ISRFFS - UCL Bartlett Architectural Design RC8 by Katherinalin

THE BARTLETT SCHOOL OF ARCHITECTURE

IN SITU ROBOTICALLY FABRICATED FAÃ&#x2021;ADE SYSTEM (ISRFFS)

PORTFOLIO ARCHITECTURAL DESIGN / RC8 2017-2018

Chaonan Hua / Alejandro Nieto Jimenez / Xi Lin / Tengyao Ji

TEAM Chaonan Hua, Alejandro Nieto Jimenez, Xi Lin, Tengyao Ji

TUTOR Kostas Grigoriadis

ARCHITECTURAL DESIGN RESEARCH CLUSTER 8

pro THE BARTLETT SCHOOL OF ARCHITECTURE

UNIVERSITY COLLEGE LONDON 2017-2018

CONTENTS 00 /STUDIO BRIEF/ RC8: THE IMMINENT REALITY OF MULTI-MATERIALITY 6-11

01 /BACKGROUND/ ARRANGING MATTER 1.0 /CONTEMPORARY CURTAIN WALLS/ 1.1 /FUNCTIONALLY GRADED MATERIALS/ 1.2 /REFERENCES/

12-21

02 /MULTI-MATERIAL BUILDING SKINS/ RESPONSIVE SKIN 2.0 /INTRODUCTION/ Project aims and the comparison with conventional facade

22-29 2.1 /PROTOTYPE-01/ Glazing with inner structure

30-75 2.2 /PROTOTYPE-02/ External structure research

76-121 2.3 /PROTOTYPE-03/ Point-supported structure study & external structure research

122-131 2.4 /PROTOTYPE-04/

132-153 2.5 /PROTOTYPE-05/

154-181

/03 FABRICATION RESEARCH/ 3.0 /MATERIAL RESEARCH/

182-197 3.1 /3D PRINTING: ROBOTIC FABRICATION/

198-215 3.2 /TOOL PATH FINDING/

216-227 3.2 /IN SITU ROBOTICALLY FABRICATED FAÃ&#x2021;ADE SYSTEM/

228-235

/04 FINAL DESIGN/ 4.0 /TOPOLOGICAL OPTIMISATION/

236-247 4.1 /FINAL TOOLPATH GENERATION/

248-333 4.2 /FABRICATION PROCESS/

334-343 4.3 /ARCHITECTURAL PROPOSAL/

344-349

/APPENDIX/ 1 /DIGITAL SIMULATION/ 1.1 RealFlow - Liquid system, particle based 1.2 Monolith - Voxel based

350-405 2 /PHYSICAL OUTPUTS/ 2.1 Wax gradient study 2.2 Multi-material 3D printing

406-441 3 /RESPONSIVE BUILDING SKIN RESEARCH/ 3.1 Liquid movement study 3.2 Dynamic shading system

442-465

00 ST U D I O

BRIEF

/BACKGROUND/

THE IMMINENT REALITY OF M U LT I - M AT E R I A L I T Y The assimilation of graded materiality in architecture promises a fundamental shift in how elements come together, opening up a new understanding of constructs as continuous fields, consisting of diverse materiality varied on a local level. Research Cluster 8 explores new procedures for designing and building with material gradients to match the anticipated, radical developments in manufacturing and construction. The first part of these explorations concerns the attempt to assimilate graded information digitally and to target the distribution and engineering of digital sub-materials to meet aesthetic, structural, and functional criteria. The second part is to physically manufacture graded elements or full-scale constructs. Research Cluster 8 creates prototypes and structures that are more than just a collection of individual parts, initiating a new type of architecture for the future.

REFERENCE https://www.ucl.ac.uk/bartlett/architecture/programmes/postgraduate/march-architectural-design

/BACKGROUND/

Curtain wall detail multi-material print

REFERENCE Kostas Grigoriadis. 2016. "Mixed Matters: The Epistemology of Designing with Functionally Graded Materials". Royal College of Art.

/BACKGROUND/

M U LT I - M AT E R I A L MULTI-MATERIALITY

PHYSICAL FABRICATION METHODS UTILISED:

A multi-material combines the properties of different materials (such as polymers, composites, textiles, ceramics and metal) to optimise the end product. So, multi-material designs are commonly used to obtain a combination of special qualities from different types of materials in one part. The goals can vary, from creating a cost-effective light product to achieving special functionality.

3D printing Robotic spatial printing Vacuum forming CNC modelling

Multi-materiality is a general concept, which incorporates a wide range of materials. Composite materials, laminated materials and Functionally Graded Materials (FGM) are all included. Compared to other materials, Functionally Graded Materials (FGM) show more advantages when applied to architecture due to their designated material properties. With this characteristic, the performance and appearance of architecture components will be improved. Furthermore, it may change the strategy of design in architecture.

Multi-material use has contributed to improvements in many fields like vehicle manufacturing and aerospace engineering. It is possible that it could also open up new possibilities in architecture. Thinking about how multi-material design can influence architecture and to what extent substance variation can change architectural diversity, we started the research from the building skin, which contains a large number of materials that correspond to functional as well as aesthetic attributes.

The multi-material design approach in this studio is different from the common form-first design. But the research about materiality and structuralism in contemporary architecture has developed over the past decades, the notions of material and structure become equal with that of form, and sometimes they are the first factors to consider. In this light, we are learning to think about architecture in material way and explore how a â&#x20AC;&#x2DC;material-firstâ&#x20AC;&#x2122; approach can be accommodated in design.

Our interests are to explore an entire different way of building a facade by using multi-materials. So, this project challenges the traditional orthodoxy of design and construction of building skins in architecture. The aim is to maximize the efficiency of structural and material performance in practice. Also, we attempt to combine shading system with this new skin to customize the transparency both in terms of light conditions as well as personal needs. Besides, the shortfalls of conventional curtain wall systems, such as glare, leakage and breakage, will be optimised through the use of multi-materials.

MULTI-MATERIAL SKIN RESEARCH

DESIGN TOOL

Our approach in effect is to combine glazing, structure and shading all together rather than using conventional discrete elements, which means that we have design a continuous envelope with variable properties corresponding to multiple functional constraints. Form, material and structure are equally weighed in the design process.

DIGITAL SOFTWARE UTILISED IN THE PROJECT: RealFlow - Particle based liquid simulation Monolith - Voxel based simulation Grasshopper - Parametric design Maya - Digital modelling

/BACKGROUND/

01 B AC K G R OUN D

/BACKGROUND/

C O N T E M P O R A R Y C U R TA I N WA L L S INTRODUCTION Curtain walls, have existed for over a century and refer to a building envelope which is thin, lightweight, and non-structural. They are widely used as exterior sheathing of buildings, especially of the commercial or institutional type. Curtain walls consist of glass panels constituting a major portion of the exterior surface of the building, with structural members separating the glass panels. Although the curtain wall system has its advantages of material efficiency, high transparency, high flexibility etc., it has its own problems when it comes to production, construction and maintenance etc. In this research, we focus on how materiality and the arrangement of materials and the shaping of forms can leave an impact on the development of contemporary curtain walls.

LIMITATIONS ENERGY CONSERVATION Curtain walls and especially glass curtain walls are the component of a building where the largest amount of exchange take place. Therefore, energy-saving technologies have accompanied the development of the curtain walls all along. At this stage, the main measures to improve the thermal insulation performance of the curtain wall are to reduce the heat transfer coefficient, by using coated glass, LOW-E glass, heat-reflective glass, and insulating aluminum bridges to reduce the air heat loss and eliminate the "thermal bridge", effect the open sash area and improve its sealing, etc. However, as the problems are not only related to materials but also to form, new approaches should be found to solve the problem of materials distribution corresponding to structural requirements. REFLECTION TO SPATIAL ORGANIZATION Currently, opacity and transparency in the curtain walls are evenly distributed and interior light conditions do not change much. In response, the research queation of this project is: can there be building skins that allow for the integration of materiality and architectural form to optimise performance and to correspond more closely to the desirable internal spatial organisation? SUSTAINABILITY The raw materials of a curtian wall are glass and aluminium, which generate pollution and toxic during their production.

AIMS So in our project, we use functionally graded materials, in our research approach, to design a continuous facade, in order to solve the above problems. In this way, we aim to reduce pollution, improve structural efficiency, and also achieve more diversity in internal lighting conditions.

/BACKGROUND/

1.1

1.2

1.3

1.1 Exterior view of curtain wall showing mass produced, homogeneous panel distribution. 1.2 Diagrams showing uniform light transmittance in the interior. 1.3 Images of curtain wall raw material production and toxic waste by products.

/BACKGROUND/

F U N C T I O N A L LY G R A D E D M AT E R I A L DEFINITION OF FUNCTIONALLY GRADED MATERIALS Functionally graded materials (FGM) are designed for a certain function and application. They are characterized by a spatial gradient in structure and/or composition over volume, so that they can correspond to changes in the properties of the materials (including chemical, mechanical, magnetic, thermal, and electrical properties). FGMs are not new to nature. Bamboo, one of the functionally graded natural materials, has existed and used as construction material for thousands of years. (Naebe and Shirvanimoghaddam 2016)

THE DIFFERENCE BETWEEN FUNCTIONALLY GRADED MATERIALS AND COMPOSITE MATERIALS Functionally graded materials are different to composite materials. Traditional composites are homogeneous mixtures, and they therefore involve a compromise between the desirable properties of the component materials. Since significant proportions of an FGM contain the pure form of each component, the need for compromise is eliminated. The properties of both components can be fully utilised. For example, the toughness of a metal can be combined with the thermal insulation properties of a ceramic material, without any compromise in the toughness of the metal or the insulating capability of the ceramic.

HISTORY AND CATEGORY OF FUNCTIONALLY GRADED MATERIALS The concept of FGM was first introduced in Japan in 1984, when Japanese scientists tried to build up new materials used in space plane projects. In recent years this concept has become more popular due to the fact that FGM can suit numerous high-tech applications. The main areas of application of FGM currently are in the aerospace, medicine, defence, energy and optoelectronics fields, as well as in areas such as “cutting tool insert coating, automobile engine components, nuclear reactor components, turbine blade, heat exchanger, Tribology, sensors, fire retardant doors, etc.” (Mahamood et al. 2012) FGMs can be mainly divided into three types: chemical composition gradient FGMs, porosity gradient FGMs (widely used in the biomedical application) and microstructure gradient FGMs. The characteristics of different FGMs allow them to be applied in various industries. In architecture, FGMs are mainly researched into in structure and facade components, due to their capacity to reduce material usage under identical conditions.

FABRICATION METHODS FGMs are often fabricated in specific spatial distribution of the constituent phases such as metals, ceramics and polymers under continuing and subtle variation in composition make up. Achieving tailored morphologies and structural properties such as physical and mechanical gradient in specific direction is the major advantage of FGMs among other composites. There are several approaches to obtain the compositional gradient in the composite. This includes gas based, liquid phase and solid phase methods which can be used to physically or chemically obtain tailored properties. Chemical vapour deposition (CVD), ion plating, plasma spraying and ion mixing are some examples of gas-based methods used to fabricate FGM.

REFERENCE Mahamood, Rasheedat M, Esther T Akinlabi Member, Mukul Shukla, and Sisa Pityana. 2012. “Functionally Graded Material : An Overview.” World Congress on Engineering III:2–6. Naebe, Minoo, and Kamyar Shirvanimoghaddam. 2016. “Functionally Graded Materials: A Review of Fabrication and Properties.” Applied Materials Today.

/BACKGROUND/

Phase 1 (particles) with phase 2 as matrix

Transition region

Phase 2 (particles) with pase 1 as matrix

Composition of FGM 1.1

Phase B

Substrate

Phase A

Phase C

Property A Property B Property C

Depth

Depth Homogeneous Material

Depth Functionally Graded Material

1.2

BULK FGM

Functionally Graded Material

GMFC Process

COATING FGM

Sedimentation

Centrifugal Casting Slip Casting / Filtration Powder Stacking Spark Plasma Sintering Electrochemical Gradation Compositional gradient FGM

Microstructural gradient FGM

Porosity gradient FGM

Wet Powder Spraying

Jet Solidification Automobile Aerospace

Defence

Energy

Defence

Armoury

Dental Autopedic Filter

Thermal Spraying

Laser Cladding

Foaming of Polymers

Directed Solidification

PVD

Electrophoretic Deposition

Gel easting

1.4

1.1 Composition of FGM. 1.2 The difference between Homogeneous and Functional Graded Materials. 1.3 Areas of application for the three types of functionally graded materials. 1.4 Different fabrication methods of functionally graded materials based on bulk/coating type of product.

CVI Slurry Dipping Chemical Solution Deposition Surface Reaction Processe: Nitriding Carburizing

Tape Casting

Powder Metallurgy

1.3

CVD

/BACKGROUND/

T H E D U R O TA X I S C H A I R , SYNTHESIS DESIGN + ARCHITECTURE INTRODUCTION Los Angeles-based practice Synthesis Design + Architecture has created a 3-D printed chair which uses the latest gradient 3-D printing technology to apply different material properties to different parts of the chair. The piece is named the "Durotaxis Chair" after the biological process in which cells can migrate along gradients in rigidity. It consists of a densely-packed mesh, which changes scale, color and rigidity depending on the chair's structural and ergonomic requirements at various locations. The ovoid rocking chair can be used in two positions, both stood upright and laying down. In both positions, the shape of the chair and the material used combine to provide the structural rigidity required for stability and comfort. Synthesis Design + Architecture describes the project as "an extension to an on-going body of design research which explores the reciprocal relationships between form and performance," explaining that "the chair provides an opportunity to explore a design and fabrication process that articulates both visually and materially what the chair is doing structurally and ergonomically. The chair is thicker and more rigid where it needs it, and thinner and softer where it needs it." Dimensions: 50cm x 60cm x 800cm. Materials: Objet VeroCyan Digital Material & Objet VeroWhite Digital Material Designer: Synthesis Design + Architecture Design Team: Alvin Huang (Design Principal), Yuan Yao, Alex Chan, Mo Harmon, Kais Al- Rawi, Joseph Sarafian, David.O. Wolthers Client & Fabricator: Stratasys Photo credits: IMSTEPF Films

REFERENCE http://synthesis-dna.com/projects/durotaxis

/BACKGROUND/

GEMINI, NERI OXMAN INTRODUCTION Gemini - an acoustical “twin chaise" - spans multiple scales of the human existence extending from the warmth of the womb to the stretches of the Gemini zodiac in deep space. It recapitulates a human cosmos: our body - like the Gemini constellation - drifting in space. In this project we explore interactions between pairs: sonic and solar environments, natural and synthetic materials, hard and soft sensations, as well as subtractive and additive fabrication. The design is rooted in the mythical relationship between twins; one is mortal - born of man, the other divine. Made of two material elements, a whole that is bigger than the sum of its parts, like the sun and the moon, like Adam and Eve, the chaise forms a semi-enclosed space surrounding the human with a stimulation-free environment, recapitulating the ultimate quiet of the womb as it echoes our most inner voices. This is achieved through the combination of a solid wood milled shell housing and an intricate cellular skin made of sound absorbing material. It is the first design to implement Stratasys' Connex3 technology using 44 materials with different pre-set mechanical combinations varying in rigidity, opacity and color as a function of geometrical, structural and acoustical constraints. This calming and still experience of being inside the chaise invokes the prenatal experience of the fetus surrounded by amniotic serenity, an antidote to the stimuli rich world we live in The design includes a number of length scales ranging from structure to material composition that affect its sound absorbing properties: (1) On the meter scale, the chaise forms a semi-closed anechoiclike chamber with curved surfaces that tend to reflect sound inward. The surface structure scatters the sound and absorbs it and, in the absence of large planar surfaces, reduces the amount of sound that would otherwise bounce back to the source; (2) On the centimetre scale - a scale that corresponds to the wavelength of sound - the 3D printed inner “skin” is designed as 3-dimentional doubly curved cells that scatter and absorb sound effectively given their geometry (i.e. the sound tends to bounce from one “cell” unit to another till it gets absorbed) and high surface area to volume ratios. The features of the chaise are on the order of the wavelength of sound and they therefore interact strongly with sound and get absorbed effectively; (3) On the nano-scale, the properties of the Digital Materials also contribute to the absorption of sound. These materials are elastic in nature, varying in durometer (and sound absorption) as a function of curvature. Surface areas that are more curved than others are also assigned more elastic properties, thereby increasing absorption around local chambers. Dimensions: 244cm x 81cm x 114cm Materials: Cherry, 3D printed materials Designer: Neri Oxman Prof. W. Craig Carter (Department of Materials Science Collaboration: and Engineering, MIT) Sponsors: Le Laboratoire (David Edwards, Founder) and Stratasys 3D Printing: Stratasys with Objet500 Connex3 Color, Multi-material 3D Printer CNC Milling: SITU FABRICATION Photography: Michel Figuet

REFERENCE http://www.materialecology.com/projects/details/gemini

/BACKGROUND/

02 MU LT I - M AT ERIAL BU I LD I NG

S KIN

2.0 I NT R OD U C TION

/MULTI-MATERIAL BUILDING SKINS/

M U LT I - M AT E R I A L B U I L D I N G S K I N S CURRENT CURTAIN WALL DISADVANTAGES Repetition of standard panel geometry (not specific for each individual space in the building) Binary internal lighting conditions Material Redundancies and Pollution

OUR MAIN AIMS Reduce production redundancies (Combining fabrication processes at once) Achieve more diversity in internal lighting conditions Structural efficiency, relating faรงade to heterogeneous structural loads

APPROACH Multi-material design research Prototypical development

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1.1Different stress in curtain wall system

1.21.2 Stress value in structure

2.1 PR OT O T Y PE

0 1

GL A Z IN G W IT H IN N E R S T RU CTU RE

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T O P O L O G I C A L O P T I M I S AT I O N Achieving our aim of reducing production redundancies means that we need to combine design processes in one, hence combining the characteristics of the different parts of the conventional facade into one element. The use of multi-materials enables the creation of a design element capable of being structurally efficient with heterogeneous structural loads at the same time that can form a translucent, hermetic element for a building skin. In this context structure and a window panel become one element. TOPOLOGICAL OPTIMISATION ADVANTAGES · Differentiate the material distributions under structural loading conditions · Optimize the use of materials · Better correspond to the loading condition and improve the stability

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Principal stress lines from topological optimisation software Millipede / Grasshopper / Rhino

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2D Topology Optimization - Continuous load on top and supports at the bottom

Topology optimization process

3D Topology Optimization - Continuous load on top plus wind load, top and bottom supports

3D Topology Optimization - Continuous load on top plus wind load, bottom supports only

T O P O L O G I C A L O P T I M I S AT I O N W I T H C O N T I N U O U S S U P P O R T S

Perspective view

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T O P O L O G I C A L O P T I M I S AT I O N Recreations of an architectural interior defined by topological optimisation results only.

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2D TO 3D Creation of a three dimensional surface from a 2D topological optimisation using image sampling with Grasshopper / Rhino

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CAD model for laser cutting, holes diameter 1 - 1.5 mm

3 levels of stress for model A

VIRTUAL

3 D

3 levels of stress for model B

PHYS ICAL

3 D

FIR ST

S T EPS

Discretization of 3 levels of stress for creating a three-dimensional panel using laser cutting technology, Holes are placed to allow for vacuum forming plastic over it correctly. The resulting 3D surface has a great structural behavior compared to a planar surface.

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First attemp not using laser cut for holes

1 Level stress model

1 Level stress model 2D surface

S T R E S S L AY E R E D First outcome for creating a 2D surface; laser cutting and vacuum forming technologies enable the creating of those surfaces with a low cost per model.

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3 Levels stress model

Deteail

3 Levels stress model 2D surface

V A C U U M F O R M I N G P R O C E E D - 3 D PAT T E R N First outcomes of creating a 3D surface. Laser cutting and vacuum forming enables the creation of those surfaces with a low cost per model.

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BLURRED 3-LEVEL STRESS IMAGE FOR IMAGE SAMPLING Image sampling with Rhinoceros / Grasshopper

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CNC MODEL /

A C C U R AT E M O D E L

First model 30x40cm, dimensions are limited by the vaccum forming machine bed size. Material: High Density Grey Foam

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M AT E R I A L R E D U C T I O N A N D POROSITY STUDIES

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Porosity Tests

POROSITY STUDIES

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L AT T I C E + A N C H O R P O I N T S Grid structure based on Joris Laarman gradient chair, according to the distance to attractor points in the 3D space. Possibility of applying it to a model in successive sections/layers along the Z axis. The second chair in the micro structures series was called the Aluminium Gradient Chair and elaborate on the use of aluminium in furniture design, but now in the digital age. It was designed and directly laser sintered in aluminium. Using generative design tools and new material research we basically created a lightweight aluminium structure like foam that is engineered on a cellular level to address specific functional needs for different areas in the object. The solid cells in the design create structural strength and rigidity while the more open cells create material reduction and lightness, all within one printing technique.

REFERENCE http://www.jorislaarman.com/

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Joris Laarman / Gradient Chair

STUDY REFERENCE

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AT T R A C T O R P O I N T S T U D Y

2 D AT T R A C T O R P O I N T Grasshopper / Rhino

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Grid study

3 D AT T R A C T O R P O I N T Grasshopper / Rhino

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GRID GRADIENT Top side and front view, pipe radius based on attractor point distance

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rendering

3 D AT T R A C T O R P O I N T This rendering shows how a three-diemsional grid of tubes can be graded according to the distance to an attractor point, placed at the top right corner. The grid is subdivided every 8 lines, each subdivision has the same thickness related to the distante from its center of gravity to the attractor point. This process can be applied in further designs for applying thickness as a result of structural analysis according to a determined amount of points; being able to translate structural behaviour into thickness.

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physical model

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physical model

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OPTIMISING TOPOLOGICAL OPTIMISATION Manipulate point cloud density inside a topological optimised model regarding load values, separating compression and tension stress and creating a Marching cubes structure with gradient according to height (Z). The work flow relies on Panagiotis Michalatosâ&#x20AC;&#x2122;s Millipede for grasshopper to produce an optimised form given a calculation volume, loading conditions, and support areas. The ensuing calculations are used to produce three iso-surfaced volumes that represent critical components within the composite system- a core volume, a structural volume, and a skin volume. Basic structural data (compressive stress vs tensile stress) is embedded within each volume through the medium of colour. A grasshopper script is used to parse this data and cull redundant structures for the system to split the structural system into two discreet topologies- one for tension and one for compression. The structural systems vary- thickening as the stresses increase, and thinning when redundant.

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Marching cubes script final output

BREP and lines to combine

lines wrapped only

Mesh Detail

MARCHING CUBES Grasshopper / Rhino

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Physical model

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SLS 3D PRINTING SLS technology uses a laser to harden and bond small grains of nylon and elastomer materials into layers in a 3D dimensional structure. The laser traces the pattern of each cross section of the 3D design onto a bed of powder. One of the major benefits of SLS is that it doesn't require the support structures that many other 3D printing technologies use to prevent the design from collapsing during production. Since the product lies in a bed of powder, no supports are necessary saving cost in materials and allowing faster 3D part production.

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T O P O L O G I C A L LY O P T I M I S E D STRUCTURE DESIGN 路 Stress values are collected for each cell point 路 Random points are created 路 Nearest 3d points are selected 路 Relate stress values to lines

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STRUCTURE BASED ON TOP OPT VALUES

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Physical Model

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Top part of physical model

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Lattice

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Marching Cubes

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Transparent surface with structure rendering

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Physical Model

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Perspective Rendering

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INTERSTICE Interstice : the space that intervenes between things, especially, the one between closely spaced things interstices of a wall; a gap or break in something generally continuous.

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Metal

B I - M AT E R I A L F U S I O N S T U D I E S

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Metal & Glass

B I - M AT E R I A L F U S I O N S T U D I E S

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Organic gradient embebbed in glass wax

Grid gradient embebbed in glass wax

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Bi-material fusion with gradient 1

Bi-material fusion with gradient 2

Bi-material fusion with gradient 3

2.2 PR OT O T Y PE

0 2

E X T E R N A L S T R U C T U R E R ESEA RCH

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MONOLITH : A BASED MODELING ENGINE FOR M U LT I M AT E R I A L S 3 D P R I N T I N G INTRODUCTION OF MONOLITH TOPOLOGY Now, most if not all, currently available 3D CAD applications are simply unable to manage spatial variations in material properties. That's because most design applications have been built upon a surface modeling paradigm where a 'solid' object is defined as an object enclosed by a set of discrete boundaries. This is known as Boundary Representation or Brep for short. But,voxels are interesting because they offer a new paradigm where objects can be defined as a dense representation of material properties throughout a 3D volume. In addition, voxel-based representations fit perfectly within a new class of 3D printers which have multiple print heads capable of depositing different types of resin (i.e. plastic or rubber, clear or opaque, full color) within a single build volume (i.e. multimaterial printing). All of this means you now have greater control over how your designs will look, feel, and function. Below are just a few of the features available in Monolith - our stand alone voxel modeling engine. VOXEL FIELD GENERATION There are many ways to define voxel fields in Monolith including live painting, function-based generation, raster input (blending, sweeping, slices), and geometric source objects (points, curves, boxes, etc.). This demonstration shows just a few of the different mechanisms that are currently available. DEFINING MESOSCOPIC HALFTONE PATTERNS Mesoscopic patterns can be used to emphasize optical or structural anisotropy at the rasterization scale. If the macroscopic scale represents the overall form and the microscopic scale is represented by the pixel (ie. a single drop of resin in the 3D printer) then the mesoscopic scale resides somewhere in between. In this demonstration, we show how to use two-dimensional bitmaps and three-dimensional voxel fields as mesoscopic half-tone patterns. The mapping of these patterns can have a dramatic impact on the overall look, feel, and performance of the designed object. RHINO/GRASSHOPPER TO MONOLITH In this demonstration video, we show off many of the new features of the Monolith plugin for Grasshopper. Grasshopper is a visual programming editor for Rhino and allows user to explore a wide range of design ideas through parametric relationships. The Monolith plugin expands the Grasshopper plugin system, allowing users the ability to quickly create complex voxel-based models. TOPOLOGICAL OPTIMISATION ANALYSIS Topological optimisation is one type of structural approach which optimises material distributions within a boundary volume given a set of load and support conditions. In this demonstration, we show two examples using the topological optimisation analysis tool available from within the stand-along Monolith application. Simply setup the load case, and analysis tool will begin distributing material according to the greatest stress concentrations. Various visualisation modes allow you to examine the Von Mises and Principal stress distributions and simulate deflection under the loading conditions.

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Models based on Monolith Reference: http://www.monolith.zone/#io-input-output

VOXEL-BASED MODEL What's a voxel? Well, think of it like a three-dimensional pixel. In fact, the word voxel is short for volumetric pixel. Much like a pixel, which describes the attributes (like color) of an element within a larger composition (an image); a voxel can describe attributes about a physical location within a 3D volume. These attributes can include information about its material properties, density, color, and more.

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VOXEL-BASED TEST IN MONOLITH In the monolith analysis software, another way of creating gradient is explored. The interior structure is separated by the noise analysis and then the material is precisely graded based on the result of the analysis.

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A D V A N TA G E O F G R A D I E N T D E S I G N One of the advantages of a method is the ability to precisely control the gradient's shape, proportions, and distribution so that the gradient design is better controlled Reference: http://www.monolith.zone/#io-input-output

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MONOLITH STRESS EXPERIMENT From the stress reduction process and internal stress analysis results, the final shape can be drawn

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MONOLITH STRESS EXPERIMENT Based on the stress reduction process described above and the results of the analysis, the model is built in Maya and then imported into Monolith to create gradient.

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MONOLITH STRESS EXPERIMENT Based on the stress reduction process described above and the results of the analysis, the model is built in Maya and then imported into Monolith to create gradient.

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Create a noisy environment in the grid, with centers gradually tapering to the periphery

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Create a noisy environment in the grid, with centers gradually tapering to the periphery

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The internal structure of the glass is generated by the topological optimisation.

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Create a noisy environment in the grid, with centers gradually tapering to the periphery

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Create a noisy environment in the grid, with centers gradually tapering to the periphery

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The internal structure of the glass is generated by the topology

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D I F F E R E N T L AY E R S O F B R A N C H E S

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EXTERNAL STRUCTURE STUDIES FOR CONNECTING TO MAIN STRUCTURE Based on voxel, a variety of support structures are obtained based on different stress conditions and stress characteristics.

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EXTERNAL STRUCTURE STUDIES FOR CONNECTING TO MAIN STRUCTURE Different types of branches are reassembled according to the force conditions of different parts.

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BORE THE HOLE Six holes were drilled in the original glass curtain wall in order to extend the internal structure.

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Pulling the support structure inside the curtain wall to the outside through the hole, providing the possibility for the next connection.

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CONNECTION Obtained the extended structure by topological analysis. The internal structure passes through the glass holes in the curtain walls and connects to the external structure.

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CONNECTION Extended structure combined with external structure.

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2.3 PR OT O T Y PE

0 3

P O I N T- S U P P O RT E D S T R U C T U RE STU DY AND E X T E R N A L S T R U C T U R E R ESEA RCH

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FORCE SETTING Support type: Pentagon Amount of support points: 5 Load: self weight, wind load Size: 40Ã&#x2014;40 Resolution: 50 (cells along X axis)

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PHYSICAL

MODEL

Taking into account the internal force analysis and simplifying the shape to the optimal structure.

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2.4 PR OT O T Y PE

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Anchor points

Stress lines

3D polygonal mesh

Anchor Points

Stress lines

3D polygonal mesh

5 P O I N T S T O P O L O G I C A L O P T I M I S AT I O N

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M A Y A P O LY G O N A L M E S H T O W O R K W I T H I N G R A S S H O P P E R

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GRADED STRUCTURE

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BRANCHES CONNECTED WITH STRUCTURE

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FRONT VIEW OF 3D PRINTED MODEL Model is sliced to 25 parts that are 3d printed and then combined together. Dimensions / 850 x 1450 mm

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BACK VIEW

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M O D E L D E TA L Gradients in this prototype are in macro level that are created by relating points to topolobically optimised stress values.

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M O D E L D E TA L

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BRANCH CONNECTED TO SLAB

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BRANCH CONNECTED TO SLAB

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D E TA I L O F C O N N E C T I O N PA R T

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PERSPECTIVE VIEW

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3 D P R I N T I N G FA C A D E

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FRONT VIEW

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BACK VIEW

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D E TA I L

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STRUCTURE CONNECTED TO SLAB As one part of the continuous facade in the photo, branches as partial structure connect with slab in another side.

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S T R U C T U R E C R O S S T H E T R A N S PA R E N T S U R FA C E Transparent plastic vacuum forming sheets are laminated with structure part.

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S T R U C T U R E C R O S S T H E T R A N S PA R E N T S U R FA C E Metal structure part could cross the transparent surface then connects to slabs.

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T O P O L O G I C A L O P T I M I S AT I O N 1

4.5 m

3.0 m

Anchorage

Wind load

Cells resolution: Target density: Iteration: Contour resolution:

100 0.18 16 0.522

Diagram

Topological Optimization - Wireframe

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Topological Optimization - Principle Stress

Topological Optimization - Rendering

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T O P O L O G I C A L O P T I M I S AT I O N 2

4.5 m

3.0 m

Anchorage

Wind load

Sliding supports

Cells resolution: Target density: Iteration: Contour resolution:

100 0.18 16 0.324

Diagram

Topological Optimization - Wireframe

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Topological Optimization - Principle Stress

Topological Optimization - Rendering

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T O P O L O G I C A L O P T I M I S AT I O N 3

Sliding supports 4.5 m

3.0 m

Anchorage

Wind load

Cells resolution: Target density: Iteration: Contour resolution:

100 0.18 16 0.467

Diagram

Topological Optimization - Wireframe

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Topological Optimization - Principle Stress

Topological Optimization - Rendering

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T O P O L O G I C A L O P T I M I S AT I O N 4

Sliding supports 4.5 m

3.0 m

Anchorage

Wind load

Cells resolution: Target density: Iteration: Contour resolution:

80 0.18 16 0.275

Diagram

Topological Optimization - Wireframe

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Topological Optimization - Principle Stress

Topological Optimization - Rendering

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T O P O L O G I C A L O P T I M I S AT I O N 5

Sliding supports

3.0 m Anchorage

1.5 m

Wind load Connetion force

Cells resolution: Target density: Iteration: Contour resolution:

100 0.18 16 0.275

Diagram

Topological Optimization - Wireframe

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Topological Optimization - Principle Stress

Topological Optimization - Rendering

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Prototype

Cell Resolution

Target Density

Iteration

Contour Resolution

100

0.18

0.522

100

0.18

0.324

0.18

0.467

100

0.18

0.275

Prototype 1

Prototype 2

Prototype 3

Prototype 4

In summary, the influence of four parameters on structural optimisation is in different aspects, except the contour resolution which decides the form of structure, the remaining three mainly affect the complexity or resolution for prototypes. The cell resolution and contour resolution are the main factors in optimisation.

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Sun glare

Illuminance

Conventional curtain wall

Our Project

From the visualised result of illuminance and glare, it is obvious that the incident light goes deeper into the room and the level of illuminance provided is more adequate in our project. Instead, in conventional curtain walls, the shadow is uniformly distributed.

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Mesh

G R A D I E N T T E S T F O R T O P O L O G I C A L O P T I M I S AT I O N M O D E L 0 1 We divided the gradient into 5 levels, which based on stress values from topological optimisation.

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G R A D I E N T T E S T F O R T O P O L O G I C A L O P T I M I S AT I O N M O D E L 0 1

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Mesh

G R A D I E N T T E S T F O R T O P O L O G I C A L O P T I M I S AT I O N M O D E L 0 2

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G R A D I E N T T E S T F O R T O P O L O G I C A L O P T I M I S AT I O N M O D E L 0 2

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GRADIENT DIAGRAM

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COMPOSITE MODEL

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R O B O T I C A L LY F A B R I C A T E D F A C A D E

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M O D E L D E TA I L

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M O D E L D E TA I L

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03 FABR I C ATION R E SE AR CH

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FABRICATION WORK FLOW STEP1 · 3D Printing model · CNC · Vacuum forming plastic sheet on CNC foam · Combining plastic sheet with model

STEP2 · 3D Printing model · Vacuum forming plastic sheet on model

STEP3 · 3D Printing multi-material model

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STEP 1

STEP 2

F A B R I C AT I O N W O R K F L O W

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STEP 3

3.0 M AT E R I AL R E SE A R CH

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PLASTIC IN ARCHITECTURE Plastic are high-performance materials with very different properties and can be found in the world around us in different architectures. Building with plastic is an experimental and highly interesting specialist area of architecture. A signifinant number of the plastic used today in construction had already been developed by the end of the 1940s. These include, for example, polyvinylchloride (PVC), polymethacrylate (PMMA), polystyrene (PS), polyethylene (PE), and polytetrafluoroethylene (PTFE). Beside these basic types, there are numerous different modifications with special formulas designed by manufacturers to serve specific purposes. Plastics, and in particular fibre-re-inforced plastics, make it fundamentally possible to fashion a material for a particular application. For this reason the improvement or rather optimisation of material properties focuses less on the creation of new materials than on the further development of existing materials as well as their combination in the form of composite materials.

ADVANTAGES The use of plastics in building and construction saves energy, reduces costs, enhances quality of life and helps to protect the environment at the same time. Plastics applications also tend to be easy to install and require minimal maintenance. As such very limited additional consumption over energy and resources is needed to ensure their continued functionality. There are over 50 different families of plastics and most have something different to offer the construction industry.

LESS MATERIAL – BETTER INSULATION

of them Impact of our buildings – we just need to make more effective use . Purely in terms of weight, very little plastic is used in buildings compared to other materials. However, this limited weight allows a major contribution to energy savings through space maximising insulation, durable piping, and long lasting window frames.

LOWER PULLOTION Across the 27 Member States of the European Union (EU-27) plus Norway and Switzerland, more than half of plastics building and construction waste is being diverted from landfill through a combination of recycling and energy recovery. However, trends show strong disparities in recovery rates from country to country. Germany provides an example of what can be achieved with the right infrastructure and regulations in place, recovering nearly all of its plastic building and construction waste while Southern Mediterranean countries send most of it to landfill. In other major markets the picture is more nuanced. While the UK has been leading the way in terms of recycling rates it sends roughly two thirds of its waste to landfill due to the minimal use of energy recovery. In contrast, Scandinavian countries have overall recovery rates of almost 80% thanks to a strong focus on energy recovery. The overall recovery of plastic waste in the building and construction sector shows a positive trend, improving from 56.2% in 2010 to 57.6% in 2011. The European plastics industry will continue its efforts to increase this recovery rate throughout Europe, as part of its overall objective of zero plastics to landfill by 2020.

FUTURE DEVELOPMENT

The use of plastic insulation materials enables significant long-term financial and energy savings. Over its lifetime, plastic insulation saves more than 200 times the energy used in its manufacture. In addition to being energy-efficient, it is resourceefficient and makes optimum use of space. This is because, intrinsically, many plastics are very good insulators - whether it is to sheath the cabling in domestic appliances or the inner walls of buildings. Plastic insulation materials are simple to install, highly durable and perform at the same high level over the whole life of the building.

PLASTICS AND ENERGY EFFICIENCY Currently, buildings are responsible for roughly 40% of the EU’s energy consumption and greenhouse gas pollution. So reducing energy consumption in buildings is key to achieving Europe’s goals on climate change and green growth. Thankfully the solutions already exist to make significant changes to the environmental

Plastics have changed our lives like no other material. Even though they can often be taken for granted, modern construction without plastics is simply unimaginable. Since plastics are the material for the 21st century, let’s see what the future could hold for it. In the very near future, highly transparent photovoltaic cells will be printed onto plastic films as window glazing bringing about highefficiency power-generating windows. In the future, architects and designers will use acrylic panels and fibre-reinforced plastics to mould buildings into any shape. The resistance to corrosion, light weight and strength of fibrereinforced plastics composites will enable the construction of durable load bearing concrete structures like bridges.

REFERENCE Plastics Architects of modern and sustainable buildings https://www.plasticseurope.org/application/files/3915/1714/0577/bc_brochure_111212.pdf

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1.1

1.2

1.3

1.4

1.1 "Lee changes"Pavilion, Expo Lauaanne,1984. A modular roof structure made of GRP hyperbolic paraboiold surfaces, bonded to a steel frame and pre-stressed. 1.2 Market hall. Argenteull near Paris,1967.The dome measuring 30m in diameter consists of 30 prefabricated 6mm thick Glass Reinforced Plastic(GRP) shell elements mounted on a supporting tubular steel construction. 1.3 Modular plastic facade made of prefabricated sandwich elements. 1.4 Geodesic dome made of GRP elements, 1954.

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PETG

ABS

PLA

Melting point / Glass transition temperature (Tg)

230 °C (446 °F)

105 °C (221 °F)

150 - 160 °C (302 - 320 °F)

Density

1.27-1.38 g/cm³

1.04~1.06 g/cm³

1.21 - 1.43 g/cm³

Strength

Excellent

Good

Excellent

Fabrication Method

Injection molding Extrusion molding

Light transmittance

89%

86%

Excellent

Good

Bending strength and tensile strength

Durable

Cost

15-30 £/kg

15-30 £/750g

Case

micasa vol.C / Studio MK27/São Paulo, São Paulo, Brasil

large-scale hand-drawn structures / Tokyo, Japan

Zero Pavilion / Tianjin, China

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15-30 £/750g

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Acrylic/PMMA

PTFE

Glass

Tempered Glass

160 °C (320 °F)

335 °C (635 °F)

around 1500 °C (2732 °F)

1.18 g/cm³

2.20 g/cm³

2.4-2.8 g/cm³

Excellent

Good

Excellent

Injection molding Pouring Machining Thermoforming

Sintering moulding Rolling

Manual blowing / Machine blowing Pressing Firing

93%

10-50%

91%

Excellent

2.26–6.02 £/kg

1.13-11.29 £/kg

1.77-4.52 £/m²

6.02-18.82 £/m²

Plastic House II / Unit Arkitektur AB/ Sweden

The O2 Arena / London, UK

The Crystal Palace / London, UK

The Gherkin / London, UK

Orange Office / Sander Architects/LA,USA

Tensilation / Atlanta, USA

Farnsworth House / Illinois, USA

Burj Khalifa Tower / Dubai, UAE

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PLA FILAMENT Different materials are tested in spatial printing.

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VACUUM FORMING TEST 01 Vacuum Forming PETG sheet with PETG filament

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PETG FILAMENT PETG filaments are used in spatial printing test 01 that are supposed to make whole model transparent.

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VACUUM FORMING TEST 02 Vacuum Forming PETG sheet with PETG filament

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COPPER FILAMENT We use the copper filament which is PLA-based filament with approximately 80% of gravimetric copper filling this material is heavier than plastic filament, however, brittle PLA-based filament with approximately 80% of gravimetric copper filling.

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VACUUM FORIMING TEST 03 Test 03 happened in quadrangular container and substances were released by square emitters. The test 03 showed the better performance of mixture than test 02 which used the circle emitter.

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Materials

PLA Filament

Metal Filament

PETG Filament

01 Melting Point

150 - 160 °C (302 - 320 °F)

190 - 220°C (356- 428 °F)

180 - 190°C (356- 374 °F)

02 Density

2.76 - 3.32 g/cm3

1.21 - 1.43 g/cm3

03 Strength Bending strength and tensile strength

Excellent

1.21 - 1.43 g/cm3

Fair

Good

Fair

Excellent

Good

15-30 £/750g

48-60 £/750g

Good

Fair

04 Durable

05 Cost

06 Ductility

20-35 £/750g

Excellent

07 Robot Setting 7.1 Waiting Time at Turning Point

7.2 Waiting Time ahead Stop

1 Pa

08 Cooling System 8.1 Air Compressor Pressure

09 Model

M AT E R I A L S R E S E A R C H PETG Materials perform better than PLA filament, which can set hard faster (around 3s )after melting down .

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3.1 R O BO T IC 3D PR I NT IN G

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3D PRINTING IN ARCHITECTURE APPLICATION Industrial robots are essentially composed of a 6-axis robotic arm that enables integrated 3D printing architectural structure, while end effectors allow switching in different manufacturing modes and different scales. In FGM's robotic arm printing, industrial robotic arms are commonly used in three traditional categories, namely additives, modeling and subtraction (Keating et al. 2013). Among them, the additive preparation process adopts an extrusionbased 3D printing technology, and the process of rapid melting and rapid solidification of the material is achieved through heating or chemical stimulation of the material. In the modeling technique, a soft material such as clay is used to cast the material into a grinding tool using a carving process (Keating et al. 2013). Finally, in subtractive machining, milling is usually chosen as the main process. Compared with traditional printing technology, the 6-axis robot arm has better flexibility and provides more possibilities for manufacturing. In the field of construction, with the 3D printing platform equipped with different ports, it is possible to achieve continuous FGM structure printing in the laboratory size, and the 6-axis rope system can greatly extend the printing size, thus achieving large-scale building components (such as facade) ) to print.

ADVANTAGES Breaking the size limitation with the increasing variety of printing platforms and innovations in printing structures, print size limitations have been greatly expanded. Large-scale building components such as facades have the potential to achieve integrated 3D printing. Success case: Cable-Suspended Robot uses a freely built large rope system to print up to 2.16m statues. Precise control of FGM In the past, the manufacture of FGM was often impossible to carry out precise control by means of chemical mixing. With the development of 3D printing technology, it is possible to achieve precise printing through the mixed material printing port, and on the other hand, special equipment such as x-ray can be mounted on the robot arm. The instrument precisely changes the chemical properties of the object to achieve precise mixing. Elimination of waste which has a wide range of materials : Composite materials, laminated materials and Functionally Graded Material (FGM) are all included. Compare to other multimaterials, Functionally Graded Material (FGM) shows more advantages when applied inarchitecture due to its designated material properties. With this characteristic, the performance and appearance of the architecture will be improved. Furthermore, it may change the design strategy of architecture.

LIMITATION The existing limitations are mainly in two aspects. First, the programming structure of the robot arm 3D printing is not easily compatible with the digital design. The problems related to singularity avoidance have not been well resolved in the robot arm architecture. Digital designs often require smooth, complex, and long print paths, however, the robots often stop printing due to compatibility problems in experiments. Therefore, in industrial printing, simulators are often used for digital inspection. By adding additional printing steps to bypass the problem area, the printing efficiency of the robot arm is affected. Secondly, the commonly used, industrial robotic arm programming language, lacks a simple and effective interface. Most robotic arm manufacturers have their own programming LAN, and third-party software and platforms are greatly limited. Therefore, in the future, the introduction of a more open source robotic programming language, a simpler operator interface and system control software will help the rapid development of robotic printing.

FUTURE DEVELOPMENT In the future, with the development of large-format printing systems such as Cable-Suspended Robots and the maturity of hybrid printing platforms, complex and large-scale architectural structures, especially FGM structures, will have the opportunity to achieve integrated printing. Due to the gradual abandonment of the construction of small-sized component stacks, the integrity of the building will be greatly enhanced and the form will be more free.

REFERENCE James, K. Wessel. "The Handbook of Advanced Materials: Enabling New Designs." (2004). Keating, Steven, and Neri Oxman. "Compound fabrication: A multi-functional robotic platform for digital design and fabrication."Â Robotics and Computer-Integrated Manufacturing29, no. 6 (2013): 439-448.

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Endograft- Entirely 3D Printed Large Wall

Silky Concrete Project

3D printed villa in Beijing

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U LT I M A K E R A N D R O B O T 3 D P R I N T I N G

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ULTIMAKER

ROBOT PRINTING

Fused filament fabrication (FFF)

Spatial Form

Maximum building volume:

223 x 223 x 205 mm

Maximum building volume:

depends on the robot

Build speed: Print head travel speed:

up to 16 mm³/s 30 - 300 mm/s

Build speed: Print head travel speed:

up to 16 mm³/s 30 - 300 mm/s

Nozzle diameter: Nozzle temperature:

0.4 mm 180-260°C

Nozzle diameter: Nozzle temperature:

0.4 - 4.0mm 180-260°C

Material:

Filament diameter: Support material:

2.85 mm PLA, ABS

Filament diameter: Support material:

2.85 mm PLA

Requirement:

Preparation software:

Ultimaker Cura

Preparation software:

Rhino-Grasshopper

Printing properties:

Printing Strategy:

1600 mm

1200 mm 700 mm

1000 mm

Divided into 28 pieces and sticked them together after printed

Printing at once with larger scale and high speed

Average printing time per piece: Total printing hours:

15 hrs 450 hrs

3D PRINTING METHODS

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S C H E M AT I C D I A G R A M Effector

Delivering System

Nozzle

Material: PLA 2.85mm

Throat Cooling system

Temperature

Rotating system Heating system

TIP120

8 9 10~ 11~ 12 13 GND 3.5V AREF

1 GND 2 3~ 4 5~ 6~ 7

Digital Control System

Relay:Switch

1 Central Controller Arduino UNO R3

2 Control System 1 Heating 2 Rotating 3 Delivering

3 Delivering Path 5V 3.5V GND GND

A0 A1 A2 A3 A4 A5

Extruder

4 Cooling System Air Compressor

Interface Rotating speed Robot printing speed Point Distance Air Compressor Pressure

Data Source

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ARDUINO CONTROL SYSTEM Arduino as central controller to convey signals from robot, computer to robot arms.

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EXTRUDER 1

Robot Part： Robot connection

Extruding Part：

Tightening screws Stepper motor Extruder idler

Main gear Stepper gear Heating System： Cooling fan Main support

Heat sink Nozzle throat Nozzle

(1.5, 2.5mm)

Printing temperature: Printing speed: Printing material:

200°C 3-4mm/s PLA filament

The technology for normal 3D printers is called fused filament fabrication(FFF), which contours the model in Z direction and creates layers as printing path. The molten material extrudes out through the nozzle and sticks on top of previous layers to form the model shape. In most of commercial 3D printer, the diameter of nozzle is less than 1mm. So it is time and material consuming in 3D printing. The size of model is limited by the machine as well. In this research, robot is used in 3D printing to achieve high speed and large scale printing, and different printing logic is introduced to reduce printing time and material as well.

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EXTRUDER 1

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Printing Strategy: Layer by layer

01 Extruder Design 1.5mm

1.5mm

2.1 Nozzle Temperature

200 -210℃

2.2 Motor Speed

230400 Hz

250000 Hz

3.1 Layer Height

1.5 mm

1.5mm

1.5 mm

3.2 Robot Speed

60 mm/s

3 mm/s

4 mm/s

1.1 Nozzle Diameter

02 Arduino Circuit Design

03 Printing Design

3.3 Waiting Time at Turning Point

04 Cooling System 4.1 Air Compressor Pressure

05 Model Photo

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1.5mm

190 ℃

200 -210℃

250000 Hz

500000 Hz

0.8 mm

1.5 mm

1.5mm

3 mm/s

4 mm/s

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Printing Strategy: Layer by layer 01 Extruder Design 1.1 Nozzle Diameter

1.5mm

2.1 Nozzle Temperature

200 -210℃

2.2 Motor Speed

230400 Hz

250000 Hz

3.1 Layer Height

1.2 mm

0.8 mm

3.2 Robot Speed

3 mm/s

02 Arduino Circuit Design

03 Printing Design

3.3 Waiting Time at Turning Point

04 Cooling System 4.1 Air Compressor Pressure

05 Model Photo 5.1 Process

5.2 Result

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Printing Strategy: Spatial Form 01 Extruder Design 1.1 Nozzle Diameter

2.5mm

2.1 Nozzle Temperature

200 -210℃

2.2 Motor Speed

500000 Hz

3 mm/s

02 Arduino Circuit Design

03 Printing Design 3.1 Robot Speed

3.2 Waiting Time at Turning Point

3 mm/s

04 Cooling System 4.1 Air Compressor Pressure

05 Digital Model

Second layer

First layer

06 Model Photo 6.1 Result

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First layer

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EXTRUDER 2

Cooling System：

To Air compressor Support Air tube

Robot Part： Robot connection

Extruding Part： Tightening screws Stepper motor Extruder idler

Main gear Stepper gear

Heating System： Cooling fan Heat sink Main support

Nozzle throat Heaters

Nozzle

(4mm)

Printing temperature: Printing speed: Printing material:

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200°C 3-4mm/s PLA filament

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Extruder 2

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Printing Strategy: Spatial Printing

01 Extruder Design 4 mm

1.1 Nozzle Diameter

4 mm

02 Arduino Circuit Design 2.1 Nozzle Temperature

180 -190℃

180-190℃

2.2 Motor Speed

230400 Hz

250000 Hz

03 Printing Design 3.1 Plunge Distance

0 mm

3.2 Horizontal Displacement before Downward segment

0 mm

3 mm/s

4 mm/s

3.3 Robot Speed

3.4 Waiting Time at Turning Point

3.5 Waiting Time ahead Stop

1 Pa

04 Cooling System 4.1 Air Compressor Pressure

03 Model Photo

EXTENSIONS Extension plug-in is used to control the line and point more accurate,different parameters result in different performance of models. (Credict to Design Computation Lab UCL)

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Spatial Print Test

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3.2 T O OL PATH F I ND I N G

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T O O L PAT H D E V E L O P M E N T Rather than making toolpath in on direction, we develop it to both horizontal and vertical lines and present density in more complex way.

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WORKFLOW Robotically 3D Printing directly on vacuum forming sheet.

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PRINT TEST 01 After several tests, the layer height for contour print reduced to 2mm to make it tight, but how to make surface smooth is still exploring.

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VACUUM FORMING TEST 01

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S PAT I A L A N D C O N T O U R P R I N T T E S T 0 2

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VACUUM FORMING TEST 02

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S PAT I A L P R I N T I N G T E S T 0 3

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S PAT I A L P R I N T I N G 0 4 Compared to printing 03, printing 04 add top lines to make it harder.

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S PAT I A L P R I N T I N G T E S T 0 5 We devide model into two layers to ensure the structural stability.

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S PAT I A L P R I N T I N G 0 6 Other than the previous tests, we generate the toolpath based on cube grid. After comparasion, we find performance of the grid cubes is not good as previous toolpath.

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3.3 I N

S I T U R O B O T I C A L LY FA BR I C ATED FA Ã&#x2021; A D E SY S TEM

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I N S I T U F A B R I C AT I O N P R O C E S S The robotic fabrication can make it possible for in situ facade fabrication.

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I N S I T U F A B R I C AT I O N R E N D E R I N G

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Curtain Wall System VS In Situ Robotically Fabricated Facade System

Fabrication

Construction

Mass Produced

Discrete Assembly

Environmental impact

Factory Assembly + Transportation + On Site Assembly

Curtain Wall System

Mass Customized

ISRFF System

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Continuous

On Site Fabrication

/FABRICATION RESEARCH/

Light control

Cost

Materials

Weight

Binary

400 £ /m²

Glass + Aluminium

50 - 70 kg/ m²

Customizable

150 £ /m²

PETG/ACRYLIC + All Printable Materials

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5 - 20 Kg/ m²

04 FI NAL

D E S IGN

4.0 T OPOLO G I CAL OPT I M I SATION

/FINAL DESIGN/

Stress Analysis

H 1.6M * L 1M * W 0.3M

Perspective

Mesh Surface

Solid Surface

TOPSTRUCT TEST Topstruct is a software similiar to Millipede plug-in, the exports are stress line and mesh surface.

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Stress Analysis

H 1.6M * L 1M * W 0.3M

Process

Perspective

B side

A side

MILLIPEDE TEST 01 To achieve high resolution and gain smooth surface, we use monolith plugins in Millipede.

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Stress Analysis

H 1.6M * L 1M * W 0.3M

Views

Front Side

Back Side

MILLIPEDE TEST 02

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/FINAL DESIGN/

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Stress Analysis

H 1.6M * L 1M * W 0.3M

Views

Front View

Perspective Front Side

MILLIPEDE TEST 03

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Perspective Back Side

/FINAL DESIGN/

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4.1 F INAL T OOLPATH G E NE R AT ION

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THREE-DIMENSIONAL LINEAR STRUCTURES STUDIO FOR CONSIDERING STRESS LINES OF TOPOLOGICAL OPTIMISATION AS A TOOL PATH FOR ROBOTIC FABRICATION GRASSHOPPER SCRIPT - MILLIPEDE This script can be applied to different cases according to various loads and support situations. Each case shows 4 steps of 50 topological optimisation iterations. Quads represent the von Mises stress values regarding 5 domains. The von Mises value is a measure of the overall stress at each point combining the values of both principal stresses. Domains are created from minimum to maximum von Mises value (dark blue, cyan, green, yellow, red). Total values are divided in 50 domains, then simplified in 5, according to these: 1 DARK BLUE - 2 to 2 of 50. 2 CYAN - 3 to 4. 3 GREEN - 5 to 6. 4 YELLOW - 7 to 8. 5 RED - 9 to 49. Red dots are the more representatives, but the other colors, smaller values, gives the detail to the overall shape and the mesh. Stress lines are created for each Domain using seeds (the points of each color). There will be as many stress lines as seeds exists.

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CASE 01 10 Total supports - load + wind load 2 Bottom supports / XYZ displacement restricted. 8 Top supports/ Y displacement restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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CASE 02 4 Total supports - load + wind load 2 Bottom supports / XYZ displacement restricted 2 Top supports/ Y displacement restricted

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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CASE 03 4 Total supports - load + wind load 4 Supports / XYZ displacement restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

261

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

CASE 04 4 Total Supports - Load + Wind Load 2 Top Supports / XYZ Displacement Restricted. 2 Bottom Supports / Y Displacement Restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

265

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

266

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

CASE 05 4 Total supports - load + wind load 2 Bottom supports / XYZ displacement restricted. 2 Top supports / Y displacement restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

268

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

269

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

270

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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CASE 06 4 Total supports - load + wind load 4 Supports / XYZ displacement restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

273

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

274

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

275

/FINAL DESIGN/

CASE 07 4 Total supports - load + wind load 4 Supports / XYZ displacement restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

276

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

277

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

278

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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CASE 08 2 Total Supports - Load + Wind Load 2 Supports / XYZ Displacement Restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

280

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

281

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

282

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

CASE 09 4 Total supports - load + wind load 4 Supports / XYZ displacement restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

284

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

285

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

286

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

287

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CASE 10 4 Total supports - load + wind load 4 Supports / XYZ displacement restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

288

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

289

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

290

/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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CASE 11 4 Total supports - load + wind load 4 Supports / XYZ displacement restricted.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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BACK PERSPECTIVE

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FRONT VIEW

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3 DEGREES OF ABSTRACTION LINEAR STRUCTURES ARE SIMPLIFIED IN 3 STEPS.

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1ST DEGREE - FRONT VIEW

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2ND DEGREE - FRONT VIEW

300

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3RD DEGREE - FRONT VIEW

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THICKNESS OF LINEAR STRUCTURES ACCORDING TO QUADS INFO STRUCTURAL BEHAVIOUR IS RESPECTIVELY TRANSLATED INTO EACH STRESS LINE.

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S T R E S S VA L U E S C O M PA R I S O N

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L I N E A R S T R U C T U R E W H I C H T H I C K N E S S I S R E L AT E D T O T H E V O N M I S E S S T R E S S V A L U E S . Back Perspective

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L I N E A R S T R U C T U R E W H I C H T H I C K N E S S I S R E L AT E D T O T H E V O N M I S E S S T R E S S V A L U E S . Front View

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CASE 12 - BASE FOR ROBOTIC FABRICATION 4 TOTAL SUPPORTS - LOAD + WIND LOAD 4 SUPPORTS / XYZ DISPLACEMENT RESTRICTED. This case is selected for fabrication due to its relation to contemporary facade systems regarding its supports which does not allow displacement in any direction along the edges of the glazing. Also this case uses wind load values that in overall are smaller than the vertical loads, allowing to the linear structure to be equally distributed in the middle areas letting the matter to be arranged near the supports/corners where the stress should be maximum. The von Mises stress for each quad (total 63488 quads/points) . The von Mises stress is a measure of the overall stress at each point combining the values of both principal stresses. Number of iterations: 50 iterations Von misses Minimum value: 000000.00 Von misses Maximum value: 139002.91 5 Domains are created from minimum to maximum von Misses value (dark blue, cyan , green, yellow, red) Total values divided in 50 domains, then simplified in 5, according next domains (values smaller than 5000 are not considered): 1 DARK BLUE - 2 to 2 of 50. 5560 to 8340 von Mises stress value. 2 CYAN - 3 to 4. 8340 to 13900 von Mises stress value. 3 GREEN - 5 to 6. 13900 to 19460 von Mises stress value. 4 YELLOW - 7 to 8. 19460 to 25020 von Mises stress value. 5 RED - 9 to 49. 25020 to 139000 von Mises stress value. The thickness, height and shape of the robotic toolpath is based on this information, allowing the printed shape to have a structurally efficient behavior.

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3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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/FINAL DESIGN/

3D Mesh.

Three-dimensional Linear Structures.

3D Mesh and its respective 5 domains of Quads.

Stress lines related to the Quads inside the Mesh.

Quads according vonMises Stress values.

Stress lines created using the Quads as seeds.

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THREE-DIMENSIONAL STRESS LINES.

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STRESS LINES ACCORDING 5 DOMAINS OF VALUES.

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3 DEGREES OF ABSTRACTION LINEAR STRUCTURES ARE SIMPLIFIED IN 3 STEPS.

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/FINAL DESIGN/

1ST DEGREE - FRONT VIEW

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2ND DEGREE - FRONT VIEW

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/FINAL DESIGN/

3RD DEGREE - FRONT VIEW

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THICKNESS OF LINEAR STRUCTURES ACCORDING TO QUADS INFO STRUCTURAL BEHAVIOR IS RESPECTIVELY TRANSLATED INTO EACH STRESS LINE.

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FRONT VIEW

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FRONT PERSPECTIVE

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BACK PERSPECTIVE

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FINAL DESIGN : 3D LINEAR STRUCTURE The structure optimised topologically through 50 iterations. Based on stress lines, thickness according to von Mises stress values.

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R O B O T I C F A B R I C AT I O N T O O L PAT H D E V E L O P M E N T Maximum Height 12Cm Average Cell 4Cm Nozzle Diameter 4Mm.

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F I N A L T O O L PAT H - 3 L E V E L S Maximum Height 12Cm. Average Cell 4Cm. Total Printed Levels 3 (Each 4Cm). Nozzle Diameter 4Mm. Toolpath translates values from the 50 optimisation iterations into a spatially printed design structurally efficient. Cells related to each three-dimensional stress line varying in thickness in the XY plane, also more cells are created in higher parts of the lines giving a consistent behavior along each line.

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R O B O T I C F A B R I C AT I O N F I N A L T O O L PAT H Maximum Height 12Cm. Average Cell 4Cm. Total Printed Levels 3 (Each 4Cm). Nozzle Diameter 4Mm.

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/FINAL DESIGN/

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/FINAL DESIGN/ /MULTI-MATERIAL BUILDING SKINS/

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E L E V AT I O N - R O B O T I C F A B R I C AT I O N

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/FINAL DESIGN/

332 332

/FINAL DESIGN/

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4.2 FA BR I C ATION PR OC E SS

/FINAL DESIGN/

3D Mesh and its respective 5 domains of Quads. Quads according to vonMises stress values.

3D Mesh and its respectives quads.

Lines abstraction - 1st iteration.

Lines abstraction - 2nd iteration.

lines abstraction - 3rd iteration.

Thickness according to stress values.

Robotic fabrication 4mm clear PETG spatial printing.

Vacuum form PETG 2mm plastic sheet over linear structure.

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Stress lines generated using the quads related to the mesh as seeds.

/FINAL DESIGN/

Robotically 3D Printing

Printing one side flat model on Transparent Acrylic Sheet

Vacuum Forming on another side

Combining Acrylic Sheet with VF Plastic Sheet

Processing by Heat Gun

M A N U FA C T U R E P R O C E S S

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AIRTIGHT LINEAR STRUCTURES PETG PLASTIC SHEET 2mm. ACRYLIC SHEET 3mm. This process presents the advantage of avoiding the use of a CNC machine and the consequent material waste for generating a preform for vacuum over it. The result, a fully translucent hermetic linear structure, presents a valuable way of manufacturing structurally efficient facade designs incorporating robotic fabrication.

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PRINTING PROCEED

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PRINTING PROCEED

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4.3 A RC H I T E C TURAL PR OPO SAL

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A PPE ND IX

1 DI G I TA L

R E SEARCH

PAR T IC LE -B AS E D

LIQUID

SI M U L AT I ON

/APPENDIX/

1.1 DEFINITION OF PARAMETERS In order to test out the physical principle in a digital environment, a simulation was set out using blue wax and glass wax ,which density was attributed at 1000kg/m3 and 1300kg/m3 respectively. A vortex daemon was placed at the centre of the container and the two materials were released into mould in two times. It is obviouly can be found higher density one was in outside of the mould and fused with lower density in a gradient.

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Particles Type Standard particles - Cylinder Property of Particles Resolution: Density: Viscosity:

Particle A 5 1000 3

Particle B 5 1300 3

Size of the container Scale 5 Frame Speed (Particle A) Speed (Particle B)

0- 75 1 0

75-100 0 0

100-175 0 1

1750 0

Diagram

frame 140

frame 150

frame 197

frame 210

frame 250

frame 280

frame 300

frame 320

frame 61

S I M U L AT I O N 0 1 A vortex daemon was placed at the centre and the glass wax (transparent)and blue wax (yellow) were released into a cylindrical mould with a time lag between the first and second pouring.It can be found that the glass wax(red) was at the end of the container and also mixed with the glue wax in the middle.

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/APPENDIX/

TEST 01

Mesh renderings show how the high desity liquid (red) and low density liquid (transparent) mixed together under a centrifugal force.

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/APPENDIX/

Particles Type Standard particles - Triangle Property of Particles Particle A Resolution: 5 Density: 1000 Viscosity: 3

Particle B 5 1300 3

Size of the container Scale 5 Frame Speed (Particle A) Speed (Particle B)

0- 75 1 0

75-100 0 0

100-175 0 1

1750 0

frame 20

frame 70

frame 90

frame 105

frame 150

frame 170

frame 220

frame 260

frame 300

frame 330

frame 360

frame 450

S I M U L AT I O N 0 2 Substances can not mix well by circle emitter in quadrangular prism container, the edge of which only remain the lower density material after vortex.

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/APPENDIX/

TEST 02 Mesh Renderings

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/APPENDIX/

Particles Type Standard particles - Rectangle Property of Particles Particle A Resolution: 5 Density: 1000 Viscosity: 3

Particle B 5 1300 3

Size of the container Scale 5 Frame Speed (Particle A) Speed (Particle B)

0- 75 1 0

75-100 0 0

100-175 0 1

1750 0

frame 30

frame 50

frame 60

frame 73

frame 110

frame 150

frame 170

frame 300

frame 200

frame 360

frame 220

frame 450

S I M U L AT I O N 0 3

In order to test out other situations that can influence materials mixture, the two waxes were also released by different shapes of emitters and into different shape of containers. Test 02 happened in quadrangular container and substances were released by circle emitter. However, two sub stances could not mix well due to the existing of corners in container .

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/APPENDIX/

TEST 03

Mesh rendering

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/APPENDIX/

1.2 PATTERN FINDING 2D Followed by last test , we try the flows with blocks and various combinations , and then we use the filled object as a container like injection moulding ,injecting materials into mould, which aims to simulate the reality's manufacture. Material for the part is fed into a heated barrel, mixed, and forced into a mould cavity. We find that at first it likes the former test we did ,but eventually the injections will splash out and mixed with the filled materiel.

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/APPENDIX/

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Particles Type Standard particles - Square Property of Particles Particle A Resolution: 10 Density: 800 Viscosity: 30 Int pressure 1 Size of the cube Scale 5(x) 1(y) 6(z)

Particle B(fill) 5 700 10 2

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S I M U L AT I O N P R O C E S S 0 5 Particles rendering

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S I M U L AT I O N P R O C E S S 0 5 One mesh for two particles rendering can only show the outside mixing,so we also use two meshes rendering for each paricle and combined with one mesh rendering to see the inside.

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Particles Type Standard particles - Square Property of Particles Particle A Resolution: 10 Density: 800 Viscosity: 30 Int pressure 1 Size of the cube Scale 5(x) 1(y) 6(z)

Particle B(fill) 5 700 10 2

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S I M U L AT I O N P R O C E S S 0 6 Particles rendering

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S I M U L AT I O N P R O C E S S 0 6 Mesh rendering

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Particles Type Standard particles - Square Property of Particles Particle A Resolution: 10 Density: 900 Viscosity: 25 Int pressure 1 Size of the cube Scale 5(x) 1(y) 6(z)

Particle B(fill) 5 700 10 2

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S I M U L AT I O N P R O C E S S 0 7 Particles rendering

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S I M U L AT I O N P R O C E S S 0 7 Mesh rendering

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Particles Type Standard particles - Square Property of Particles Particle A Resolution: 10 Density: 900 Viscosity: 25 Int pressure 1 Size of the cube Scale 5(x) 1(y) 6(z)

Particle B(fill) 5 700 10 2

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S I M U L AT I O N P R O C E S S 0 8 Particles rendering

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Velocity Frame 80

Frame 70-75-80 Motion Curve

S I M U L AT I O N P R O C E S S 0 8 ( PA R T I C L E T R A C E ) Since driping is used to generate the injection effects, programming of paritcles movement is a very important parameter for the project .So we import particles into grasshopper and adobe illustrator to simulate the motion of particles , the first picture shows frame 80 particle's speed; the second one shows in adjent frames how particles move.

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Particles Type Standard particles - Square Quadrangular Property of Particles Particle A Resolution: 10 Density: 800 Viscosity: 30 Int pressure 1 Size of the cube Scale 5(x) 1(y) 8(z)

Particle B 10 700 25 1

S I M U L AT I O N P R O C E S S 0 9 Particles rendering

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Particle C(fill) 5 1000 10 2

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One mesh for three particles

Mesh for each particle

S I M U L AT I O N P R O C E S S 0 9 One mesh for two particles rendering can only show the outside mixing,so we also test two meshes rendering for each paricle .

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1.3 PATTERN FINDING 3D Followed by last research ,flows are tested with blocks and various combinations in 2D, then we try to figure out patterns in 3D, we release the liquid in top and add different shapes and cominations of geometries beneath particles. We find that the braches in pattern will change according to the geometries.

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3D DIAGRAMS: Spatial Geometry Spheres: 12 Modified Spheres: 5 PARAMETERS: Square 01 Emitter - Standard Type: Liquid Resolution: 7 Density:1000 Int Pressure: 1.0 External Pressure: 1.0 Viscosity: 30.0 Surface Tension: 0.0 Speed: 0.5 Square 02 Emitter - Standard Type: Liquid Resolution: 7 Density: 750 Int Pressure: 1.0 External Pressure: 1.0 Viscosity: 30.0 Surface Tension: 0.0 Speed: 0.7 Gravity01 Daemon Affect:Force Enable falloff: No Strength: 0.5

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S I M U L AT I O N 1 0 Particles rendering

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S I M U L AT I O N 1 0 Particles rendering

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S I M U L AT I O N 1 0 Mesh rendering

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3D DIAGRAMS: Spatial Geometry Spheres: 12 Modified Spheres: 9 Semi-sphere: 1 Cylinder: 1 PARAMETERS: Square 01 Emitter - Standard Type: Liquid Resolution: 7 Density:1000 Int Pressure: 1.0 External Pressure: 1.0 Viscosity: 30.0 Surface Tension: 0.0 Speed: 0.5 Square 02 Emitter - Standard Type: Liquid Resolution: 7 Density: 750 Int Pressure: 1.0 External Pressure: 1.0 Viscosity: 30.0 Surface Tension: 0.0 Speed: 0.7 Gravity01 Daemon Affect : Force Enable falloff: No Strength: 0.5

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Frame 49

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S I M U L AT I O N 1 1 Particles rendering

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S I M U L AT I O N 1 1 Particles rendering

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S I M U L AT I O N 1 1 Mesh rendering

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3D DIAGRAMS: Spatial Geometry Spheres: 12 Modified Spheres: 4 Semi-sphere: 1 Modified Semi-spheres: 1 Cylinder: 1 Thorus: 1 Cone: 1 PARAMETERS: Square 01 Emitter - Standard Type: Liquid Resolution: 7 Density:1000 Int Pressure: 1.0 External Pressure: 1.0 Viscosity: 30.0 Surface Tension: 0.0 Speed: 0.5 Square 02 Emitter - Standard Type: Liquid Resolution: 7 Density: 750 Int Pressure: 1.0 External Pressure: 1.0 Viscosity: 30.0 Surface Tension: 0.0 Speed: 0.7 Gravity01 Daemon Affect:Force Enable falloff: No Strength: 0.5

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Frame 49

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S I M U L AT I O N 1 2 Particles rendering

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S I M U L AT I O N 1 2 Particles rendering

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S I M U L AT I O N 1 2 Mesh rendering

387

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RENDERING Mesh rendering

388

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389

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3D DIAGRAMS: Spatial Geometry Spheres:12 Modified Spheres: 8 Semi-sphere: 2 Cylinder: 1 Thorus: 1 Cone: 1 PARAMETERS: Circle 01 Emitter - Standard Type: Liquid Resolution: 7 Density:1000 Int Pressure: 1.0 External Pressure: 1.0 Viscosity: 30.0 Surface Tension: 0.0 Speed: 0.5 Square 02 Emitter - Standard Type: Liquid Resolution: 7 Density: 750 Int Pressure: 1.0 External Pressure: 1.0 Viscosity: 30.0 Surface Tension: 0.0 Speed: 0.7 Gravity01

Affect:Force Enable falloff: No Strength: 0.5

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Daemon

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Frame 49

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S I M U L AT I O N 1 3 Particles rendering

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S I M U L AT I O N 1 3 Particles rendering

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S I M U L AT I O N 1 3 Mesh rendering

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1.4 MECHANICAL GRADIENTS 16 Emitters 8 Glass Wax emitters 8 Blue Wax emitters Speed of emitters decrease and increase respectively during the movement of the emitters along the Z axis.

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S I M U L AT I O N 1 4 White mesh represent the Z axe volume graded material.

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S I M U L AT I O N 1 4 X-RAY and render view

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S I M U L AT I O N 1 4 Mesh rendering

399

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S I M U L AT I O N 1 4 Detail view rendered model

400

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S I M U L AT I O N 1 4 Detail view rendered model

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1.5 VISUALISATION Mesh + MeltShader The renderings previously shown represent only one material for each particle system. In this section we develop a new technique to represent two materials in a single spatial unit, a polygonal mesh. This allows us a better understanding of the graduation process that actually occurs in the particle system.

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403

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2 Meshes MAYA 2016: Mental Ray + RealFlow Connect

1 Mesh Realflow MeltShader MAYA 2016: Mental Ray + RealFlow Connect

S I M U L AT I O N 1 5 Detail view rendered model

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Top image (1 mesh), Botom image (2 meshes)

S I M U L AT I O N 1 5 We can appreciate that we get different results depending on whether we use a mesh for both or one for each material individually. One of the problems presented by this Shader is when it is used to represent materials with a high degree of transparency, the interior remains empty because the mesh creates only the envelope of both systems of particles, not showing the simulated geometry, consequently a loss of information.

405

2 PH Y SI C A L

TES TS

2.1 WA X

G RAD IEN T CONTINUOUS

S TUDY

GR ADI E NT

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WAX MIXTURES IN D I F F E R E N T R AT I O S FIRST STUDY ABOUT MATERIAL PROPERTIES As our aim is to research about multi-material, we started with mixing some simple material, like wax. The reason why wax is selected is that it is common, cheap and, most importantly, has two physical statuses according to temperature. So it is easy to mix and control the material gradient while testing. We choosed blue wax and glass wax for our first test. They were melted seperately in pot and mixed with certain proportion in the same volumn container, and we got the samples of these wax mixtures.

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MATERIAL PROPERTIES Glass Wax Waxy Solid Physical state Colour Trasparent Melting point / range 115 °C Pouring point / range 120-140°C Flash point > 200°C Autoignition point > 300°C Relative density 0.95-1.05 Solubility Water Insoluble Ethanol Insoluble Ether Soluble

Blue Wax Physical State Waxy Solid Colour Blue Boiling Point Range Above 300°C Melting Point/Range 105-115°C Flash Point (closed) Above 280°C Viscosity 170°C 1000 cps 150°C 1600 cps 130°C 2750 cps Relative Density 0.94g/cm3 @ 20°C Ash Content% 0.03 max Solubility in Water Insoluble Stability Stable

BENIFITS OF WAX EASY TO GET FROM SHOPS At first, we searched online before purchasing in shop. Some materials are really hard to buy or have limited options. Compare to the other materials, wax is a kind of common thing that available in shops.

HAS TWO DIFFERENT STATUSES ACCORDING TO TEMPERATURE As the require of continuouslly gradient over volume, the materials we need should have two status (liquid and solidity) and can be transfered easily. So the gradient can be achieved when they are fluid. Wax is perfectly suit our need in this point. Its properties vary from the temperature.

DO NO NEED HARSH CONDITIONS WHEN OPERATION The melting point of wax is around 120 degree Celsius and the wax can be heated repeatedly (unlike plastic). So we only need to melt the wax to fluid status by using the cooking pots and hobs before we made vary proportions of different waxes.

GLASS WAX IS ONE OF THE RARE TRANSPARENT MATERIALS In the former part, we decided to research the transparency and opacity. In order to achieve the transparency, one of the mixing materials should be transparent. There are few kinds of totally transparent materials that we are able to get from shop (glass, polycarbonate, glass wax etc). Glass wax is the best choice for us.

SIMILAR PROPERTIES OF TWO WAXES As shown in the bottom, the density and melting points are quite closed to each other (approximately120° ). That means they have more possibility to mix well and show the gradient in volume.

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MIXING PROCESS

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100% Glass wax 0% Blue wax

99% Glass wax 1% Blue wax

98% Glass wax 2% Blue wax

97% Glass wax 3% Blue wax

96% Glass wax 4% Blue wax

94% Glass wax 6% Blue wax

92% Glass wax 8% Blue wax

90% Glass wax 10% Blue wax

80% Glass wax 20% Blue wax

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70% Glass wax 30% Blue wax

60% Glass wax 40% Blue wax

50% Glass wax 50% Blue wax

40% Glass wax 60% Blue wax

20% Glass wax 80% Blue wax

10% Glass wax 90% Blue wax

0% Glass wax 100% Blue wax

M AT E R I A L M I X I N G S T U D Y In this experiment, the proportions of glass wax and blue wax were changed to see the different mixing outcome. When the proportion of blue wax increased from 0 to 20%, the models gradually transfered from transparency to opacity. And the model is completely opaque when the percentage reached 30%. Based on this formal research, we proceeded to study more about transparency with wax. So we choosed the proportion of blue wax ranged from 0-20% to test the gradient.

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100% Glass wax 0% Blue wax

99% Glass wax 1% Blue wax (Top)

99% Glass wax 1% Blue wax (Bottom)

98% Glass wax 2% Blue wax (Top)

98% Glass wax 2% Blue wax (Bottom)

97% Glass wax 3% Blue wax (Top)

97% Glass wax 3% Blue wax (Bottom)

96% Glass wax 4% Blue wax (Bottom)

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94% Glass wax 6% Blue wax (Bottom)

92% Glass wax 8% Blue wax

90% Glass wax 10% Blue wax

80% Glass wax 20% Blue wax

70% Glass wax 30% Blue wax

60% Glass wax 50% Blue wax

50% Glass wax 50% Blue wax

D E TA I L S O F D I F F E R E N T P R O P O R T I O N O F M I X T U R E S These two pages shown the mixing details of the wax mixtures. The mixtures are not homogeneous because of the viscosity and density. The top and bottom part of the models appeared different. However, with the proportion of blue wax rise, the color of mixtures are too dark to see the difference clearly.

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A P P LY I N G A G R A D I E N T INTO A TRIANGULAR SHAPE STUDY ABOUT MULTI-MATERIAL AND MATERIAL GRADIENT After achieving different proportions of wax mixtures, we focused on how to create gradient in one piece of model. The way we used was to prepare all the proportions of wax we need at first and placed them in the mould in some specific pattern we wanted. Then putting the mould and wax mixtures into the oven to melting them together. The advantage is that the gradient we made was controllable to some degree. The disadvantage is that time spent in this method is far too much.

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MIXING PROCESS Different proportions of wax mixture were made seperately in baking tray before melting them together in oven in certain gradient pattern.

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Proportion of blue wax

Different gradients of wax

Light test

Model photo

GLASS WAX AND BLUE WAX MIXING STUDY

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EXPERIMENTS WITH NEW TYPES OF WAX In previous study, we kept using blue wax and glass wax to make mixtures. As we wanted to study more about the material properties when achieving gradient, we chose microcrystalline wax and green casting wax as two new materials to mix with glass wax in the following models.

REASONS TO CHOOSE MICROCRYSTALLINE WAX AND GREEN WAX At first, we tried to avoid the colour interfere in study. So we chose white microcrystalline wax to mix with glass wax. Then in order to compare with blue wax, another coloured wax was needed to mix with glass wax or microcrystalline wax. Green castin wax was chosen because it has similar melting point with microcrystalline wax and is softer than blue wax.

CONCLUSION OF EXPERIMENTS Microcrystalline wax was not as easy to control as we thought although it has lower melting point and is very easy to melt. It is too fluid and super light (like water) when it become liquid condition, which caused a lot of troubles when it melted with other wax. Microcrystalline wax will float up to the surface when heated, so the gradient pattern will not be as clear as it suppose to be. Green casting wax performed quite well compared to microcrystalline wax. It was like blue wax when mixing and heating, although they have different physical properties.

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Glass Wax

Physical state Waxy Solid Colour Trasparent Melting point / range 115 °C Pouring point / range 120-140°C Flash point > 200°C Autoignition point > 300°C Relative density 0.95-1.05 Solubility Water Insoluble Ethanol Insoluble Ether Soluble

Blue Wax

Physical State Waxy Solid Colour Blue Boiling Point Range Above 300°C Melting Point/Range 105-115°C Flash Point (closed) Above 280°C Viscosity 170°C 1000 cps 150°C 1600 cps 130°C 2750 cps Relative Density 0.94g/cm3 @ 20°C Ash Content% 0.03 max Solubility in Water Insoluble Stability Stable

Green Casting Wax

Physical State Waxy Solid Colour Green Melting point 63ºC-66ºC. Flash Point >200ºC It is used in lost wax casting. The wax casts easily, withstands handling when cold without cracking, and burns out cleanly.

Microcrystalline Wax (Pellets)

Melting Point approximately 71ºC (160ºF) Physical state at 20ºC Solid. Colour Off White. Odour Neutra Flashpoint > 190ºC Relative Density 0,89 – 0,96 (20ºC) Viscosity approx. 13 mPa.s (100ºC) Nontoxic, almost odourless wax, very fluid when melted. This wax has a wide variety of uses, being flexible, ductile, cohesive, nonstaining. Uses include polishes, modelling, candle making and blending with other waxes.

M AT E R I A L P R O P E R T Y

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12%

15%

18%

12%

15%

18%

Proportion of blue wax

Different gradients of wax

Light test

Model photo

MICROCRYSTALLINE WAX + GLASS WAX

MICROCRYSTALLINE WAX + GREEN CASTING WAX

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12%

15%

18%

12%

15%

18%

Proportion of blue wax

Different gradients of wax

Light test

Model photo

GREEN CASTING WAX + GLASS WAX

MICROCRYSTALLINE WAX + GREEN CASTING WAX + GLASS WAX

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A P P LY I N G A G R A D I E N T I N T O A R E C TA N G U L A R SHAPE STUDY ABOUT MATERIAL GRADIENT The third step was that we study more possibilities about gradient achievements in wax mixtures. Instead of using triangular mould, we choosed rectangular shape which was more common and had larger size for us to apply different gradient pattern to. Before started, we used RealFlow to simulate the result. But the outcomes were quite different to simulation because of other factors, such as operation mistakes or physical properties. Apart from these, we also scaled the whole pattern and made a larger piece of model at the end. As the disadvantages aforementioned, the bigger model was too timeconsuming.

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10%

20%

15%

10%

15%

20%

15%

10%

15%

10%

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10%

15%

10%

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Light test

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20%

10%

20%

10%

15%

20%

10%

15%

10%

20%

10%

20%

15%

10%

15%

10%

20%

10%

20%

10%

15%

20%

Proportion of blue wax

Different gradients of wax

Light test

Model photo CONCLUSION The density of microcystalline wax is much lower than others, so the mixing results were not as good as simulations. The microcystalline wax floated above when heated in oven. And the turbulence of operation also cause the movement of the pattern. So the final patterns are somehow unpredictable. For further experiments, we avoided the microcystalline wax and used glass wax as before.

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10%

20%

15%

10%

15%

20%

10%

15%

10%

15%

10%

15%

10%

15%

20%

15%

10%

15%

10%

15%

10%

15%

10%

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15%

10%

15%

20%

Proportion of blue wax

Different gradients of wax

Model photo

CONCLUSION The outcomes were better by using blue wax and glass wax, and the patterns were more clear to see.

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20%

15%

20%

15%

10%

5% 5%

10%

15%

10%

5% 5%

20%

5% 5%

CONCLUSION Using the same methods, we tried to scale the pattern by melting them in oven piece by piece. Also, we reduced the size of every block of proportion of wax mixture to achieve the smoother gradient. As the result shown above, it did not improve too much and cannot get the 3D shape through this method. So we need to find another way to do physical model.

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2.2 M ULT I-MAT E R IAL 3D P RIN T I NG S TE P-WIS E

GR ADI E NT

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M U LT I - M AT E R I A L 3 D P R I N T I N G POLYJET TECHNOLOGY 3D Printer jets layers of UV-curable liquid photopolymer onto a build tray Microscopic layer resolution 0.1 mm Widest range of materials available with any technology

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POINT CLOUD / CUBE CLOUD

SPHERE Tri Poly Mesh:

760 Triangles

CUBE Tri Poly Mesh:

12 Triangles

Sample Model // 10mm Cube Testing Resolution 0,5 mm cubes 1,0 mm cubes

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Cloud point from simulations

SLICED POINT CLOUD

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SLICED POINT CLOUD

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P O LY J E T M U L T I - M A T E R I A L P R I N T : 2 M A T E R I A L S Acrylic based model

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P O LY J E T M U L T I - M A T E R I A L P R I N T : 1 1 M A T E R I A L S Acrylic based model

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2 Materials 3D Print

3D PRINTING MODEL

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11 Materials 3D Print

3D PRINTING MODEL

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3 RE SPO NSIV E B UI LD I NG S KIN R E SE A R CH

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O PA C I T Y T O T R A N S PA R E N T : L I G H T C O N T R O L I N FA C A D E As curtain wall technology matures, curtain walls are widely used in modern society, however there are still some problems such as the glare caused by unwanted light and spatial distribution, etc., Functional graded materials as a new multi-material we study may have methods to solve these problems. Based on opacity and to transparency ,this paper aims to analyze and compare functional graded materials with contemporary curtain walls from light perspective and explore methods to make better light control in architecture .It is also a literature review of previous research.

INTRODUCTION Opacity to transparency: Scientific and Theoretical, Literal and Phenomenal “In the field of optics, transparency (also called pellucidity or diaphaneity) is the physical property of allowing light to pass through the material without being scattered.” In 1941 Siegfried Gideon, in his book Space, Time and Architecture, first linked paintings with architecture, analyzing some of the similarities between the Bauhaus and Cubist paintings. He defined this kind of surface-to-surface mutual penetration as transparency. (Giedion 1956) In 1944 Gyorgy Kepes used the Gestalt psychology principle in his book Language of Vision to describe the phenomenon that two or more figures were given the transparent character when they shared bottom. Colin Rowe and Robert Slutzky’s definition of transparency was precisely the critical analysis of and reference to Sigfried Gideon and Gyorgy Kepes. Colin believed that the "transparency" found by Gideon in the Bauhaus was only the transparency of glass materials, that is, the phenomenal transparency. They analyzed two different Cubist paintings: La Sarraz by Moholy Nagy and the Three Faces by Leger. In Moholy Nagy’s work, although the planes and elements appear to be intertwined arbitrarily, it is still possible to separate the medium and the background of the foreground. Leger ‘s work adopted two-dimensional themes, the color of flat-painted, clear relationship between the figure and ground. Leger focused on the formal structure and Moholy Nagy paid attention to materials and light. Turning to architecture, Colin Rowe pointed out similarities between Bauhaus in Gropius and Moholy Nagy's painting, which were both about the role of materials and light. From the facade of Villa Savoye by Le Corbusier we can read the layered space phenomenon, the interaction between deep space and shallow space, the tension between fact and morality, and the impetus for further interpretation. Therefore, the Bauhaus school must use oblique perspective to convey the transparent characteristics of glass, and Le Corbusier’s work tends to be parallel projection display (Figure1.1). Colin Row and Slutzky defined the former as literal transparency and the latter as the phenomenal transparency. (Colin Rowe and RobertSlutzky1963) “No space, architecturally, is a space unless it has natural light.” Louis Kahn. Light is an essential element in transparency and plays an important role in architectural design. The physical and psychological environment that is related to the shape of a room established indoors by light (illuminance level and distribution, form of illumination) and color (hue, saturation, indoor color distribution, color appearance (Figure1.1). Surface of the interior space, color, form and decoration are selected through the decorative materials, optical thermal, texture, color and diffusion effects. The most basic requirements about good light environment contains followings: 1) A satisfactory balance of brightness throughout the room 2) The right proportion of direct and indirect light 3)The absence of glare from the sky or sun. Good light environment based lighting quality, which also has influence to different aspects (Fig1.2)

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1.1 The different prespective to see the building 1.2 The comfortable of light condition 1.3 Light glare 1.4 Light glare 1.5 Light glare 1.6 Light glare

Human needs ·visibility ·task performance ·visual comfort ·social communication ·mood and atmosphere ·health,safety,well being ·aesthetic judgment

Economic,energy efficiency and the environment ·installation ·maintanance ·operation ·energy ·environment

Le Corbusier's View

Lighting Quality

Gropius's View 1.1

1.2

1.3

1.4

1.5

1.6

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Architecutre and other building-or site-related issues ·form ·composition ·style ·codes and standards ·safety and security ·daylighting

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1 GLARE OF CURTAIN WALL In Oxford Dictionary the definition of “Glare” is unpleasantly bright or strong light. Usually, glare can be divided into followings by cause (Fig 1.3 &1.4 & 1.5 &1.6): (1) Discomfort Glare If the glare sources are not too bright, they are merely a nuisance and do not directly interfere with vision. This condition is called discomfort glare. (2) Disability Glare If the luminance of the glare source is much higher, disability glare arises. This causes the adaptation level of the eye to increase resulting in in a reduced contrast of the object. Another approach to glare classification is based on the cause of the glare sensation: (3) Direct glare This is caused by light sources such as candles, artificial light fittings, or windows. (4) Indirect glare Even if the light source itself cannot be seen by the observer, very reflective or glossy objects can cause bright splotches acting as indirect sources. In this case, a further differentiation may be made into 1) Reflected glare: The patches are so bright that they create discomfort; 2) Veiling reflection: The patches only reduce the contrast of the object. Here it refers to the curtain wall with coated glass or coated glass, when direct sunlight and sky light shines on the glass surface due to glass specular reflection (regular reflection) resulting in reflected glare (Fig 1.8 &1.9). Use glass with low glare properties. Through the research, development and use of new glass materials, or the treatment of existing glass, the harmful reflected light can be effectively controlled without increasing the indoor thermal effect (that is, the energy saving effect will be better), which is the most simple and effective solution to light construction techniques for reflection problems. Different glass type can be used : reflective, low-iron, anti-reflective, etc. Luminance Curve System The Luminance Curve System (LCS) is used in many countries. It provides quick answers through simple to use graphs. To assess the glare situation, the most critical work place within the room is looked at. From here, the

2 ENERGY CONSERVATION Building curtain wall, especially glass curtain wall is the most active and sensitive part of heat exchange in building envelope structure. Therefore, energy-saving technology has been accompanied by the development of curtain wall all along. At this stage, the main measures to improve the thermal insulation performance of the curtain wall are to reduce the heat transfer coefficient (such as coated glass, LOW-E glass, heat-reflective glass, insulating glass and insulating aluminum bridge) to reduce the air heat loss and eliminate structural system "thermal bridge" to reduce the open sash area, improve its sealing, etc., remaining in the negative fortification design stage. The design of the curtain wall in the future should be proactive, using passive fortification to regulate heat and heat to take the initiative to use energy. Several major development directions are the ventilation type curtain wall, the intelligent curtain wall and the photoelectric curtain wall.

3 REFLECTION TO SPATIAL ORGANIZATION There are no clear rules for spatial organization in the curtain wall since opacity to transparency is usually evenly distributed and light does not change much. The light itself relates to architecture form, style and organization .Flexibility will be a key in influencing day lighting design. Nowadays, for the benefit of people, designers are expected to consult the occupants and satisfy their perceptions and needs (Fig 1.10 & 1.11) that is light design correspond to different programs or different zones in floor.

REFERENCE Giedion, Sigfried. 1956. Space, Time and Architecture: The Growth of a New Tradition. The Charles Eliot Norton Lectures. http://books.google.com/books?id=ZHZnmKxkGMwC&pgis=1. Rowe, Colin, and Robert Slutzky. 1963. “Transparency: Literal and Phenomenal.” Perspecta 8 (1963):44– 54. https://doi.org/10.1162/104648803321672906.

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The Visible Spectrum RADIO

GAMMA RAY

103m

MICROWAVE

10-5m

10-2m

600nm

700nm

INFARED(IR)

ULTRAVIOLET(UV) X-RAY

10-8m

10-10m

500nm

10-12m

400nm

1.7

1000

luminance in terms of adapatation level

glare region 100

incident light

diffuse light

1 0.1

100

1000 adapatation level

0.1

0.01

0.001

brightness too low for useful vision

1.8

Kitchen

Living

1.9

Dining

Hall

Diagram

Gradient translation

1.11

Perforation patten 1.7 The visible specrum of different lights. 1.8 Luminance in terms of adapatation levels. 1.9 How light go through the glass. 1.10 The Luminance in different area of home. 1.11 How facade design influence light behaviour in interior space (e.g.Working Space) 1.10

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3.1 L I Q U ID MOV E M E NT ST UD Y PAR T IC LE -B AS E D

LIQUID

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Fill object + Emitters on the top Parameters Resolution Viscosity Density Speed Daemons Gravity

Frame 120

Frame 480

1 3 1000 2 9.8

Frame 240

Frame 600

Frame 360

Frame 700

I N J E C T I N G L I Q U I D AT T H E T O P O F T H E G L A Z I N G C H A M B E R S Five emitters were placed on the top of main four glazing and injected coloured water inside. As shown above, the liquid went down from top to the bottom and shown the different gradient through the glass.

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Particle movement

Rendering

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Fill object + Emitters at the edges Parameters Resolution Viscosity Density Speed Daemons Gravity

Frame 60

Frame 240

1 3 1000 5 9.8

Frame 120

Frame 300

Frame 180

Frame 363

I N J E C T I N G L I Q U I D AT T H E E D G E S O F T H E G L A Z I N G C H A M B E R S Emitters placed on the top of main four glazing were injected coloured liquid inside. Same as injecting on the top, it created gradient shading on the glazing part and the outcome was quite similar.

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Particle movement

Rendering

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Fill object + Emitters at the edges Parameters Resolution Viscosity Density Speed Daemons Gravity

Frame 120

Frame 480

1 3 1000 8 9.8

Frame 240

Frame 600

Frame 360

Frame 700

I N J E C T I N G L I Q U I D AT T H E E D G E S O F T H E G L A Z I N G C H A M B E R S Different from the previous simulation, emitters placed at the top of the edges. So the liquid has higher height to flow. The output above shown that the gradient was more smoother than last one with emitters at the middle place of the edges.

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Particle movement

Rendering

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Emitters at the edges Parameters Resolution Viscosity Density Speed Daemons Gravity

Frame 05

Frame 36

1 1 1000 10 9.8

Frame 12

Frame 54

Frame 18

Frame 69

FILLING THE GLAZING CHAMBERS WITH TWO KINDS OF LIQUID Rather than injecting coloured liquid into clear water, another kind of simulation was done by filling the glass by emitters with both clear water and dyed liquid. Three kinds of emitters (with clear water, light blue liquid and dark blue liquid) were placed at the top, middle and bottom place of the edges. The gradient is good but it took more time to fill the whole containers.

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Frame 05

Frame 12

Frame 18

Frame 36

Rendering

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Emitters at the top and bottom Parameters Resolution Viscosity Density Speed Daemons Gravity

1 1 1000 2 9.8

Frame 40

Frame 80

Frame 110

Frame 220

Frame 330

Frame 437

FILLING THE GLAZING CHAMBERS WITH TWO KINDS OF LIQUID Emitters with clear water were placed at the top and other emitters with coloured liquid were at the bottom. These two kinds of liquid mixed and created good shading compared with the first simulation.

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Frame 40

Frame 80

Frame 220

Frame 330

Rendering

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3.2 D YN AMIC SHADING SY ST EM

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SHADING SYSTEM Shading system play an important role to fulfil the desired minimal illumination level in the interior space. But usually they are in fixed position and in uniformed distribution, can not perform correspond to different interior space. So active shading systems in buildings have emerged as a high performing shading solution that selectively and optimally controls daylight and heat gains. Dynamic shading system is one of it , the project uses the fluid liquid inside the glazing part in facade which can change and control the different transparency , the color also the temperature responded to interior activities.

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Sunlight source

Arduino

Facade

Recycle button

Light sensor

Liquid source different gradient

Water pump

Pump and sensor systems

Three LEDs represent Water Pumps

Fluid systems

Recycle

Three buttons

Light Sensor

Arduino UNO

Humidity Sensor

ARDUINO CONTROL SYSTEM In physical test we use the arduino to control the pump and sensor work together.The project sets the values of light sensor . The different pumps works responded to different value , when the liquid in facade each the humidity sensor , the pump would stop working. The whole system is also a recycle system, which can drain the liquid from the facade part to oringinal containers. Next the project will be applied to combine the liquid and structure together to see how the whole faรงade works.

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465

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