W W W. I W A M OTO S C OT T.C O M / V O U S S O I R-C LO U D >, [A C C E S S E D 2 5 A P R I L 2 0 1 6].

CRITERIA DESIGN

Fi g 0 6 .

Fi g 07.

Fi g 0 5 . Vo i s s o i r C l o u d , 2 0 0 8 , L o s A n g e l e s d i g i t a l d e s i g n d i a g r a m . Fi g 0 6 . Vo i s s o i r C l o u d , 2 0 0 8 , L o s A n g e l e s Fi g 07. Vo i s s o i r C l o u d , 2 0 0 8 , L o s A n g e l e s

ITERATION

ORIGINAL THOUGHT

ITERATION 01 Size of the base of polygon (S) Depth of columns (D) Unray Force (UF)

(S): 0.15

(D): -4.0

(D): -5.0

(UF): 0.0

(UF): 2.0

ITERATION 02 Number of Points (N) Unray Force (UF)

(N): 3

(N): 4

(UF): 5.0

(UF): 8.0

ITERATION 03 Stiffness (ST) Unray Force (UF)

(ST): 10

(UF): x:1.0 / y: 1.0 / z:2.0

(UF): x:3.0 / y: 3.0 / z:5.0

(L): 2.0

(L): 4.0

ITERATION 04 Load (L)

CRITERIA DESIGN

ORIGINAL

Size of the base of polygon (S) : 0.15

Load (L) : 1.0 Depth of columns (D): -6.0 Number of Points (N): 5.0 Stiffness (ST) : 10 Unray Force (UF) : 1.0

(S): 0.15

(S): 0.3

(S): 0.6

(D): -7.0

(D): -8.0

(D): -10

(UF): 4.0

(UF): 5.0

(UF): 8.0

(N): 6

(N): 8

(N): 10

(UF): 12

(UF): 5.0

(UF): 4.0

(ST): 5.0

(ST): 3.0

(ST): 1s.0

(UF): x:0.0 / y: 0.0 / z:1.0

(L): 8.0

(L): 10

(L): -10

INTERVENTION

NEW SPECIES

SPECIES 01

LunchBox: Diamond Panel Weaverbird: Sierpinski Triangle Subdivision Size of the base of polygon (S) Depth of columns (D) Diamond Panel (DP) : u, v Unray Force (UF) Stiffness (ST) Weaverbird (WB): (TS) (S): 0.15 (D): -6.0 (DP): u/v 10/10 (UF): 2.0 (ST): 10 (WB): without

(S): 0.15 (D): -6.0 (DP): u/v 10/10 (UF): 2.0 (ST): 10 (WB): (TS)

(S): 0.3 (D): -8.0 (DP): u/v 15/15 (UF): 4.0 (ST): 8.0 (WB): (TS)

(S): 0.15 (D): -6.0 (HX): u/v 2/2 (UF): 1.0 (WB): without

(S): 0.15 (D): -8.0 (HX): u/v 3/3 (UF): 2.0 (WB): (PF) distance:5

(S): 0.15 (D): -8.0 (HX): u/v 6/6 (UF): 4.0 (WB): (PF) distance:6

(TPB) : u/v 5/5 (UF): 0.0 (ST): 5.0 (WB): (SC) distance: 5.0

(TPB) : u/v 8/8 (UF): 3.0 (ST): 10 (WB): (SC) distance: 0.5

(TPC) : u/v 5/5 (UF): 0.0 (ST): 5.0 (WB): (SC) distance: 1.0

SPECIES 02 LunchBox: Hexagon Cell Weaverbird: Picture Frame / Mesh Window Size of the base of polygon (S) Depth of columns (D) Hexagon Cell (HX) : u, v Unray Force (UF) Weaverbird (WB): (PF) / (MW)

SPECIES 03 LunchBox: Triangle Panels B / C Weaverbird: Stellate Cumulation / Sierpinski Carpet Triangle Panels B (TPB) : u, v Triangle Panels C (TPC) : u, v Unray Force (UF) Stiffness (ST) Weaverbird (WB): (SC) / (SC1)

SPECIES 04 Mesh UV Weaverbird: Inner Polygons Subdivision Mesh UV (M) : u, v Unray Force (UF) Stiffness (ST) Weaverbird (WB): (PS)

(M) : u/v 8/8 (UF): 2.0 (ST): 30 (WB): (PS) distance: 1.0

(M) : u/v 10/10 (UF): 3.0 (ST): 20 (WB): (PS) distance: 1.0

(M) : u/v 20/20 (UF): 5.0 (ST): 70 (WB): (PS) distance: 1.0

CRITERIA DESIGN

(S): 0.3 (D): -4.0 (DP): u/v 8/8 (UF): 8.0 (ST): 6.0 (WB): (TS)

(S): 0.15 (D): -6.0 (DP): u/v 6/6 (UF): 10 (ST): 2.0 (WB): (TS)

(S): 0.15 (D): -6.0 (DP): u/v 10/10 (UF): 18 (ST): -1 (WB): (TS)

(S): 0.15 (D): -10 (DP): u/v 20/20 (UF): 5.0 (ST): -2 (WB): (TS)

(S): 0.15 (D): -8.0 (HX): u/v 8/8 (UF): 6.0 (WB): (PF) distance:10

(S): 0.15 (D): -8.0 (HX): u/v 3/3 (UF): 2.0 (WB): (MW) distance:5.0

(S): 0.15 (D): -8.0 (HX): u/v 6/6 (UF): 4.0 (WB): (MW) distance:6.0

(S): 0.15 (D): -8.0 (HX): u/v 8/8 (UF): 6.0 (WB): (MW) distance:10

(TPC) : u/v 3/3 (UF): 5.0 (ST): 10 (WB): (SC) distance: 1.0

(TPC) : u/v 7/7 (UF): 0.0 (ST): 0 (WB): (SC1) distance: 1.0

(TPC) : u/v 10/10 (UF): -1 (ST): 7 (WB): (SC1) distance: 5.0

(TPC) : u/v 8/8 (UF): -1 (ST): 10 (WB): (SC1) distance: 25

(M) : u/v 20/20 (UF): -1 (ST): 100 (WB): (PS) distance: 1.0

(M) : u/v 15/15 (UF): -1 (ST): 20 (WB): (PS) distance: 1.0

(M) : u/v 10/10 (UF): -1 (ST): 15 (WB): (PS) distance: 1.0

(M) : u/v 5/5 (UF): -1 (ST): 10 (WB): (PS) distance: 1.0

INTERVENTION

NEW SPECIES

SPECIES 05 Mesh UV

Weaverbird:Thicken / Loop Subdivision / HC Smoothing Unray Force (UF) Stiffness (ST) Weaverbird (WB): (T) / (LS) / (HCS)

(UF): 4.0 (ST): 6.0 (WB): (T) distance: 1.0

(UF): 8.0 (ST): 8.0 (WB): (T) distance: 1.0

(UF): 2.0 (ST): 6.0 (WB): (T) distance: 3.0

(Q) Lunchbox: without (WB): (PS) (UF): 2 (ST): 19

(T) Lunchbox: without (WB): (PS) (UF): 2 (ST): 19

(Q) Lunchbox: without (WB): (MW) (UF): 2 (ST): 19

(LB): (RQP) u/v 20/20 (CP): T, F, T, T, Extrude Distance 1, -1 both side

(LB): (RQP) u/v 10/10 (CP): F,T,F,T,F,F,T Extrude Distance 1, -1 both side

(LB): (QP) u/v 20/20 (CP): F,T,F,T,F,F,T Extrude Distance 1, -1 both side

Mesh UV (AP): Sphere

(WB): (PF) (AP): Sphere

(WB): (PF) (AP): Box

SPECIES 06 Quadrangulate (Q) Triangulate (T) Lunchbox: Platonic Cube (PC) / Platonic Icosahedron (PI) Weaverbird: Mesh Window (MW) Inner Polygon Subdivision (PS) Unray Force (UF) Stiffness (ST)

SPECIES 07 Lunchbox: Random Quad Panel (RQP) Quad Panel (QP) Diamond Panel(DP) Triangle Panels B (TPB) Cull Pattern (CP) Extrude Panel base on Cull Pattern

SPECIES 08 Apply Attract Point (AP)

Mesh UV (M) Weaverbird: Picture Frame (PF) Inner Polygon Subdivision (PS) Bevel Vertices (BV)

CRITERIA DESIGN

(UF): 4.0 (ST): 6.0 (WB): (HCS)

(UF): 8.0 (ST): 8.0 (WB): (HCS)

(UF): 4.0 (ST): 6.0 (WB): (L)

(UF): 8.0 (ST): 8.0 (WB): (L)

(T) Lunchbox: without (WB): (MW) (UF): 2 (ST): 19

(T) (LB): (PC) (WB): (MW) (UF): 2 (ST): 19

(Q) (LB): (PI) (WB): (MW) (UF): 2 (ST): 19

(Q) (LB): (PS) (WB): (MW) (UF): 2 (ST): 19

(LB): (DP) u/v 10/10 (CP): F,T,F,T,F,F,T Extrude Distance 1, -1 both side

(LB): (DP) u/v 10/10 (CP): T,F,T,T Extrude Distance 1, -1 both side

(LB): (TPB) u/v 10/10 (CP): T,F,T,T Extrude Distance 1, -1 both side

(LB): (TPB) u/v 10/10 (CP): F,T,F,T,F,F,T Extrude Distance 1, -1 both side

(WB): (PS) (AP): Box

(WB): (PS) (AP): Sphere

(WB): (BV) (AP): Sphere

(WB): (BV) (AP): Box

CREATING PROCESS New Species

THE

species creating process is developing

component to create different frame form of the model after the effect of

from the original scrip from Voussoir Cloud.

"Kangaroo." The first part of the Intervention process is based on different

The first part of the iteration is based on the

component composition on "Lunchbox" and Weaverbird. The second part

"original thought" of Voussoir Cloud by adjusting

of the Intervention process beside based on the Lunchbox and Weaverbird's

the slider of value in the script allows a further

plug-in by adding "Dispatch", "Cull Pattern", and " Extrusion " to create a

understanding on the digital model. To create

more solid form and with the cull pattern it creates a randomness into the

new species, I replaces the “Mesh UV" in the

form. Finally, by using the final form that is created the original script and

original scrip to a series of "Lunchbox panels"

internalise the data from the final mesh, and added geometric shape

plug-in component top create a different form

base on the attract point, where create a frame and infill at the same time.

of geometric on the surface before the effect of "Kangaroo", follow with the Lunchbox component I

added

different

"Weaverbird's

transform"

O r i gi n a l S cr i p

L u n ch B ox C o m p o n e n t

CRITERIA DESIGN

M e s h I n te r n a l is e Da t a

We a v e r b i rd ' s C o m p o n e n t

A p p l y G e o m e t r i c b a s e o n A t t r a c t Po i n t

D is p a tch, Cu l l Pa t te r n i n g & E x t r u d e

SELECTION CRITERIA New Species Selection

CRITERIA 01 FLEXIBILITY The criterion measure the capability of creation to be further altered precise response to varying design form and different geometry that can be apply on the surface

CRITERIA 02 CONTINUITY IN TRANSFORMATION With a certain level of understanding the original structure and grasshopper script will allows the intervention species to be unique but at the same time having the continue design logic behind all new creation.

CRITERIA 03 SPACE AND VOLUME Tessellation is usually use as an envelop of a architecture structure, therefore a successful intervention in species

should require the potential having

comfortable open and private space within or around the structure.

CRITERIA 04 DESIGN CONTEXT AND AESTHETIC A successful intervention should have a visually attracting form that have clearly demonstrate the style of design, in terms of atmosphere, lighting and shading and also the focus of parametric design .

CRITERIA DESIGN

B.3

CASE STUDY 2.0

ARTICULATED CLOUD Pittsburgh Children's Museum, Pittsburgh | Ned Kahn, 2004

THE

Articulated Cloud is a facade covering for

tessellation. In terms of design, it is generative design

the Pittsburg Children’s Museum in which the artist

that relies on the environment condition to show the

Ned Kahn cooperated with architects Koning AND

affect, for me a design that relies on the environment

Eizenberg, The facade is composed of thousands of

is a risky design it requires a deeper understanding

white plastic square which move with the wind, just like

of the selected site and alternative solution for the

cloud traces the paths of airflow as they cut through the

design. However in this design the movement part real

sky, these movable panels chorus and flow to create

inspire me and also respond to the movement affect

the impression of the entire building is enveloped in

created by grasshopper - Kangaroo in the previous

an abstract cloud [4]. The design by Ned Kahn is a

case study, due to usually in architecture the thought

different form of tessellation instead of using the main

of stable structure is fixed rigid, and immovable

definition of tessellation that tessellation is a plan or

however with the simulation of digital design and

surface that is form with a collection of pieces that

fabrication it allows a possibility to design a structure

fit together without gaps, in Ned Kahn case it added

that contains movement with in the design concept at

a new layer of definition of creativity to the design of

the same time being secure, stable, and well construct.

[4] M AT T. “A R T I C U L AT E D C LO U D | N E D K A H N .” A R C H 2 O.C O M , 2 6 J U LY 2 0 1 4 , W W W. A R C H 2 O.C O M /A R T I C U L AT E D-C LO U D-N E D-K A H N /.

CRITERIA DESIGN

Fi g 0 8 .

Fi g 0 9.

Fi g 1 0.

Fi g 1 1 .

STEP - BY -STEP

REVERSE ENGINEERING

1 2

RECTANGULAR GRID

EXPLODE

LIST ITEM

INDEX : #

IMAGE SAMPLER

CRITERIA DESIGN

ROTATE AXIS

EXTRUDE

GEOMETRY

SURFACE

ANGEL

UNIT VECTOR : X

AXIS

FACTOR: -60

MULTIPLIER

RADIANS

ITEM A : #50 ITEM B

IMAGE SAMPLER

DEVELOPMENTS & DIVERSITIES

simulate the wind blowing through the panel I uses

the method of Image Sampler with black and white image to direct the angle of rotation of the panel, where the lighter the colour is the smaller the angle of rotation is, darker the colour is the larger the rotation angle is. By using different black and white image to simulate different pattern of wind blow.

CRITERIA DESIGN

B.4

TECNIQUE DEVELOPMENT

CHANGE OF THOUGHT Base on the Grasshopper definition of Articulated Cloud

DEPARTING

from case study 1,0 and 2,0, I started to challenge

the common view of tessellation that tessellation is usually combine with flat panels and connect with each other without gaps, and focus on the form finding of the acoustic pod. Subsequently, I started to consider the spatial quality in the parametric exploration, where the spatial quality can be flexible and functional. The new species started with exploring the basic transformation of the original scrip and slowly move towards form finding and realistic. Compare to the case study 1.0, the first case study intervention, the intervention in this section is comparably more simple but there is additional consideration of fabrication, constructibility the atmosphere of the design it creates, moreover compare to the original Articulated Cloud the intervention will have a more controllable movement change in the design.

MATRIX 01

BASIC INTERVENTION

SPECIES 01 Patterning Lunchbox: Hexagon Cell (HX) Diamond Panel(DP) Skewed Quads (SQ) Different Images Sampling

(HX)

(DP)

SPECIES 02

Patterning & Extruding Rectangle Grid (RG) Lunchbox: Hexagon Cell (HX) Triangle Panels B (TB) Image Sampler: Color Channel Black&White (BW) / Red (R) / Blue(B) / Green (G) (RG) (BW)

(RG) (R)

(HX) (BW)

SPECIES 03

Kangaroo & Box Morph Using Box Morph to project mesh rest factor on Kangaroo base anchor point to the panel that is rotated by Image Sampler

Mesh Plan (Width & Height): (MP) Stiffness: (ST) Rest Length Factor (RL) Timer (T)

(MP): 5 / 5 (ST): 100 (RL): 0

PATTERN FROM KANGAROO (T): 1

(T): 2

(T): 3

SPECIES 04 Patterning & 3D Surface Continue the idea of rotating panel base on Image Sampler on a three deamination surface Lunchbox: Quad Panels (QP) Diamond Panels (DP)

(QP)

(DP)

QP)

CRITERIA DESIGN

(DP)

(SQ)

(RG) (B)

(TB) (BW)

(MP): 5 / 5 (ST): 100 (RL): 0

(MP): 5 / 5 (ST): 100 (RL): 0 (T): 4

(TB) (G)

(MP): 5 / 5 (ST): 100 (RL): 0

(MP): 5 / 5 (ST): 100 (RL): 0 (T): 5

(DP)

(SQ)

(T): 6

(QP)

(DP)

MATRIX 02 ADVANCE INTERVENTION

SPECIES 05 Frame & Infill

Extruding Geometry, Height is Base on Image Sampler

Lunchbox: Diamond Panels (DP) Triangle Panels B (TB) Quad Panels (QP) Extrusion: One Way / Two Way (QP) Extrusion: One Way

(QP) Extrusion: Two Way

(TB Extrusion:

SPECIES 06 Scale Panels Size

Scale Geometry on Panels base on Image Sampler

Lunchbox: Hexagon Cell (HX) Diamond Panels (DP) Triangle Panels B (TB)

(HX)

SPECIES 07 Combination of Species 05&06 Lunchbox: Hexagon Cell (HX) Diamond Panels (DP) Triangle Panels B (TB)

(HX)

SPECIES 08 Apply Color On to Panel Base on Image Sampler Base on Rotaing Angle: Color Combosition

Image Sampler

Image

CRITERIA DESIGN

B) : One Way

(TB) Extrusion: Two Way

(DP)

e Sampler

Color (RGB) Base on Rotating Angel Divide in 5 Ranges of Degree Color composition: Shades 0-10 - 149, 212, 229 11-20 - 165, 236, 255 21-30 - 124, 177, 191 31-40 - 83, 118, 127 41-50 - 41, 59, 64

(DP) Extrusion: One Way

(TB)

Color (RGB) Base on Rotating Angel Divide in 10 Ranges of Degree Color composition: Compund 00-05 - 255,145, 135 06-10 - 204,139,152 11-15 - 255,161,135 16-20 - 204,143,139 21-30 - 199,255,254

31-35 - 138,170,204 36-40- 199,255,240 41- 45- 139,186,204 45-50- 58,127,153

(DP) Extrusion: Two Way

(TB)

Color (RGB) Base on Rotating Angel Divide in 5 Ranges of Degree Color composition: Complementary 00-10 - 255, 226, 186 11-20 - 178, 145, 96 21-30 - 255, 217, 163 31-40 - 151, 168, 178 41-50 - 169, 229, 255

CREATING

New

THE

new species creating process is developed

combine with some component that is used in the pr

Lunchbox component apply on to the panels with diffe

factor on Kangaroo based on anchor points on a fou

create a larger diversity of the geometry and moveme

digital design can test out form of transforming of tw dimensional plane (New Species) (Specie 04) . After di

the definition to image sampler from rotating the pane

panel with different level (Specie 05). After finding the

of fabrication therefore the form is more realistic and a

(Species 06,07). Finally (Species 08) added colour ba

is base on the Adobe Colour Wheel colour categor

CRITERIA DESIGN

G PROCESS

w Species

from the reverse engineering grasshopper script, and

revious case study 1.0 (Voussoir Cloud). For example

erent geometry (Species 01 02), or uses mesh rest length

ur sided mesh and box morph to the existing panel to

ent in geometry (Species 03). In terms of form, by using

wo dimensional plane (Articulated Cloud) into three scovering the form the creation of I added change in

el to extruding the panel, to transform flat panels into

e form of the design, I started to consider the process

adding the consideration of each panel connection.

ase on the angle of rotation and colour composition

ry with (RGB) as an aesthetic aspect of the design.

SELECTION CRITERIA New Species Selection

CRITERIA 01 POTENTIAL MOVEMENT In this part of selection criteria the potential of including movement in the structure is important due to a moving structure is not common if the design have a potential of moving it will be innovative.

CRITERIA 02 CREATIVITY Due to the original script that these species are intervened from are consider simple therefore to the transformation the design into another form the involve of creativity is important.

CRITERIA 03 FABRICATION The synthesis potential of a design must be a major consideration, successful creation need to have a capability to transform into digital fabrication, as well as in structural performance.

CRITERIA DESIGN

B.5

TECHNIQUE PROTOTYPE

P ROTO THE

process of creating prototype is bas

break down into different section "Tessellatio

Properties" in this way it allows us to hav the

research

field,

material

characteristic,

During the process of building prototype we hig

accurately create repeat identical products, c

prototype in limited time. Moreover beside un

fabrication, we also focus on the relationship

to recreate the effect and design we disco

CRITERIA DESIGN

OT YP E

se on a systematic way, the prototypes is n"

"Geometry "Form Finding" and "Material

ve a better understanding the structure of and

explore

the

process

form

finding.

ghly take advantage of digital fabrication, which

create personal design and produce multiple

nderstanding the process of digital design and

p between composition and generation, trying

overed in computational design (Grasshopper).

Prototype 01

TESSELLATION

THE

first prototype focus on the definition of

potential of this prototype relies on the arrangement

tessellation and explore the potential of tessellation.

of the panel and the connection, in this prototype the

The prototype is base on Case Study 2.0; image sampler,

arrangement of the panel is divided into three part (P01.)

the panel divided into two parts the external and

each parts has three rolls of diamond panel, the middle

internal geometry the internal diamond panel is scaled

part are connected with fishing wire most rigid and the two

into random size base on image sampler. To move from

side gradually goes lose towards the edge of the panels.

digital design to a fabricated product at each site of the

The different rigidity of the connection and arrangement

diamond panel two connection hole are added base on

of the panels in a systematic way allow the tessellation

offsetting the curve and dividing the curve with length

panel to curve up to create volume and stand stably (P03.).

to find out equal length for each connection point.

Aesthetic wise some part of the small panel are

The major discovery in this prototype is the exploration of

extruded with same size panel to create a different

creating volume and form within tessellation, the design

level surface on the tessellation panel, where challenge the idea of tessellation panel are usually flat (P02.).

P01.

P 02.

CRITERIA DESIGN

P 03 .

P04.

CRITERIA DESIGN

Prototype 02

GEOMETRY

THIS

P 05 .

part of the prototype focus on the

thought, due to the chose of material was not

exploration of geometry, by using the idea of

flexible enough and the geometric shape was

mesh rest length factor on Kangaroo based on

not that attractive as well. A hexagon is six sided

anchor points on a four sided mesh. Then uses

and the geometry that we produce is four sied

the geometric that is created by Kangaroo then

therefore the result of the projection randomly

projected on to a six sided hexagonal panel.

form into a different geometric shape due to

Different rest length force are laser cut out on

the different amount of side (P05.). Furthermore,

to perspex and combine together with different

the hexagon panel continue the method in

rigidity of connection to test out different

prototype one of using image sampler to create

movement and different affect of combining

a random scale of panel, this method combine

and

shape

with projecting the geometry on the panel

(P04.) However the result wasn't what we've

create a higher range of diversity in panel.

overlaying

different

geometric

Prototype 03

FORM FINDING

THE

major design form of the acoustic pod

it is. The different layer of rigidity of the connection

in the design proposal is mainly discover from this

with the pulling motion it creates a 'jelly fish" motion

prototype. The objective is to create a form that is

(Shown in the series photo below), which inspire us

flexible in away the form can be change in a very

to design a acoustic pod that can be inflatable

simple way, like using Kangaroo in the case study 1.0

and interchangeable in a very simple motion.

Vossior Cloud, with one simple click the form of the

About material selection from the first prototype

structure change also like case study 2.0 Articulated

we uses a ground glass perspex and clear perspex

Cloud the form of the facade change with a simple

to create a light weight felling and transparency

wind blow. We arrange the panel in a circular layer

in the design, in this prototype we decided to

same as the stiffness of the connection, the panel

fixed to this material due to it kept the property of

closer to the panel have a stiffer rigidity, while

lightweight in structure but also allows the affect

moving throws the edge of the circle the less rigid

of shading to be shown in this material (P06.).

CRITERIA DESIGN

P06.

P 07.

CRITERIA DESIGN

Prototype 04

MATERIAL TESTING

P08.

really combine the properties of tessellation

the tip of the plastic sheet (P08.). From this prototype

and geometry, and emphasize the feature of

we understand the properties of the material and

geometry we decided to replicated the effect of

the affect that vacuum forming creates. The result of

extrusion in rhino / grasshopper in the method of

the prototype ends up really dramatic and beautiful,

Vacuum Forming. The major material use in vacuum

however during the process of making the prototype

forming will be plastic sheet, due to plastic sheep

there's lake of control over the material and process,

have the property of reshaping the form while

the result of the prototype is really not what we

heating up. Therefore in this prototype we heat up

expected, therefore to really create an extruded

a 1mm perspex in the vacuum form machine for 100

geometry with a similar affect there is a need of

to 150 sec the liquefy plastic with gravity creates a

control factor of material and a further design for the

natural vault (P07.) within the plastic and folding at

mold or understanding and testing of the material.

B.6

TECHNIQUE

PROPOSAL

DE S IGN P R THE

design proposal is based on the idea of flexi

earlier from the precedent study, iteration, matrix

interchangeable Acoustic Pod, a structure that can

pull up became a semi-private space, and volum

This is a innovative design due to the way of ass

advantage of the ideology of tessellation and g

different rigidity between each part of the struc

structure, combine with the characteristic of geom

forming it allows another level of aesthetic and po

R O P O SAL

ibility, volume, and functionality that we explored

x, and prototype. We propose an inflatable and

n be sit flat and be use as a interactive space and

me is created by the movement of the structure.

sembling is simple and fast, the design take fully

geometry. Multiple panel from tessellation allow

cture and allows a flexible movement within the

metry and the volume that is created by vacuum

otential of adding acoustic in between the volume.

CRITERIA DESIGN

NE XT S TO

further develop the design proposal, in term

vacuum forming will move throws prototype 4 to a

Moreover, in terms of structure the connection bet

and analyse base on the curvature of the structur design it requires a different stiffness of connection

the rigidity of the connection will affect the form o connection and the form it requires more prototype

of acoustic material need to be further discover and

CRITERIA DESIGN

ST EP

ms of aesthetic the whole geometry design for

a more organic form, but in a more control form.

tween each panel it needs to be further research

re, to be able to create a nature curve fall in the at different parts of the panel, on the other hand

of the structure, therefore to balance between the to test out the result. Finally, the adding and testing

d tested, in both functionality and aesthetic aspect.

B.7

LEARNING OBJECT

THE

objective of the subject is to understa

and fabrication, and the ability of understand

by introducing visual programming, algorithm develop digital design into a selected site

With the chosen technique - Tessellation in p

design technique that is use in the case study

and the use of the technique and from the bre

script and generating new definition it help

the design, due to the process of create new study script are not limited with realistic facto

different thinking, and possibility of the design

constructable and functional 1:1 acoustic pod

allows a more realistic design but also continue

in the intervention process, where the design re

Different from other design studio the de

design and sketch model and slowly transfe

design process works differently, where it st

move towards composition design that fit to

making prototype to test out the design stru

of prototype we move back to digital de

the design and create a vision of the de stated in Part A that composition design

CRITERIA DESIGN

TIVE AND OUTCOME

and the formation of the afe of digital design

ding design possibilities for a given situation

mic design and parametric modelling and with suitable atmosphere and functional.

part B, from researching and analyse of the

y help me understand the design ideology

eaking down and testing of the grasshopper

ps creates a new perspective of design on

w parametric design from the original case r therefore it helps me explore more option,

n, however the design target is to produce a

d therefore the process of making prototype

e the new design concept that were explore

esult is unique and realistic at the same time.

esign process is from using composition

er to digital design, in Design Studio Air the

tarted with generative design and slowly

o the selected site and design intention by

ucture and material then from the testing

esign to make adjustment and complete

esign. This process proven the argument and generative design comes together.

P A

PROJECT P 92 - 111 C .1. D ESI G N CO N CEPT

112 - 127

C.2 TECTONIC ELEMENTS & PROTOTYPE

PROJECT PROPOSAL

R T

PROPOSAL 128 - 167

C.3. FINAL DETAIL MODEL

168 - 169 C.4. LEARNING OBJECTIVES & OUTCOME

C.1

DESIGN CONCEPT

MOVING TOWARD

FROM

part B feedback, in part C

digitally as a simulation of the design in bo

will be consider in a possibility of producing

C we will attempt to combine the part B "De

Testing" , where which each panel's borde

will be design in a more organic and cont

will be more well thought, in a way that wil

DS FINAL DESIGN

C we will focus on generating the design

oth aesthetic and constructibility, all design

g in the scale of 1 to 1. In terms of detail Part

esign Proposal" and "Prototype 04 - Material

er edge will be remove and the geometry

trollable aspect, moreover the connection

ll not affect the appearance of the design.

PROJECT PROPOSAL

CASE STUDY 1.0

BLOBWALL Greg Lynn, 2009

THE

design and construction of Blobwall from Greg Lynn focus on three dimensional modelling,

manufacturing and follow the evolutionary path of biomorphic architecture design from hos previous work. The wall is composed of identical, preformed, three lobed, hollow pieces of low-density plastic polymer of varying colour, similar to the material comprising plastic playground equipment [1]. The structure is supported by the geometry itself by stacking on to each other to form different composition such as walls, arches, and dome. The geometry that form the Blobwall design is all repeated, moreover each individual blob are interlocked with each other and the connection is hidden and covered by the connected blob. The case study of Blobwall from Grey Lynn, inspired us to challenged the idea of tessellation and remove the hexagon penal from prototype part B and transform the tessellation panel into a 3-dimensional form. Moreover it also lead is to explore the connection method and the unique aesthetic of repetition and minimum changes on geometry can create.

Fi g 0 1 .

[1] “BLOBWALL BY GREG LYNN.” DEZEEN, 4 NOV. 2016, WWW.DEZEEN.COM/2007/12/03/BLOBWALL-BY-GREG-LYNN/.

PROJECT PROPOSAL

Fi g 02.

Fi g 03 .

Fi g 05 .

Fi g 0 6 .

Fi g 0 4 .

Fi g 0 8 .

Fi g 0 9.

Fi g 07.

PROJECT PROPOSAL

97 CASE STUDY 2.0

LUMINESCENT LIMACON LIGHTING By Andrew Saunders, 2011

THE

Luminescent Limacon Light is a fold-able lighting design by Andrew Saunders. The it is inspired

partly from the Dutch Ruff, or flamboyant linen collars considered fashionable in 17th century Europe, as a vehicle for the manipulation of light. The light is the product of an integral design process that combines computation, mathematics, material performance and fabrication. To achieve both the lighting affects and the geometric configuration, the light is composed of 3 form Ecoresin. When folded and nested, the ecoresin ruffles are laced together with an associative woven lattice of aircraft suspension cable, which, when combined produce a combination of tensile and compressive forces for rigid structural stability [2]. The design by Andrew Saunders inspired us to design the geometry shape base on the diamond grid (grasshopper - lunchbox) and transform the basic design to more complex geometry shape. Moreover with the diamond panel it simplify the arrangement compare to the original plan of using hexagon base also compare to hexagon diamond consider as the whole plane it has a higher flexibility in more direction.

Fi g 1 0.

[2] KOERNER, BRAD. “LUMINOUS LIMACON.” LUCEPT, 20 DEC. 2012, LUCEPT.COM/2012/12/20/LUMINOUS-LIMACON/.

IDEA FLOW O

TECHNIQUE DEVELOPMENT FORM FINDING

GEOMETRY

Continue the idea from initial prototype of creating a

The major goal in the design is to transform and elevate

form that is inflatable and interchangeable Acoustic Pod.

the idea of tessellation and geometry. Tessellation can not

To generate the form we uses Kangaroo in Grasshopper

just be limited in panels, and Geometry can be a form of

to simulate the inflatable structure base on the site

tessellation. The objective here is to create a limited diversity

and the space that the structure needed to provide.

of geometry for fabrication and interesting aesthetic.

DIGITAL DESIGN AND FABRICATION METHOD VACUUM FORMING The major digital fabrication technique will be use in this design is vacuum forming, from the prototype in part B we explore the properties of vacforming, in the final design we will continue to explore the flexibility of perspex that can create after heating, and all the design and fabrication process is consider in the possibility of fabricate in the scale of 1:1.

3D PRIN

In the final design and fabrication we r

cut model as a mould to using 3D pr

fabrication from Rhino and Grasshopper

this design fabrication, the geometry tha fabricated with 3d printing in different

PROJECT PROPOSAL

OF THOUGHT

CONNECTION

ASSEMBLING & SIMULATION

The consideration for connection will be the amount

The final goal for the process of digital design is to combine

of it need to be minimized and the length of each need to be consider to form the ideal form. Due to the selected material for the design the design for the connection has to be as simple as possible to keep the clean and simplicity of the structure

NTING

replace the initial though of using laser

rinting, due to 3D print allows a exact

r. 3D printing take an important role in

at is designed in digital process will be scale as a mould for vacuum forming.

and assemble the form and geometry shape into final design that can be accurately simulate the design objective with the length and position of the connection to prepare and simplify the process for next stage digital fabrication.

LASER CUTTING Even though laser cut has been replace by 3D printing for the mould, we decided to continue using laser cutting as a frame to explore the use of Vacuum Forming in a opposite way pre-stretch to form a more organic shape that is different from 3d printing mould, as an back up for the original design.

FORM FI

CONTINUE

the form we discovere

to transform the physical movement of a surface pl

volume. The form is simulated from Grasshopper K

size of the surface boundary when it is flat also t

after it's pulled up base on the given site area. The

it is not accurate enough the physical movement t

Force, therefore the movement does not fully refl

S U R FA C E B O U N D R Y - F L AT S U R FA C E B O U N D R Y - L I F T

FORM SIMUL AT ION - F R O M K A N G A R O O P L A N V I E W

FORM SIMUL AT ION -

PROJECT PROPOSAL

101

INDING

ed in Part B - Prototype 03 "Form Finding", we tried

lan lifted up and form into a dome with an internal

Kangaroo 01, the simulation help set out the basic

the hight and the internal volume that is needed

e major issue for this form finding simulation is that

that is simulated here is base on Springs and Unray

flect to the movement from the physical model.

- FROM K ANGAROO

FORM SIMUL AT ION - F R O M K A N G A R O O S I D E V I E W

GEOM

DESIGNING

module base geomet

wanted to create is challenging, therefore we took inspi geometry shape from a diamond plane [Grasshopper points and off setting the points on the 2 diamond shape basic geometry for our design (Geometry 01.) However

the connection of the panel will affect the drop of the fo

well, therefore to form a dome shape the centre geometry

GEOME T RY A RR A NGEMEN T

that we created first and rotate it we follow the diam

02.) In this case the two geometry will matches the diamo

GEOME

PROJECT PROPOSAL

103

METRY

try and need to be able to compile with the form we

ire from the " Luminescent Limacon Light" and started the - Lunchbox) (Geometry Arrangement) by finding out the and link the points in to peanut lines and loft it to create a from Part B prototype 01 and 03 we learned that beside

orm the geometry it self will affect the form of the design as

y needed to be rotate, instead of using the same geometry

mond boundary and create a new geometry (Geometry

ond panel form and allows a better fit for the dome shape.

E T RY 01

E T RY 02

GEOMETRY DIVERSITY

level up the diversity of the geometry, we designed another two geometry

shape that is base on the previous two (page 102-103) where the additional geometry will not affect the form and connection of the design form. The two new geometry design is created with the technique we discover in Part B Species Creation the two new geometry (Geometry Diversity) is form with Grasshopper Metaball and inspired from the shape we find out while exploring the "pre-stretch" method in vacuum forming (page 116-117.) and hopping to create a more organic form with a metaball mould for vacuum forming. Finally to arrange geometry should on which spot is purely base on cull patterning (random) selection in Grasshopper (Geometry Arrangement 02)

GEOME T RY DIV ERSI T Y

GEOME T RY A RR A NGEMEN T 02

PROJECT PROPOSAL

105

COLOR ARRANGEMENT - PRIVACY

ORIGINALLY

the major colour selection for the design is only clear

perspex, however we think that with the additional colour of white in the panel may create a more interesting aesthetic and will create additional function for the design, which is acoustic and privacy. In terms of acoustic for clear panel it is impossible to add extra material for acoustic but with white panel adding felt will not affect the look of the design. For privacy, while panel is selected in the middle section of the design, where will be able to cover users face or upper body. With this additional thought the design will have the properties of semi-private but not having the feeling of taking to much space.

COLOR A RR A NGEMEN T

CONNECTION A

THE

connection arrangement follows the experime

connection and the amount of connection will affect the d

panel got lifted up and turned into a form with 3 dimensio

in to four section base on the distance to the centre and th

First connection layer will be set between the centre geo

second connection layer between (orange) and (yellow

(yellow) and (green) forth layer geometry and the fina

external layer of geometry (blue). However, at certain p

different length as shown in (Connection Arrangement)

the final arrangement from testing and simplifying again

CONNEC T ION L AY ER

PROJECT PROPOSAL

107

ARRANGEMENT

ent that we explore in Prototype 03, where the length of the

drop shape of the form while the 2 dimensional tessellated

onal volume. Therefore we devised the geometry panels

he direction of the panel is arranged (Connection Layer).

ometry (Pink) and second layer geometry (orange) and

w) third layer geometry, third connection layer between

al layer of connection will be between (green) and the

position like turning point of the curve dome will have a

). The connection arrangement shown in the diagram is

n and again from the design simulation (page 108 -109).

CONNEC T ION A RR A NGEMEN T

FINAL DESIGN

AFTER

the basic for finding from Kangaroo and t

best way to combine the two to simulate our final design. Whe

1 form but it dose not work even though it work it does not si technical consultation we came up with a script from Kang

of the design we want to form. In the script there is three basi

Body Physical simulation, berp, line and point, where this thre

and 1 movement to form the structure, the berp are the geo ties them together and the point is the direction and points

form that we wanted to create, we tested out different arra

final geometry panel and connection arrangement, we wil

K A NG A RO O 2 RIGID BODY PH Y

PROJECT PROPOSAL

109

N SIMULATION

the finalized of geometric design, we started to explore the

ere we tried box morphing the geometry on to the Kangaroo

imulate the movement of the form. With some research and aroo 2 call rigid body that allows us to simulated the motion

ic elements that is needed before plug it in Kangaroo 2 Rigid

ee key s elements represent the 2 actual object in our design

ometries panel in the design, the lines is the connections that that the structure is pull towards. Before getting the correct

angement and different connection arrangement, with the

ll use it as a guideline to assemble the final physical model.

YSIC A L SIMUL AT ION PRO CESS

PROJECT PROPOSAL

111

C.2

TECTONIC ELEMENTS & PROTOTYPE

PROJECT PROPOSAL

113

FROM DIGITAL DESIGN TO FABRICATION

THE

whole design journey for this project started with exploring case study with

digital program, base on the new species discovered in digital model then create a physical model that represent the definition of selected architecture research field - tessellation and geometry. Then follow the design proposal we propose from the prototype and set out a digital design base on all the design concept identified at the earlier process. The digital design process is a guidance for final design fabrication and generated in a sense of

"constructibility" "aesthetic" and

"innovative" and is generate as close as possible to the physical model construction.

FABRICATIO To trim out individual panel from the vacuum forming perspex sheet, we took advantage of the properties of plastic will deform when meet heat and uses solder tool with knife to trim out each panels. For 1:1 design the process of trimming can be simplify with creating a external metal mould of the panel shape at heat it up to cut out the panel in a more standardized way.

3D printed mould for vacuum forming are printed out base on the amount of the panel that is needed in the design the amount from left to right is 1, 1, 2, 3.

3D PRINTED MOULD

VACUUM FORMING

TRIM

ARRANG

Once the panel is all trimmed, panels are arranged and layout base on the digital simulation. Shown below -connection layer (left) and colour and geometry arrangement (right).

The major technique that is used to fabricate the design is using the normal setting of vacuum forming, where heated 2mm perspex for 50 second and form with mould with strong air suction. Each 500mm x 520mm perspex are divided into four to minimized the need of 3D printed mould and have a better control of even the vacuum force with a smaller surface area. Each 250 x 260mm panel will have a maximum of four mould.

PROJECT PROPOSAL

115

ON PROCESS

Connection for 1:10 model due to the tolerance of 3D printer the connection is not possible to print in the scale 1:10, therefore it is printed in 1:4 and the 1:10 model is connected and form with transparent string.

For acoustic properties felt is added on the internal surface of the white vacuum forming panels. This provide additional acoustic properties beside the concave of the geometry.

ACOUSTIC

DRILL

CONNECT

FORM

After arranging the panels according to the digital design simulation we continue using solder with a pin end to drill hole at the spot where connection is simulated in Grasshopper - Kangaroo.

The final form, and volume of the design is created by simple pull of the structure. The pulling point in the design is 70% base on the pulling point that is simulated in the digital design. The final model is presented in a transparent box to simulated the actual room wall for pulling point support.

EXPLORING VAC

PRE- ST

THE

pre-strech method in vacuum forming machine, is a setting

using mould to form through the headed model and uses vacuum suctio

heated perspex. This process is tested out at the same time while doing th

geometry diversity for our design panel. However, for the final design w

produce with pre-stretch vacuum forming is uncontrollable, we realized t

by the amount of round we uses the machine and inflate air power a

L A SER CU T FR A M E FO R PR E-S T R E TCH VACU UM FO R M I N G

PR E-S T R E TCH VACU UM FO R M I N G

PR E-S T R E TCH VACU UM F - U N CO N T R O L L A B L E R

PROJECT PROPOSAL

117

CUUM FORMING

TRETCH

g that is completely opposite to the normal vacuum forming instead of

on to form the mould pre-sretch method uses frame mould to inflate the

he actual model vacuum forming to explore more option for us to create

we did not adopt this fabrication method due the result of the geometry

that factor like temperature and time of the plastic is heated up changes

arenot able to control, where result with an uncontrollable geometry.

FO R M I N G R ESU LT

PR E-S T R E TCH VACU UM FO R M I N G - SU CCES SFU L R ESU LT

PR E-S T R E TCH VACU UM FO R M I N G - WI T H O U T L A SER CU T FR A M E

CONN

CONNECTION

is one of the key de

Part B prototype for the form that we want achieve there important key point for the connections have to be flexi

to move between each other to form the drop shape fo

side of the connection to the panel and the look of the c

During the design and fabrication of the connection w

however we did face some big issue with 3D printing, wh

size for the right scale for our connection. In order we t

design base on each faliur, even the final design work fo

F I R S T AT T E M P T

I S S U E: T h e to l e r a n ce of t h e 3 D p r i n te r c a n n o t re a ch t h e ga p w e wa n t to a ch i e v e fo r t h e m ov e m e n t of t h e b a l l j o i n t .

S ECO N D AT

I S S U E: A f te r a f e w te s t of ga p fo r p r i n te r t h e d is t a n ce of 0. 2m m co n n e c t i o n w i l l p e r f e c t l y f i t a t h e re is o n e ce r t a i n d i re c t i o n t

PROJECT PROPOSAL

119

NECTION

esign element that we try to solve in the final design, base on

e are some important requirements for the connection. Most ble, in terms of flexibility it has to be able to let each panel

or our design. Another key point is to easy connect the two

connection should matches the full aesthetic of the design.

we decided to use 3D printing to produce the connection,

hich the tolerance of the 3d printer is hard to reach the right

tried three different type of connection and change each

or our design but it is still not the perfect one for our design.

TEMPT

t h e to l e r a n ce of t h e 3 d m b e t w e e n t w o p a r t of t h e a n d a b l e to m ov e, h o w e v e r t h e b a l l j o i n t w i l l d ro p o u t .

FINAL DE AIGN

FINAL CONNECTION DE

Model

THE

final design of the connection we

movement joint,

inspired from door joint, wh

the cylinder stick in the middle that connecte

detail). This connection design resolve the pro

previous two attempt, and the production an simple and secure. The major issue for this co does not matches the smooth and organic

final critic we came up with another connec

F I N A L D ES I G N D E TA I L

CO N N EC T I O N

PROJECT PROPOSAL

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ESIGN AND PROTOTYPE

l Scale 1:8 decided to try out the most simple form of

here the major movement part is created by

ed the two side of the connection (final design

oblem of 3d printer tolerance we face in the

nd construction of the connection is relevantly nnection is the appearance of the connection design of the structure. Therefore after the

ction design (Page 123) for our acoustic pod.

N PR OTOT Y PE

FI N A L CO N N EC T I O N D ESI G N

CONNECTION SIMULATION Measurement Scale 1:1

BASE

on the digital simulation to form the final shape and internal volume of the acoustic

pod when is lifted up the consideration and design of different length connection at different spot between panel is needed (Page 106-10 7) therefore we design the connection in four different length base on the measurement of connection in the digital simulation (Page 108-109).

60 mm

90 mm

120 mm

150 mm

PROJECT PROPOSAL

123

DESIGN IMPROVEMENT AFTER FINAL CRITIC Simplify Connection

THE

new version of connection, we uses the same method to connect between the panel, however in between

we realized that we do not need a movement joint, as long as the whole structure is connected sideways and lift it there will be a nature drop of the lower panel the connection with or without a movement will not affect it. In terms of design we decided to design the middle connection as smooth, and minimal as possible to make it seamless and matches our whole design aesthetic. Moreover, after the final critic we understand that 3D printing is not a smart fabrication method, there fore our plan to fabricate this connection is use 3D printing as a mould to create a mould frame and form the connection with material like rubber, the inspiration comes from the external layer of cables , where there is a certain rigidity and flexibility may act like a stronger nylon string that we uses in the 1:10 final model.

CO N N EC T I O N D I G I TA L MO D EL

CO N N EC T I O N A S SE M B LY

N AT U R A L D R O P O F PA N EL

ACOUSTIC

THE

main design proposal for our acoustic pod it to

base on user use, and provide a semi-private place fo

provide a private space acoustic property is a key poi

side, on side concave other convex, the design it self co design, the concave side allows reflection of the sound

the pod have a convex geometry shape where diffuse pod. After the additional design of white panel, in side

absorb noise inside of the pod for additional acoustic pro

ACO US T I C PR O PERT I ES D I AG R A M

PROJECT PROPOSAL

125

C DESIGN design a structure that is interchangeable and inflatable

or meeting or relaxation. However, acoustic pod beside

int as well. Our design of the geometry itself have two

ontain minimal acoustic properties due to the geometry and keep the sound inside the pod and the external of

e the sound from surrounding away from the acoustic the white geometry panel we added white felt to help

operties without affecting the appearance of the design.

A D D I T I O N A L FELT A D D ED I N I NSI D E O F T H E WH I T E PA N EL SU R FACE M O D E L S C A L E 1:8

FROM GENERATION

THE

design of our bubble acoustic pod started with computational desig

that matches the physical model as close as possible but the result is during

there's is some part that both side need to compromised each other. For e

tried to simplify as much as possible, while simplifying the simulation worked

a lot more connection need to be added to secure the structure. Another d up point and direction to form the final design form, the pulling point and

realistically the pulling direction did not only go upwards but side ways as w

while building the 1:10 model there are still a lot small changes we need to m a the situation we face all the time, now there is no pure generation design focus on the process, relationship of each design elements and see design

also focus on the outcome of the design that every manipulation is made d

DIGI TA L SIMUL AT ION

PROJECT PROPOSAL

127

N TO COMPOSITION

gn generation, even though our goal is to try to generate a design digitally

g the fabrication process we realized that from generation to composition

example, while doing the connection of each panel in digital design we

d perfectly, but while making the physical model we realized that there is

different between the digital generation and physical model is the pulling direction in digital generation all go upwards but for the physical model

well. No matter how hard we tried to simulate the design in digital program

make to complete the design goal, and in our current design industry this is or pure composition design. In fact a successful design need to combine as a whole system from digital generation or parametric design tool and

deliberately to achieve the outcome desire from conventional design tool.

PH YSIC A L SIMUL AT ION

C.3

FINAL DETAIL MODEL

BUBBLE

PROJECT PROPOSAL

129

CLOUD

PHYSICAL

SCAL

L MODEL

LE 1:10

PROJECT PROPOSAL

131

FORM FO

ORMING

PROJECT PROPOSAL

133

PROJECT PROPOSAL

135

PROJECT PROPOSAL

137

PROJECT PROPOSAL

139

PROJECT PROPOSAL

141

PROJECT PROPOSAL

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PROJECT PROPOSAL

145

PROJECT PROPOSAL

147

PROJECT PROPOSAL

149

DESIGN

N VISION

PROJECT PROPOSAL

151

PROJECT PROPOSAL

153

PROJECT PROPOSAL

155

PROJECT PROPOSAL

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PROJECT PROPOSAL

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PROJECT PROPOSAL

161

PROJECT PROPOSAL

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PROJECT PROPOSAL

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C.4

LEARNING OBJECT

FROM

the beginning of Design Studio

Air the one thing that interested me the most is the relationship between generation and composition also the relationship between parametric design and conventional design, whether they act as a separate design tool and method or they actually exist together in one design. I started with categorizing the design in case studies Part A, however from these case studies I realized is not quite possible to differentiate them due to it feels like it contain both parametric design tool and conventional design thought but I do not know why. During the design process I realized that what we’ve been doing is adjusting between digital generation and physical performance of the design. I understand that computational generation of the design gives us a vision and guideline for fabrication process, however there is some design factor that is not possible to be in count in the digital simulation for example the accurate material performance, physical condition or environment issue. Therefore no mater how accurate the design generation is there is some consideration needed to be adjust with conventional design tool.

PROJECT PROPOSAL

167

TIVE AND OUTCOME After the project of "Bubble Cloud" this is what I think, conventional design is about an architecture design tool that focuses on the outcome not the process. Every manipulation is made deliberately to achieve the outcome desired. For generative design is an architecture design tool that focuses on the process rather than the outcome. It is based on the implementations of relationships on a system as a whole. Each outcome will be different but also similar based on the relationships implemented. Therefore, you may design a building with generative design. However, you still have to consider the limitations such as human behaviour, site and function. Therefore, the outcome is still important. Finally, about our final design for me it is not the final yet, there is no design that is "finish" there is still a lot of small detail can be improve in this design, for example a better way to create the for instead of pulling upward and stretching it sideways where I believe a better design of connection will solve the problem. Moreover I think the fabrication process can be adjust in to a more manufacturable process due to the amount of panel we have in the design.

REFERENCE

PART A “Al-Bahr Towers in Abu Dhabi.” Designboom | Architecture & Design Magazine, 5 May 2014, https://www. designboom.com/architecture/aedas-al-bahar-towers/ Al Bahar Towers Responsive Facade / Aedas.” ArchDaily, 5 Sept. 2012 http://www.archdaily.com/270592/ al-bahar-towers-responsive-facade-aedas AL BAHR TOWERS.” Al Bahr Towers | Office & Workplace | AHR | Architects and Building Consultants http:// www.ahr-global.com/Al-Bahr-Towers “Geometry Studies Waffle Structure -Metropol Parasol.” AAA Constructing an Archive, http://rikurosakaushi. blogspot.com.au/2015/02/geometry-studies-waffle-structure.html Happold, E., Liddell, W.I., (1976), Timber lattice roof for the Mannheim Bundesgartenschau, The Structure Engineer, No 7., Volume 54 (July, 1976), <http:// shell.princeton.edu/MannI.html> ICD / ITKE Research Pavilion Made Using Drones and Robots.” Designboom | Architecture & Design Magazine, 14 Apr. 2017 https://www.designboom.com/architecture/icd-itke-research-pavilion-universityof-stuttgart-germany-robot-drone-fabrication-04-14-2017/ ICD/ITKE RESEARCH PAVILION 2016-17.” INSTITUTE FOR COMPUTATIONAL DESIGN AND CONSTRUCTIO HTTP:// ICD.UNI-STUTTGART.DE/?P=18905 Inhabitat - Green Design, Innovation, Architecture, Green Building.” Inhabitat Green Design Innovation Architecture Green Building http://inhabitat.com/metropol-parasol-the-worlds-largest-wooden-structureopens-in-sevillen “Kokkugia.” Brass Swarm - Kokkugia, http://www.kokkugia.com/brass-swarm Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Sevilla, Diario de. “Un Proyecto Imposible.” Diario De Sevilla, Diariodesevilla.es, 15 Oct. 2016, < http://www. diariodesevilla.es/sevilla/proyecto-imposible_0_340766403.html> THACKARA, JOHN (2005). IN THE BUBBLE: DESIGNING IN A COMPLEX WORLD (CAMBRIDGE, MA: MIT PRESS), P. 224 “PROJECTS.” STUDIO ROLAND SNOOKS, http://www.rolandsnooks.com/#/ngv/

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PART B Designplaygrounds.com/deviants/fermid-by-behnaz-babazadeh/. Fermid by behnaz babazadeh.” Designplaygrounds, 16 may 2011, Iwamoto scott, "voissoir cloud," (2008), <http://www. Iwamotoscott.com/voussoir-cloud>, [accessed 25 april 2016]. Lisa iwamoto, digital fabrications, 1st edn (new york: princeton architectural press, 2009), p.36-43 Matt. “articulated cloud | ned kahn.” Arch2o.com, 26 july 2014, www.arch2o.com/articulated-cloud-nedkahn/.

PART C “BLOBWALL BY GREG LYNN.” DEZEEN, 4 NOV. 2016, WWW.DEZEEN.COM/2007/12/03/BLOBWALL-BY-GREGLYNN/. KOERNER, BRAD. “LUMINOUS LIMACON.” LUCEPT, 20 DEC. 2012, LUCEPT.COM/2012/12/20/LUMINOUSLIMACON/.