STUDIO
AIR
TUTOR: CHELLE (XUYOU) YANG STUDENT NAME : NGHI LUU
2018 SEMESTER 1
THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE BUILDING & PLANNING MELBOURNE SCHOOL OF DESIGN BACHELOR OF ENVIRONMENT || MAJOR IN ARCHITECTURE ARCHITECTURE STUDIO AIR (ABPL30048_Sem1_2018) Tutor: Chelle (Xuyou) Yang Written by: Nghi Luu (825757)
TABLE OF CONTENTS
Page
INTRODUCTION
4-5
PART A 1
DESIGN FUTURING
8 - 13
2
DESIGN COMPUTATION
14- 19
3
COMPOSITION / GENERATION
20 - 25
4
CONCLUSION
26
5
LEARING OBJECTIVES AND OUTCOME
27
6
APPENDIX
28 - 29
1
RESEARCH FIELD
34 - 43
2
CASE STUDY 1.0
44 - 55
3
CASE STUDY 2.0
56 - 61
4
TECHNIQUE: DEVELOPMENT
62 - 73
5
TECHNIQUE: PROTOTYPES
74 - 85
6
TECHNIQUE: PROPOSAL
86 - 95
7
LEARING OBJECTIVES AND OUTCOME
96 - 97
PART B
PART C 1
DESIGN CONCEPT
102 - 127
2
TECTONIC ELEMENTS + PROTOTYPES
128 - 137
3
FINAL DETAILED MODEL
138 - 161
4
LEARING OBJECTIVES AND OUTCOME
162 -167
INTRODUCTION NGHI TU LUU UNDERGRADUATE BACHELOR OF ENVIRONMENT, MELBOURNE UNIVERSITY, AUS STUDIES ARCHITECTURE (2016-PRESENT) Currently, Nghi is university student at Melbourne University, taking Architecture major of B. Environment. She is Vietnamese-Chinese and an international student. Nghi started her study aboard journey to Australia in 2014 and graduated high school here in 2015, with her studies multidisciplines of art, visual communication and maths subjects. Then she continuing her study at university to present, to pursuit architecture career in the future.
AWARDS ACHIEVED 2014 -2015 EXCELLENT PERFORMANCE IN ART AND VISUAL COMMUNICATION, KEYSBOROUGH COLLEGE 2015 SECOND-PLACE ART ACHIEVEMENT AWARDS - VICTORIAN INTERNATIONAL SCHOOL STUDENT
STRENGTH
DRAWING || SKETCHING PHOTOSHOP IDEAS PROFOLIO WORKS EXPLORING ART GRAPHIC DESIGN
PROGRAMS COMFORTABLE WITH PHOTOSHOP, INDESIGN, AUTOCAD, ARCHICAD, SKETCHUP, LIGHTROOM, ILLUSTRATOR and INTERMEDIATE level with RHINO
PROGRAMS NON-COMFORTABLE WITH GRASSHOPER, REVIT, V-RAY, 3DMAX
4
CONCEPTUALISATION
WEAKNESS
WRITE CODE FABRICATION
At a young age, Nghi already has developed interests in technologies and computer software, especially in visual programs and photo editing. She also has experiences short-course with simple robot assembly and programming, as well as game programming in Vietnam. However, it is drawing and painting that Nghi passion the most, and it was discovered during her high school in AUS. Living in different countries gives Nghi opportunity to observe and learn about building efficiency and diverse architectural styles. Gothic and Art Nouveau are the two styles she keens the most. Her hobbies including photography, art exploring, graphic design, traveling, and leisurely window-shopping. Even though Nghi hasn’t had experiences in architecture work-environment, she is keens to learn new things from architecture studios that she studying at Melbourne University. Together with a studio like Earth and Water, Digital Design and Fabrication had guided her to the basic understanding of digital design and fabricating process with laser cutting and 3D printing. As her given theme was “Skin and Bones” in that subject, she has explored in tensile material for tensegrity structure in her group project. She hopes to expose herself to more diverse projects and architectural studies. In order to have the ability to contribute to built societies and improvise better-living qualities for the community
TOP: DIGITAL DESIGN AND FARBRICATION PROFOLIO MIDDLE (LEFT): ARCHITECTURE STUDIO EARTH, FRAME AND INFILL MIDDLE (RIGHT): ARCHITECTURE STUDIO WATER, LEARNING FROM LE CORBUSIER BOTTOM: DESIGNING ENVIRONMENT, ASSEMBLY
CONCEPTUALISATION 5
[A] 6
CONCEPTUALISATION
CONCEPTUA 1. Design Futuring 2. Design Computation 3. Composition / Generation 4. Conclusion 5. Learning outcomes 6. Appendix
ALISATION
CONCEPTUALISATION 7
[1] DESGIN FUTURING
HOW CAN FUTURE BE SECURE BY DESIGN ? It is challenging to live in such a dynamic world like today, when things demand to reach its certain supply. So, it’s critical that our human race should come together in the acknowledgement of creation and consequences. As “What we have done, because of the perspectival limitations of human centeredness, is to treat the planet simply as an infinite resource at our disposal”[1], the world gradually become unsustainable and ecological life are endangered. Therefore, it is our task to “design futuring’ that accomplish at least two critical tasks: slowing the rate of defuturing and redirecting us towards far more sustainable modes of planetary habitation” [1] Certainly, as a designer, we should consider about our design that will have impact in securing our future. Even if it is just a small impact, we should never neglect about it. By refining our choice in choosing renewable material to our design, we have already save our own environment significantly. And just imagine this “designing intelligent” [1] has implant through generations of designers over the world together ‘replant’ our mother-earth. Because possibilities for innovative design is endless and so does design futuring [2]
[1] Tony Fry, Design Futuring (London: Bloomsbury Academic, 2008), pp. 1-16.
8
CONCEPTUALISATION
[2] Anthony Dunne and Fiona Raby, Speculative Everything (Cambridge, Massachusetts: The MIT Press, 2013), p. 2.
1.
LOS ANGELES RAMS STADIUM - HKS LINE
PROJECT NAME : LOS ANGELES RAMS STADIUM ARCHITECTS : HKS ARCHITECTS LOCATION : INGLEWOOD, CA CLIENT/OWNER : KROENKE SPORTS AND ENTERTAINMENT
FIGURE 1: LOS ANGELES STADIUM - HKS LINE
‘computational over-heading information’ and disturbing in connectivity become obvious.
THE COLLABORATION OF DESIGNER & TECHNOLOGIES AND ITS COMPLICATION “Mega construction” would be the initial thought as we heard about building a stadium. It is a complex type of projects that need to be carefully considered in many aspects. For Los Angeles Rams Stadium, “The stadium roof structure surveyed in this paper is comprised of approximately 70,000 unique panels with over 500,000 square feet of surface area.” [3] Therefore, it is certain that is technologies urgencies to not only the designing or planning processes but also play a vital role in manufacturing and constructing. “The panels uniquely articulated and cut to specification using a 3-axis CNCcoined die-punch machine and fabricated from titanium anodised aluminium”[3]. Nevertheless, as technologies interplay, there would be some constraints within the “connecting between the designer and fabricator”. It is common theme for craftsman, as the workflows between ideas stage and creating is served, due to the disturbing linkage of different elements. Thus, as classifying scale is mega, the assisting of technologies in design likely contributing more
FIGURE 2: HEAT MAP OF STADIUM
FIGURE 3: ALUMINIUM PANELS SURFACE
FIGURE 4: INSIDE VIEW OF STADIUM
[3] Achim Menges and others, Fabricate (University College London: UCL, 2017), pp. 36-43.
CONCEPTUALISATION 9
[1] DESGIN FUTURING
FIGURE 5: LOS ANGELES STADIUM RENDERED 10
CONCEPTUALISATION
FIGURE 6: LOS ANGELES STADIUM - OVERVIEW
COMPUTATIONAL OVERHEAD – MAY BE NOT ALWAYS THE SOLUTIONS…. As stadium construction is relatively big to “exhibit high degree of geometric complexity and scope” [3]. Therefore, computational overhead typology is an ideal candidate to “implement direct design to fabrication methodologies” [3] and benefit case’s development, as it is highly adjusting freedom. It is first examined through “Tessellated double curved classing system” then “speculative structural node” [3]. As explained, “Computational overhead places an excessive demand on commonly used open source and proprietary software platforms, often yielding sluggish responses during the design process and limiting opportunities to pursue a broader range of iterations” [3], surprisingly is also associated with the ‘design democracy’ problem that mentioned in Design Futuring [1]. If we heavily rely on technologies to determines the whole designing process, the consequences might be leading to failure in fabricating. Because, the calculation from computers is far more advance than human abilities that in some occasion become a discrepancy in designing stage to manufacturing. So, sometimes, it is best to so labouring assembly the fabrication through casting, milling …etc. in certain non – standardised scale. Technologies work only should leave to crucial precision needed areas, with advised of freedom design on connectors for more variable conceptual solutions attach. Alternatively, the manufacturing process, as the same time, also solve the bottleneck and
delayed in production timeframe as computational overhead typology place an excessively burden to the fabrication process.
FIGURE 7: PANEL LAYOUT SHOWING FASTENER LOCATIONS FOR BOTH SUBSTRUCTURES. FIXATION POINTS FOR ZEPPS VS. ADDITIVELY MANUFACTURED NODE WITH SIX BRANCHES. FIGURE 8: ISOLATED STRUCTURAL BAY SHOWING SUBSTRUCTURE AND FRAMING STRATEGY WITH CONTINUOUS ROLLED EXTRUSIONS ALONG PRIMARY GRID LINE AND SEGMENTED STRAIGHT FRAMING MEMBERS BETWEEN
The article of the project lends us an insight to the paradoxes of the designer and technologies during design process to the manufacturing. It should always be the designer who take fully responsible leading the project and produce design, not the technologies which determined every aspect of the design works. Technologies indeed bring new light to the design futuring, yet it is the humans who decide what is our creation and how it would affect the human race’s future?
CONCEPTUALISATION 11
[1] DESGIN FUTURING
FIGURE 1: PHILLIPS PAVILION
2. PHILIPS PAVILION - LE CORBUSIER AND XENAKIS (1958)
PROJECT NAME : PHILIPS PAVILION ARCHITECTS : LE CORBUSIER AND IANNIS XENAKIS LOCATION : BRUSSELS, BELGIUM
Phillips Pavilion was designed as a multimedia spectacle that celebrated post-world war II rejuvenation of civilization of war’s destruction using technologies process. The pavilion was the first electronic-spatial environment which combine architecture, film, light and music to a completely manifested construction of space and time. It enables one’s experience to visualize their movements through a spatial space of time and light, as once Le Corbusier has described his ideas “an Electronic Poem and a vessel containing the poem; light, colour, image, rhythm and sound joined together in an organic synthesis” [4]. But it was Xenakis Varese that shape the interior which its form coming from a basic mathematical algorithm. Later, the final design of the pavilion was constructed by Xanakis and his team, a pronged tent made from thin shelled concrete panels of hyperbolic paraboloid shapes which involve steel cables as tensile support structures. Its complex shape was impossible to apply conventional pouring concrete structure, yet the solution is to create a system of precast concrete panels hung in tension from wire cables, as the demonstration illustrated in the video. 12
CONCEPTUALISATION
FIGURE 2: PHILLIPS PAVILION SKETCHES OF THE STRUCTURAL SYSTEMS . “THE STRUCTURE IS MADE WITH A COMBINATION OF STEEL AND REINFORCED CONCRETE STRUCTURAL SYSTEM”
[4] AD Classics: Expo ‘58 + Philips Pavilion / Le Corbusier And Iannis Xenakis”, Archdaily, 2018 <https://www.archdaily.com/157658/ ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis> [Accessed 15 March 2018].
FIGURE 3: PHILIPS PAVILION (1958) - STEEL MODEL
stage’ and the fabrication process. It always should be designer that consider all the possibilities that algorithm suggested and selected only possible solution towards fabrication.
FIGURE 5: PHILIPS PAVILION PLAN
FIGURE 4: DIGITAL RECONSTRUCTION OF PHILIPS PAVILION BY JULIEA SON
Overall, the benefits of technologies and its development are certainly endless through not only architecture practices but also to our future civilization. The Expo 58 implies that it’s only Post-War II that the development of mathematical algorithm has reached the capacity to do such complex initial ideas and further development in design processes. Nevertheless, technologies should only have referred as “tools” to assist designer in calculation and planning. Technologies should never replace designer role in designing, because there is an enormous difference between the ‘idea CONCEPTUALISATION 13
[2] DESGIN COMPUTATION
PARAMETRIC DESIGN Parametric design is a new form of the logic of digital design thinking, it enables the writing of rules or algorithmic procedures to create variable. It is a new form of design logic which illustrate the creation and modulation of the differentiation of elements of a design[5] Parametric design, is a new concept which only have been introduced post Folding by Lynn in 2004. Nevertheless, it becomes a phenomenal which take over the modern architecture design. It enfolded the age of emerging the research and design which allow designer to extent their influences through cross-multiple disciplines within their projects [5] As well as, renew architecture role by strengthen the collaborative relationship between civil engineer and architect as material has become an integral design in computational design. That is maximise the efficiency in saving materials and enrich tectonics methodologies in fabricating.
[5] Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), pp. 1-10.
14
CONCEPTUALISATION
FIGURE 1: ICD/ITKE REARCH PAVILION 2014-2015
1. ICD/ITKE RESEARCH PAVILLON 2014-15 PROJECT NAME : ICD/ITKE PAVILION 2014-15 ARCHITECTS : MORITZ DOERSTELMANN, JAN KNIPPERS, VALENTIN KOSLOWSKI, ACHIM MENGES, MARSHALL PRADO, GUNDULA SCHIEBER, LAUREN VASEY LOCATION : STUTTGART, GERMANY
NATURE & ITS WONDERS IN ARCHITECTURE Technologies also has been a significant factor, which shift the cities to the world today to accomplish many complex architecture form and construction that post Industrialization could never achieve it. That is University of Stuttgart, Germany has annual project which studies the biology and nature to apply its application into architecture and construction. The ICD/ ITKE research pavilion 2014 -2015 demonstrates the advance of manipulating computational design that unfold the potential to a novel pavilion design which inspired by the natural creature: the water spider and its underwater nest construction. Using robotics processes and fabrication, the pavilion was conducted from “initially flexible pneumatic formwork is gradually stiffened by reinforcing it with carbon fibers from the inside.” [6] As the result of the composite fibred material is its efficiency in saving materials, durable and extremely light weight, with architectural aesthetically “nest” – dome shell.
FIGURE 2: DIVING BELL WATER SPIDER (AGYRONEDA AQUATICA REINFORCING AN AIR BUBBLE FROM THE INSIDE
The initial starts up of the project predominantly draw from the “construction process of water spiders was examined, and the underlying behavioural patterns and design rules were analysed, abstracted and transferred into a technological fabrication process” [6] . As the water spider spends most of its life under water, hence it needs to construct a reinforced air bubble to survive. First, the spider builds a horizontal sheet web, under which the air bubble is placed. In a further step the air bubble is sequentially reinforced by laying a hierarchical arrangement of fibers from within. The result is a stable construct that can withstand mechanical stresses, such as changing water currents, to provide a safe and stable habitat for the spider. [6] Therefore, this
[6] ICD/ITKE Research Pavilion 2014-15 | Institute For Computational Design And Construction”, Icd.Uni-Stuttgart.De, 2018 <http://icd. uni-stuttgart.de/?p=12965> [Accessed 15 March 2018].
CONCEPTUALISATION 15
[2] DESGIN COMPUTATION
FIGURE 5: COMPARISON OF VARIOUS FIBER REINFORCEMENT STRATEGIES 16
CONCEPTUALISATION
FIGURE 6: CYBER-PHYSICAL FIBRE PLACEMENT PROCESS`
study of biological construction process to relevant applications in architecture as it doesn’t require such complex formwork for fibre-reinforced structures – yet it is capable to adapt various demands of individual construction. The processes of underwater web strategies utilised the ideas for creating efficient fibre reinforcement structures. Therefore, it is critical that, in fabrication, technologies and computational play a vital role in formulating geometric form but also construction. The industrial robot was developed to place air supported membrane in envelope made from ETFE (it is a durable facade material and its mechanical properties minimize plastic deformation during the fibre placement) and reinforce with carbon fibres – as the result, monocoque structure. Due to the characteristics of carbon fibre only act as structural reinforcement and simultaneously as building skin. Hence, the geometry of the pavilion predominantly relies on computational form finding methods. Nevertheless, it is the fibre’s fabrication constraints and structural simulation that catch my interests. As, “the changing stiffness of the pneumatic formwork and the resulting fluctuations in deformation during the fibre placement process pose a particular challenge to the robot control” [6] . It proves that there are differences in computational algorithm and material’s “personality”, which further highlight the vital role of the designer – flexible shifting adversities to become more efficient design developments using technologies. Similarly, in this project, the designers can navigate and simultaneously integrate these design parameters into various performative fibre orientations and densities.
FIGURE 7: AGENT-BASED DESIGN TOOL WHICH NEGOTIATES MULTIPLE DESIGN PARAMETERS TO DETERMINE FIBER LAYING PATHS`
FIGURE 8: FINITE ELEMENT ANALYSIS OF COMPOSITE SHELL
FIGURE 9: CONCEPTUAL FABRICATION STRATEGY: 1. INFLATED PNEUMATIC MEMBRANE 2. ROBOTICALLY REINFORCE MEMBRANE WITH CARBON FIBER FROM INSIDE 3. STABLE COMPOSITE SHELL
Together, with the considered of selected materials (ETFE and carbon fibre) and integrated robot tools, the ITKE Research Pavilion 2014-15 cover 40m2 with internal volume of 130m3 within 7.5m span and 4.1m height – only weight 260kg (6.5kg/m2). The efficiency in utilising robotics and computational calculation allow the structure stable by stress-oriented placement of fibre composite materials but also minimizes constructions waste during the processes. The result of the pavilion is truly represented an innovative architectural phenomenal in highly integrating interdisciplinary research and teaching, simulate with computational design and manufacturing. CONCEPTUALISATION 17
[2] DESGIN COMPUTATION
FIGURE 1: UNDERWOOD PAVILION
2. UNDERWOOD PAVILION - GERNOT RIETHER & ANDREW
PROJECT NAME : UNDERWOOD PAVILION ARCHITECTS : GERNOT RIETHER AND ANDREW WIT LOCATION : BALL STATE UNIVERSITY
PARAMETRIC TENSEGRITY In structural systems, tensegrity structure has greater advantage compared to other systems as it is using predominantly tension members which is strong yet light-weight. Nevertheless, it no denial that the dynamic of the structural itself is challenging in calculating geometries during form finding processes. Yet, perhaps, the only solution to tackle this difficulty is using computational algorithms, which, has been proven in the design of Underwood Pavilion by Ball State University in using Rhino 3d and kangaroo, as the program allow stimulation between the tension and compression that closet to the material properties. [7] Therefore, it was necessary so the development in design process to overcome the complexity in double curves surfaces in pavilion’s tensegrity structure.
UNDERWOOD PAVILION BY GERNOT RIETHER AND ANDREW WIT – 2014 The modules of the pavilion were developed from different 18
CONCEPTUALISATION
FIGURE 2: CONSTRUCTION SEQUENCE [7] THE UNDERWOOD PAVILION, 2018, pp. 663-672 <http://papers.cumincad.org/data/works/att/caadria2015_031.content.pdf> [Accessed 15 March 2018].
FIGURE 4: MODULE VARIATIONS
FIGURE 3: ASSEMBLY MODULE
FIGURE 5: MODULE COMPONENTS
variations of a 3 strut Tensegrity model. As rhino and kangaroo were the essential “assistants” in form-finding process, there are varieties distance between the upper face and the low face that curvature the envelope with different rotations and directions generated within each module throughout the envelope. [7] Overall the primary structure of tensegrity structure is working with compression and tension, which only fully work if only all cables connecting all bars accurately – there are no extra or missing members, otherwise whole structure will collapse. Tensegrity structure is very demanding and complex, and computational design certainly has a vital role in the design processes. [7] On the other hand, the benefits of the “tension-compression” structure is lightweight and materials saving efficiency, as the algorithms will inform exact amounts of materials will be used and accurate connections joints. Therefore, the Underwood pavilion consist of 56 modules with describes volume of 3x3 to 4x4x4, forming a selfshading envelope made from ELASTAN (eco-friendly polymer. It produced 100% renewably raw material like Recycled polyester).
The assembly of Underwood Pavilion is rather ‘insitu’ made, as the site can’t be accessed by vehicles. Therefore, by assembling each module, the pavilion additionally took the advantage of selferecting behaviour of tensegrity systems. It took only two days at site to finalise the pavilion with the first day for structure and the second day is dressing elastic skin. [7]
FIGURE 6: CLOSE UP OF PAVILION DETAILS - TENSEGRITY STRUCTURE
FIGURE 6: STIMULATION OF TENSEGRITY STRUCTURE
FIGURE 7: FABRIC PATTERN
FIGURE 8: DRESSING MODULES CONCEPTUALISATION 19
[3] COMPOSITION / GENERATION
Even though, nowadays, architect refer digital tools as drawing platform to optimises design qualities and precision of drawings. Yet, the process of using virtualising software to edit drawings is primely ‘Computerisation’. On the other hand, ‘Computation’ is the design logic progress which extend designer to due with highly complex situations [8]. Using algorithm as common language between the designer and computer, designer able to take full advantage on ‘never tire and never making silly algorithmically mistake” tools, our designing is only faster and more precise by days. However, computational design only optimises if we only can fully understand their “language”. Most importantly, the computational design to be helpful, they should be adaptive to the parameter change of design progress. Perhaps it’s unreal to have technician crews in architecture firm, yet the merging between software engineer and architecture is high encouraged. Then in the mean time.....
“WHEN ARCHITECTS HAVE A SUFFICIENT UNDERSTANDING OF ALGORITHMIC CONCEPTS, WHEN WE NO LONGER NEED TO DISCUSS THE DIGITAL AS SOMETHING DIFFERENT, THEN COMPUTATION CAN BECOME A TRUE METHOD OF DESIGN FOR ARCHITECTURE.” [8]
[8] Brady Peters and Xavier De Kestelier, Computation Works, 2013, pp. 8-15.
20
CONCEPTUALISATION
FIGURE 1: ESKER HOUSE / PLASMA STUDIO
1. ESKER HOUSE / PLASMA STUDIO 2006 PROJECT NAME : ESKER HOUSE / PLASMA STUDIO ARCHITECTS : PLASMA STUDIO LOCATION : SAN CANDIDO, ITALY
softening geometry. Furthermore, it was the characteristic of the spatial that to diffusion of function and conditions of the site. It gives the illusion of intense various gradient zone.
ESKER HAUS OVERVIEW The word “Esker” which stand for ‘Stratified geological formation’ was introduced in “Esker Haus” project presented by Plasma Studio. The building is a self-contained residential unit that placed on top of an antique existing house since the 1960s. Hence the building composes two distinct parts of roof levels. The initial starting-point of project’s design development is adopting the structure of the host then manipulated into its own organization and morphology, using consistent series of steel and timber framing to reminiscence the hillside that inspired from its surrounding landscapes. Therefore, the Cartesian orthogonal layout (which influenced by the spatial requirements underneath) of accessible roof platform also determines the whole internal spatial form which are enfolded with “angular comers and dynamic series of planes creating new and ever-lasting perspectives and spatial constellations” [9] . The initial morphology and construction comes from the projection of each step of external staircase as modular and proliferated as frames which are subsequent deformation and
FIGURE 2: ROOF FRAMING FORM. SKETCHES FROM COMPUTATIONAL DESIGN
[8] Brady Peters and Xavier De Kestelier, Computation Works, 2013, pp. 8-15.
CONCEPTUALISATION 21
[3] COMPOSITION / GENERATION
FIGURE 3: PERSEPCTIVE VIEW OF ESKER HAUS 22
CONCEPTUALISATION
FIGURE 4: VIEW FROM ASSCIBLE ROOF - EXTERNAL STAIRCAS HINGE AREA
DESIGNING ESKER HAUS Since the house consist two different ‘wings’ of roof levels. Plasma studio has started from of the composition of two boxes forming a “T” shape, to allow external terrace spaces in the South. That is the West side become living room, while the East serves more private functions like bedrooms, kitchen and bathrooms. Hence the external staircase in the North suddenly become a hinge area connecting the “public” and the “private” zones [8] . As mentioned, the deflecting of staircase projection forming the geometry implies a rhythm in matching a continuous artificial topography through each stair’s steps. It certainly involved algorithm calculations with 3D modelling software in finding the form of the roof structures. Nevertheless, unfortunately, there are no mentioning about the transgression from designing to fabrication in depth. As stated, Plasma studio use 3D model to conceptualize the geometric built and consulting with various expertise’s contractors to fabricate it [8] .The steel belts are fabricated from series of composited suspended wall and ceiling panel, with addition of T sections span perpendicular with predominant steel works – to support the outer timber as finishing. FIGURE 5: VIEW UNDER TIMBER FINISHING AND STEEL FRAMING
CONCEPTUALISATION 23
[3] COMPOSITION / GENERATION
FIGURE 1: P_ WALL 2013 DIRECT VIEW
2. P WALL 2013 PROJECT NAME : P WALL 2013 ARCHITECTS : MATSYS STUDIO LOCATION : FRAC CENTRE, ORLEANS, FRANCE
FLEXIBLE FORMWORK It is a system which using the elasticity and durable strength of fabric to take advantage of fluidity of concrete or plaster to create highly optimised geometric and architectural patterns. This tectonic potential in saving significantly amount of energy in concrete structure as it reduces the concrete needs compare to other formworks [9] However, in my opinion, the use of flexible formwork slightly more complex then traditional form works as it is not rigid and stable. It might have required extra methods which from both computational during design and techniques during fabrication. The discourse in using flexible formwork is the final result might be something that unpredictable or slightly different from the initial calculation, due to the nature of fabrics.
I NTRODUCTION P_Wall is one of the research project by Matsys studio in using flexible formwork tectonics. It is to celebrate “the self-organization of material under force” [10] by emerging the elastic fabric formwork and the liquid slurry. The fabrication of the project is a discourse between the designer’s authorities and the material’s nature. At once hand, the designer controls over the locations of constraints on the fabrics, yet the final form is greatly relied on the equilibrium 24
CONCEPTUALISATION
FIGURE 2: P_WALL 2013 DETAILS CLOSE UP
between the mass and the elasticity of the formwork and liquid. Furthermore, Matsys also introduced three different innovations from referring to previous works.softening geometry. Furthermore, it was the characteristic of the spatial that to diffusion of function and conditions of the site. It gives the illusion of intense various gradient zone.
FLEXIBLE FORMWORK & P WALL’S PROGRESS Firstly, the wall was constructed out of fibre reinforcement concrete with only 20mm thick panel. This benefits the structure to extend their spanning comparing with previous installation. “The process
[9] Concrete Structures Using Fabric Formwork - Articles - The Institution Of Structural Engineers”, Istructe.Org, 2018 <http://www.istructe.org/journal/volumes/volume-89-(published-in-2011)/ issues/issue-8/articles/concrete-structures-using-fabric-formwork> [Accessed 15 March 2018] [10] “P_Wall (2013) « MATSYS”, Matsysdesign.Com, 2018 <http://matsysdesign.com/2013/09/02/p_wall-2013/> [Accessed 15 March 2018]..
entailed the use of five original fabric-cast plaster pattern and subsequent rubber mould for thin shell concrete fabrication process”. Secondly, they were interested in exploring the boundary between modularity and repetition. Through tilling pattern of four panel sizes and five modules rotated in two directions, they were able to generate almost infinite unique pattern across thirty-four panels. Finally, Mestys discusses about the use of digital simulation models as a rough virtual created wall to test many design iteration and compare them with various project in the series. With spring network of meshes on computational generated, the design process can be modelled within an “acceptable accuracy” on to the physical testing and fabricated. [10]
FIGURE 4: P_WALL 2009 . HEXAGON BASE INSTEAD OF RECTANGULAR BASE.
INSIGHT AND DIRECTION Overall, the Mestys’s P_Wall 2013 project illustrates certain crucial points in working with flexible formwork. Similarly, with “Tensegrity structure”, the main constrain for Flexible formwork, which challenge the designer and fabricator is the difference between computational design and the physical form that fabricated. Indeed, the algorithmic calculation not only boost efficiency of material calculation, but also benefit in upgrading design qualities. Yet in moderation level, designer should always carefully consider and evaluate the practical potential of computational results, to optimize the fabrication progress and designing efficiency.
FIGURE 3: VIEW UNDER TIMBER FINISHING AND STEEL FRAMING CONCEPTUALISATION 25
[4] CONCLUSION
Computational design indeed one of the most popular methodologies within architecture design today. Using algorithmic languages, the designer enables to communicate better with computer. Technologies are also a wonderful â&#x20AC;&#x153;assistantâ&#x20AC;? that enrich that abilities of an individual to work as architect and structural engineer as it provides useful information of materials characteristics and calculation. It also enhances end-less possibilities in design variations. Through algorithm, designer easily explore multiple of geometries and patterns which essential in form-finding stage and collect data from those results for fabricating. Nevertheless, there are certain limitations that designers should be aware of in designing with computation. The generated design that we got depended heavily on the capabilities of software, thus it might also be too complex to fabricate.
Therefore, the design approach should really tackle on the challenging transgression between computational design stage to fabrication process. Tensegrity structure orW Flexible formwork is great tectonic example of differences in computational results and prototypes outcomes. We can use computational as formfinding methodology which only gives reasonable accuracy to manufacture, due to the elasticity nature of fabrics.
26
CONCEPTUALISATION
LEARNING OUTCOMES [5]
Through Conceptualisation A phase, we have been introduced to a new perspective of design using technologies and algorithm. Even though it is very limited introduction to parametric design, we have learned that with modern technologies, design possibilities are endless. Yet there are certainly some limitation with fabricating from computational design, we as a designer should be able to overcome those adversities and even optimise our design even further.
CONCEPTUALISATION 27
[5.1] APPENDIX ALGORITHMIC SKETCHES
WEEK 1
WEEK 2
WEEK 3
CONCEPTUALISATION 29
[5.2] APPENDIX -
BIBLIOGRAPHY FIGURE
1. Fry, Tony, Design Futuring (London: Bloomsbury Academic, 2008), pp. 1-16 2. Dunne, Anthony, and Fiona Raby, Speculative Everything (Cambridge, Massachusetts: The MIT Press, 2013), p. 2 3. Menges, Achim, Bob Sheil, Ruairi Glynn, and Marilena Skavara, Fabricate (University College London: UCL, 2017), pp. 36-43
[A]1.1 FIG.1-5: 2017 <http://discovery.ucl.ac.uk/1546589/1/Fabricate.pdf> [Accessed 15 March 2018] FIG. 6: 2018 <https://archpaper.com/wp-content/uploads/2016/01/la-sp-sn-new-stadium-20150320-007.jpg> [Accessed 15 March 2018]
5. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), pp. 1-10.
[A]1.2 FIG.1,2&5: 2018 <https://www.archdaily.com/157658/ ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannisxenakis> [Accessed 15 March 2018] FIG. 3: Philips Pavilion (1958) - Steel Model, 2008 <http:// www.flickriver.com/photos/mikadit/3091049361/> [Accessed 15 March 2018] FIG. 4: Anson, Julie, 2011 <http://cargocollective.com/julieAson/following/julieAson/philips-pavilion> [Accessed 15 March 2018]
6.ICD/ITKE Research Pavilion 2014-15 | Institute For Computational Design And Construction”, Icd.Uni-Stuttgart.De, 2018 <http://icd. uni-stuttgart.de/?p=12965> [Accessed 15 March 2018].
[A]2.1 FIG.1-9: ICD/ITKE University Stuttgart <http://icd.uni-stuttgart.de/?p=12965> [Accessed 15 March 2018]
7. THE UNDERWOOD PAVILION, 2018, pp. 663-672 <http://papers. cumincad.org/data/works/att/caadria2015_031.content.pdf> [Accessed 15 March 2018].
[A]2.2 FIG.1-8: Riether, Gernot, 2018 <http://tensegritywiki.com/ Underwood+Pavilion+Photo+Gallery> [Accessed 15 March 2018]
4. “AD Classics: Expo ‘58 + Philips Pavilion / Le Corbusier And Iannis Xenakis”, Archdaily, 2018 <https://www.archdaily. com/157658/ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis> [Accessed 15 March 2018]
8.Brady Peters and Xavier De Kestelier, Computation Works, 2013, pp. 8-15. 9. Concrete Structures Using Fabric Formwork - Articles - The Institution Of Structural Engineers”, Istructe.Org, 2018 <http:// www.istructe.org/journal/volumes/volume -89-(publishedin-2011)/issues/issue-8/articles/concrete-structures-usingfabric-formwork> [Accessed 15 March 2018] 10. “P_Wall (2013) « MATSYS”, Matsysdesign.Com, 2018 <http:// matsysdesign.com/2013/09/02/p_wall-2013/> [Accessed 15 March 2018]..
30
CONCEPTUALISATION
[A]3.1 FIG.1-3: MATSYS, 2013 <http://matsysdesign. com/2013/09/02/p_wall-2013/> [Accessed 15 March 2018] FIG.4: MATSYS, 2009 <http://matsysdesign. com/2009/08/11/p_wall2009/> [Accessed 15 March 2018]
[B]
CRITERIA D 1. Research Field 2. Case Study 1.0 3. Case Study 2.0 4. Technique: Development 5. Technique: Prototypes 6. Technique: Proposal
7. Learning Objectives and Outcom
32
CONCEPTUALISATION
DESIGN
me
CONCEPTUALISATION 33
[1] RESEACH FIELD THINKING ALGORITHMICALLY Working with parametric design It was great the Conventional tools like Cut Copy and Paste has made their way in computation since 1920s. It was the beginning of establishment to keep things work precisely and consistent as those tools are independence. That is further develop the key idea of Parametric Design: “Relationship” which rather than just solve and manipulate the problems like conventional design. Hence, parametric modelling essentially is to establish the relationship and observing the results produced as designer edits it, which ensure the system recorded the work consistently and designer has fully control to explore their ideas. In other words, parametric design is a pure form of mathematical graphs. It is editable by designer, in principles. Its design’s process highlights in two aspects: 1. Procedure: “An algorithm is a process that must be specified step by step”. In other words, predominately designer will find themselves to write algorithms to describe their intentional design 2. Precise: “One misplaced character means that an algorithm likely will not work”. Hence it is obvious that designer mostly find themselves in difficulties in integrating algorithmic thinking during design process. Human is great representation of flaws. So, to make yourself sync with the ‘algorithmically languages’. Overall, it raises genuine big question about Parametric design and its benefits. On one hand, Patrik Schumacher keeps praising about Parametric design as the modern style of architecture in our modern generation, like his assertion “Parametricism offers a credible, sustainable answer to the crisis of modernism that resulted in 25 years of stylistic searching”. While other critics can’t help themselves but really question the validity that bold statement. As Daniel Davis defines parametric simply “a type of geometric model whose geometry is function of a finite set of parameters”. This statement is convincing to others that parametric is rather tools than ‘architectural style’. This juxta positioning debate is interesting to consider in modern digital design context. Furthermore, we should not forget that, there is also a huge gap difference between computational design and fabricators specialists
34
CRITERIA DESIGN
GEOMETRY Form-finding is a process which determines the surface configuration of a fabric structure under pre-stress. To have a successful result of surface geometry, there are two crucial requirements must meet: Static equilibrium and Uniform stress distribution as possible. The common numerical methods usually use are: 1.
Transient stiffness
2.
Force density
3.
Dynamic relaxation
In general, the primary characteristic of tension structures is that the structural elements transmitting applied loads on high strength flexible cables or membranes for tensile forces. Which create a lightweight structure and incredible span capacity with economical reasonable. Yet working parallel with tension forces need support of compressive stress like anchoring. Tension structure indeed is very aesthetically pleasing yet with high demand collaboration between architecture and engineering in form finding stage to detailing.
CRITERIA DESIGN
35
[1] RESEACH FIELD
“We are making the impossible possible”
- Toyo Ito & Associates
36
CRITERIA DESIGN
FIGURE 1: TAICHUNG METROPOLIAN OPERA- OVERVIEW
1.
TAICHUNG METROPOLITAN OPERA - TOYO ITO
PROJECT NAME : TAI CHUNG METRO POLITAN OPERA ARCHITECTS : TOYO ITO & ASSOCIATES LOCATION : TAICHUNG, TAIWAN
BACKGROUND Designed by Toyo Ito, the construction Taichung Metropolitan opera house took over 4 years to complete. Even though, at the beginning, it has difficulties in attracting suitable tenders sue to problem with engineering challenges. Yet, today it appears to be one of the most cultural cities in Taiwan. FIGURE 2: TAICHUNG METROPOLIAN OPERA- OVERVIEW
STRUCTURE The main structure is formed by connecting curved walls, inlaid floors and interior and exterior wall together with core service wall. The components of curved wall in generally complex as it formed with 58 curved wall units. To Taiwanese engineering industry, this is the first of its kind architectural construction, hence gradually local construction has fail to take interests in the project Nevertheless, they found a solution for the design when the structural system and construction methods are developed together. Spray concrete was one the shortcut for curved surface which can be shot in both horizontal and vertical directions. The temporary frame work like steel work and steel mesh in the void replaced the traditional formwork which reduced the construction cost significantly.
FABRICATION – SPRAYED CONCRETE CONSTRUCTION Treatment of concrete is strictly taking care since it is used as exposed finished surface. With spray concrete there are 2 methods. 1. Dry process: “dry constituents of the concrete are mixed in a portable batching plant and the water is added to the mix at the nozzle” 2. Wet process: “the water is added to the batching plant and premixed with the dry constituents and the wet concrete is sprayed from the nozzle” Normally, concrete applied in two layers. The first layer usually cured with wet process as it’s thick, while the second layer usually cured with dry process as it’s thinner. CRITERIA DESIGN
37
[1] RESEACH FIELD
CONCLUSION The construction of Taichung Metropolitan Opera House demonstrates the essential considerations of casting and working with concrete. Even though it is not specifically illustrating the flexible formwork and computational design, yet the study gives an insight to casting materials and methods options. The introduce to spray concrete and its common curing processes open-up options for upcoming project. In casting, computational design and fabrication are equally important
38
CRITERIA DESIGN
2.
HORIZONTAL DRAPING FABRIC FORMING
PROJECT NAME : HORIZONTAL DRAPING FABRIC FORMING ARCHITECTS : SHEENA OLIMPO, IVAN RODRIGUEZ, YUNA KUBOTA AND DAVID VUONG - UNIVERSITY OF CALIFORNIA
BACKGROUND The project was established by a studio team leading by Professor Hadrian Predock at University of California of Los Angeles, the team include Sheena Olimpo, Ivan Rodriguez, Yuna Kubota and David Vuong. The project establishes about composite wall system using flexible formwork and aim to investigate in focusing material choice and fabrication process. The horizontal fabric forming was heavily inspired from Japanese clothing patterns and fatness.
STRUCTURE The project was designed as rain-screen system that prefabricated for interior and exterior uses. Instead of traditional steel frame, the fabric formwork is an innovative approach with innovative structural performance. The vertical interior panel work as embedded column to hold exterior panels.
FLEXIBLE FORMWORK With the flexibility and softness of the fabric, the elasticity and permeability of concrete was designed to maximize span under the fabricâ&#x20AC;&#x2122;s characteristics CRITERIA DESIGN
39
[1] RESEACH FIELD
“Their experimental process was mainly focused on different types of fabric, proportion of cement mix ingredients, sewing patterns of fabrics, and configuration of rigid jigs as well as the reinforcement and attachment systems. Plastic was used for the representation of the top half of the mock-up to ease the immense weight construction task by heat draping the plastic on the same jig frames. The final mock up resulted in a 8′ ft. tall by 4′ wide, half scale model, weighing over 800 lbs.”
40
CRITERIA DESIGN
Furthermore, the project also establishes that there are diverse options in casting, to reduce the materials costs, we could consider to modular cat then assemble it as finalizing. Nevertheless, to keep the uniform throughout all panel and assembly techniques remain as a challenge.
CONCLUSION Overall, the flexible formwork and casting required great researches and various considerations. As the fabric on hand will determine the surface and form qualities of the casting, the casting materials on other hand will determine greatly the hardness and successful product. If the material casting choice aiming is concrete, the proportion between water and cement and mix ingredients must be carefully tested and mix, likewise the types of fabric choice to ensure prefect elasticity requirements.
CRITERIA DESIGN
41
[1] RESEACH FIELD
AN INSPIRATION - COMPOSITE SYSTEMS As P Wall is a non-loadbearing structure and very much a two dimentional structure. To develop further from the inital study, our group need to look for alternative solution in order to make the new structure capable to stand on it own. In oder words, prehaps a sub- structure systems would help to take the loads from the panels and assembly. Therefore, gridshell has become the nominated solution , since it strongly encourage the parametric design and potentially developable.
42
CRITERIA DESIGN
STRUCTURE
SUB- STRUCTURE As stated, grid shell will be the sub-structure which taking the loads from the cladding panel on top or inside. The purpose of the gridshell majorly acting as a frame to keep the form of bike shelter. There are serveral ideas relating with the use of gridshell boarder then the frame canh also be explored later in the project
CLADDING / PANNEL CLADDING
The main focus of our design will relied perdomainly on the pannel design system as P Wall is the key study precedent. With the gridshell as sub-structure, the asembly of the pannel together, will be more or less possible and effecient. The development of the pannel will start from exploring different design on a single geometry base to further develop it as modular generation using paramtric design.
CRITERIA DESIGN
43
[2] CASE STUDY 1.0
â&#x20AC;&#x153;
44
CRITERIA DESIGN
“ PANNEL” MATRIX ITERATIONS THE ‘INNOVATION’ OF P WALL DESIGN
CRITERIA DESIGN
45
[2] CASE STUDY 1.0
46
CRITERIA DESIGN
PANNELING GENERATION
BACKGROUND Since P Wall (2013) is the key precedent study for the project, hence it is important to understand the process of Pannel is used in P Wall system. Flexible formwork is the ystem using the elasticity and durable strength of the fabric which act as the formwork to create geometry and archtiectural pattern. And in P Wall 2013 by Matsys studio, the initial purpose using paramertric design is to keep the Modularity of the pattern generated on panel surface: Uniform yet Unique. It developed from a square base and exploring with modularity and repetition to generate infinite pattern
AIM & DIRECTION Therefore, the intial start of our bike shelter project prehaps critically emphasize on Modularity theme. With the pannel, our start begin with exploring various of design on single geometry base. Then selecting the potential one for modular development
PREDICTION & CONSTRAINT Prephaps the first obvious constraint to tackle is the difference from digital design to the outcome of the fabrication due to the unpredictable nature of fabric. It is extremly difficult replicate the strength of the fabric into number data for digital calculation as it requires exprience and expertise for accurate digital representation. Secondly is the asssembling panel into one unifying form structure, Eventhough gridshell is considered to be a subs-structure solution, attach concrete / plaster pannel on timber frame is still a major concern.
CRITERIA DESIGN
47
[2] CASE STUDY 1.0 - MATRIX GENRATIN ITERATION
SPECIES
GEOMETRIES NU
Triangle
Parallelogram
Square
48
CRITERIA DESIGN
NG
UMBER OF ANCHOR POINTS (LINES) POINTS
N=1
N=1
N=2
N=2
N=3
N=3
N=4
N=4
CRITERIA DESIGN
49
[2] CASE STUDY 1.0 - MATRIX GENRATIN ITERATION
SPECIES
Pull Surface at 1 point
Trim 1 hole
Trim holes
Cross lines
50
CRITERIA DESIGN
NG
PANEL PATTERNING
Trim holes with line pattern
Trim holes 2
Cross thin lines
Star lines
CRITERIA DESIGN
51
[2] CASE STUDY 1.0 - MATRIX GENRATIN ITERATION
SPECIES
ELASTICITY
POINTS
NUMBER OF ANCHOR POINTS
52
CRITERIA DESIGN
N=
NG
=5 N =4
N =3
N=2 N=1
N=5 N =4 N =3
N=2 N=1
CRITERIA DESIGN
53
[2] CASE STUDY 1.0 - MATRIX GENRATIN ITERATION
SPECIES
ELASTICITY
PANEL PATTERNING
54
CRITERIA DESIGN
NG
N=7 N=6 N=5 N =4 N =3 N=2 N=1 CRITERIA DESIGN
55
[3] CASE STUDY 2.0
T
56
CRITERIA DESIGN
“ FORM” GENERATION
THE STRUCTURE OF COMPOSITE SYSTEM
CRITERIA DESIGN
57
[3] CASE STUDY 2.0 - GRIDSHELL
Kang
Base
FORM
Kang
Base
58
CRITERIA DESIGN
groo Bouncy Solver
e : Triangle
Kangroo Bouncy Solver Base : Decagon
groo Bouncy Solver
e : Pentagon
CRITERIA DESIGN
59
[3] CASE STUDY 2.0 - GRIDSHELL FORM
Weaverbird Triangle grid
Kangroo Physics
Base : Sphere
Base : Mesh Plane
Grid on Surface Base : Arc
60
CRITERIA DESIGN
Anchor 9 random vertices Base : Mesh Plane
Grid on Surface Base : Two Arc
CRITERIA DESIGN
61
[4] TECHNIQUE: DEVELOPMENT
EV
62
CRITERIA DESIGN
VALUATION AND CONSIDERATION
CRITERIA DESIGN
63
[4.1] â&#x20AC;&#x153;PANELâ&#x20AC;? SUCCESSFUL ITERATION 1
AESTHETIC SCALE VARIABLITY WORKABLITY WEIGHT 1
64
2
CRITERIA DESIGN
3
4
5
This iteration was chosen because it holds potential for further develop in exploring number of anchor points. Predomainly, it is simply clear and well architectural aesthetic as well. Compare with the partten on P Wall study, the result of generate more geometries appearance. It also easily develop with parametric design by controlling the number of achor in order to divide the surface into smaller triangular segemnts. Therefore It allow us to draw further on modularity scheme.
- CASE STUDY 1.0 2
AESTHETIC SCALE VARIABLITY WORKABLITY WEIGHT 1
2
3
4
5
The second selected iteration based on it aesthetic from many iterations generated from patterns. Since P Wall precedent alreay play on points, prehaps for our design we are aiming for a patern which is more geometries and remiscene lines.
CRITERIA DESIGN
65
[4.1] “PANEL” SUCCESSFUL ITERATION 3
AESTHETIC SCALE VARIABLITY WORKABLITY WEIGHT 1
66
2
CRITERIA DESIGN
3
4
5
Finally this iteration was chosen for its patern and workability prediction. Comparing with generate various points surface, lines seem appear to more workability for our abilities. With lines patterns, the modularity is likely more generating as its process is very similar to points control. Nevertheless, compare with the first two, it appears to be lacking of aesthetic features.
- CASE STUDY 1.0
CRITERIA DESIGN
67
[4.2] STRUCTURE SUCCESSFUL ITERATI 1
GRADIENT STRUCUTRAL CAPABILITY OPENESS PRATICALITY 1
68
2
CRITERIA DESIGN
3
4
5
The dome shape is commonly used as grdi shell strucutre study as it is stable and variability to manipulate. Works best with triangle grid and follow with hexagon geometries. Nevertheless, our group pannel design not really take considerations hexagon grid, hence we choose triangle grid for stability purposes.
ION - CASE STUDY 1.0
REFINEMENT OF TRIANGLE GRIDSHELL
EXPLORING THE TRIANGLE EXTRUSION
CRITERIA DESIGN
69
[4.2] STRUCTURE SUCCESSFUL ITERATI 2
GRADIENT STRUCUTRAL CAPABILITY OPENESS PRATICALITY 1
70
2
CRITERIA DESIGN
3
4
5
In constrast with the dome shape, we decide the triangle base as well but this time, like a curve wall with uneven ends. This design optimizes the openess considerations in selecting design as we want to have an even interaction between outdoor and inside the bike shelter as well. This design also optiminal the varibility of gridâ&#x20AC;&#x2122;s geometry. For stability support, triangle is recommended. Nevertheless to fit the casting pannel, square grid is also a great option
ION - CASE STUDY 1.0 HEXAGON GRID
Inside view
Outer view
TRIANGLE GRID
Inside view
Outer view
SQUARE GRID
Inside view
Outer view
CRITERIA DESIGN
71
[4] TECHNIQUE: DEVELOPMENT
OVERVIEW ON FLEXIBLE FORMWORK P Wall original case study demostrate great potential of flexible formwork system on generating various double curved geometries using the fluidity of the casting materials like concrete or moulding platers. As concrete is a very heavy materials which requires significant amound of formwork and labour if following the traditional formwork. Furthermore, with fabric formwork, it is more interesting to see a result that the facede is breaking awaqy from a flat-plane and transform into a wavy curve surface which is three dimensional and gradient feel. Nevertheless, P wall project is primary just a non-strucutre wall, hence to take further development from that, our group need to develop a composite system which will support the casting pannel from falling apart. As the bike shelter, we need a stable structure in order to prevent faulty and collapse while people using it. Therefore, putting gridshell as the sub-structure will not only prevent the casting from faulty. It also open up potential to a forced 2D wall like P Wall precedent into a 3D structure.
72
CRITERIA DESIGN
THE DEVELOPMENT OF P WALL (2013) Generally the P Wall precedent study have been mentioned is fully analysed in Part A. The process of casting P Wall (2013) is basically a ‘sandwitch’ technique of fabric formwork and moulded ruber mould corresponding to the form. Therefore, with the support of rubber mold the P Wall (2013) was able to achieve the hollow casting and produced the pannel of 2cm thick and lightweight. Which is the goal we trying to achieve, because even we have grid shell as sub-structure support. It is likely impossible to handle the weight of above 20 pannels ( which 1 pannel weight around 5 kg minimum for solid cast) on timber gridshell. This method is extremely effective in reduced the material uses on casting, especially concrete amount.
CONTROVERSY WITH FABRICATION PROCESS Nevertheless, there are many controversies in P Wall fabrication process in dicussion of formwork. It was not clear mentioned of how the rubber moulds are made. To our group, there are limitations in creating a rubber mould for hollow cast as there are only certain ways to achieve. The first options we can do is digitally creating mould and 3D printing it. However, this is not an optimised solution as the 3D printing cost is extremely expensive in general, not to mentioned in large scale. Additionally this option is not ideal as well, since it isn’t effecient to have high budget just for a single use mould. The second option we could effort to use is the vaccum former in design hub in creating plastic mould. Nonetheless, the vacum former process also rely on using an exisiting mould to generate a new product. As initially, we don’t have a mould and need to create one, vaccum former is also not an optimal choice. Furthermore, in P Wall study, they mentioned that they were able to save cost on casting materials. Yet it turns out that in order to achieve hollow cast, we have to spend more effort and materials cost in generating formwork to achieve it. Cause in order to reduce the casting material, more moulds will be needed in order to create the ‘sandwitch’ technique to produce hollow cast for a single unit. Which turns out that they spending more materials in general speaking.Additionaly, with our project predominantly playing with modularity. It is not efficent to spend most of budget on formwork, hence we need to find an alternative solution to achieve the P wall 2013 hollow cast
CRITERIA DESIGN
73
[5] TECHNIQUE: PROTOTYPES
74
CRITERIA DESIGN
PROTOTYPES AND CASTING CASTING / TESTING / RESULTS
CRITERIA DESIGN
75
[5] TECHNIQUE: PROTOTYPES
FABRICATION PROCESS After generating iterations, the fabrication process begin with the selected sucessful iterations. We was considerated to use moulding plaster as we want to achieve the lightweight and fast curing procvess in order to keep up with the time frame of the subject course. Therefore Plaster on Paris was the material we choose to casting with. Yet, casting requires fabric and rigird frame as well for casting formwork. Therefore, creating timber cube frame was the intial step. Initially, the cube frame was 40x40x40 cm made out of timber frame. Yet after the first casting we realise that 40x40x40 is a little too big for testing prototype since we dueling with casting only a single panel, not casting modular as one go. Hence in the second prototype we reduced the protoype down to half size which is a timber frame cube 20x20x20cm in order to reduce the materials use for both casting and formwork. With smaller scale, it help us easier to control the casting process, especially mixing propotion and quicker curing time. So we continue the fabrication process with this frame dimension further on.
76
CRITERIA DESIGN
ADVANTAGE
LIMITATIONS
The advantage flexible formwork is majorly reduced the timber used for formwork as the elasticity of fabric allow greater span. We only have use a few timber pieces to set up the frame and rest of formwork is quality fabric. The fabric as formwork allow more variety of form generated as curve surfaces or wavy textures which is architectural aesthetic.
However there are a lot of constraint in flexible formwork as well.
Flexible formwork enable us to cast parametric design stimulations as working on fabric surface is quicker and easier to prepare the formwork then traditional formwork. Timber and steel frame work requires significantly amount of labouring time to assemble and built forwork, in constrast with fabric. Fabric is very flexbile and manipulative, which is ideal for Modularity exploring.
The first constraint is the about selecting the right farbic as it is the key element determine the successful outcome of the cast. Additionally, fabric also the factor which create the aesthetic of casting surface as the casting will imprint the texture of formwork . Therefore it is very critical to select the right fabric types. Nonstrechable fabric will restraint us from achieving the shape that we want, yet high elasticity fabric types will require calculation for pre-tensioning in order to control the amount of casting materials and casting form. It also duel with the difficulty in taking the casting of the formwork. Some fabrics if use will stick into the concrete and plaster and impossible to remove. Secondly, the limitation of flexible formwork majorly focus on calculation and digital stimulation due to the nature characteristic of the fabric. As student level, we can do some really simple test by trying to stretch the fabric our to roughly estimate the behaviour of the fabric that we purchased from stores. However, this has become a difficulty in the parametric design stage. We can not really have a accurate representation from digital design. Since it requires serious of data numbers and calculation to get the closet accuracy of the fabric. It also involves about skill and expert study in fabric to truly understand the optimize solution in achieving the equilibrium and uniform distributed loads on the casting surface. Thirdly, the limitation of casting is about the characteristic of casting materials itself. It was the first four prototypes that we exploring the moulding plaster as casting materials. Nevertheless, in the end the casting materials work aganist our will. Hence in doing casting, the mixing porportion and water ratio also should be carefully study in order to avoid failure or cracking while curing. Additionally, the other problem with casting materials happens during remove formwork stage, if the casting not set or the strength is very weak. As we removing the formwork, the cast will start to crumble and fall apart duel to moving. It was all protoypes casting with moulding plaster all collapse as they couldnâ&#x20AC;&#x2122;t stand withstand after removing the formwork. Hence we have switch to use concrete as alernative solutions. Similar to plaster mixing, concrete also requires careful mixing porpotion between water ratio and aggregate to strength the structure. Those process more or less need experience and knowledge to optimize the successful rate for outcomes. Finally, it is about Modularity theme. As prediction, we have to options to tackle this. The first options is to cast modularly, in order word, casting the whole structure in one attempt. Secondly is casting each pannel then assemble them together. Either of those casting methods also raise up questions. How can we join cast pannels together and manage the number of formwork use ?
CRITERIA DESIGN
77
[5] TECHNIQUE: PROTOTYPES
Stable farbric onto frame 40X40X40
Mixing Plaster and Water
The result of the first prototype wasnâ&#x20AC;&#x2122;t successful as the fabric wasnâ&#x20AC;&#x2122;t well pretensioning. It makes the plaster concentrate greatly in the middle, yet very less at edges which leading to crumble and faulty at edges. It was also the first cast that the mixing process have many difficulties in calculation the water and plaster porpotion and pouring time.
78
CRITERIA DESIGN
Making frame 20x20x20 for smaller cast, this cast is use to test the anchor points iterations
As the second prototype with plaster, the protoypes still continue fail with cracking and crumbling. Nevertheless the surfaces achieved from the cast is a positive sign that we heading towards what we expecting out of the cast.
CRITERIA DESIGN
79
[5] TECHNIQUE: PROTOTYPES FABRIC TYPES
AVANTAGE
DISAVANTAGE
MESH / NYLON
High elasticity and multidirections strecth Thin and give texture to the cast
Not working well with casting as the mesh attached to the cast and unremovable
WOVEN 60% COTTON 40% POLYESTER
Stern to moderate elasticity Woven texture imprinted on cast nicely Strong and strengthen to hold heavy cast
Hard to remove the cast from fabric formwork (especially plaster)
Optimise span in multi-directions Easily remove from casting Imprinted nice texture on casting minimal cracks and crumble while removing
Costly materials High elasticity, requires pre tenstion calculations and preparations
CONCRETE
80
CRITERIA DESIGN
The third is experimenting the casting react under different types of farbics. We got Mesh on one surface and woven on the other surface. We predict that the mesh will give more elasticity surface on casting, yet the different between them is not significant. The most obvious difference prehaps the texture imprinted on casting surface. Yet itâ&#x20AC;&#x2122;s another fail prototypes with plasters CRITERIA DESIGN
81
[5] TECHNIQUE: PROTOTYPES
The fourth protoypes play with the released boundaries, the fabric used was single mesh with 4 corners posttensioning instead of wholes edges. The constraint in using mesh is mesh is such a wonderful elasticity farbric, yet using it in casting is properly not a good ideas as cast stucked on the mesh and unremovable
82
CRITERIA DESIGN
CASTING MATERIALS
AVANTAGE
DISAVANTAGE
PLASTER
Quickly Set and Curing time Affordable price and popular use Easy mixing process
Cure way too quickly, not enough time for adjust on mould if faulty happens Fragile, very weak in term of curing and final products
CEMENT
Well hardening and very good casting material smooth surface Good for hollow cast
Costly materials, Expensive
CONCRETE
Better fill material for cement Greater strength then cement Good for solid cast
Non-smooth surface finish Dark colour limitated Long set time - 7days to 28 days
CRITERIA DESIGN
83
[5] TECHNIQUE: PROTOTYPES
The first and second cast from concrete and cement. Majorly itâ&#x20AC;&#x2122;s cement and water mixing for the timber frame and concrete cast for the wire frame. The concrete and cement seems to be more reasonable casting materials as itâ&#x20AC;&#x2122;s certainly stronger with solid cast . Yet when removing, wires should never be used again since it is impossible to take out. 84
CRITERIA DESIGN
Anchor points
Lines anchors
Wire anchors
As the result prehaps the thickness we trying to achieve is the middle one which also have lightest weight. Itâ&#x20AC;&#x2122;s possible to achieve again by rasing the height of the line anchor formwork. The higher the anchor, the shallow the cast and less materials use as well.
CRITERIA DESIGN
85
[6] TECHNIQUE: PROPOSAL
DESI
86
CRITERIA DESIGN
IGN PROPOSAL FOR BIKE SHELTER NEW STUDENT PREECINT
CRITERIA DESIGN
87
[6.1] SITE ANALYSIS
ORGINAL SITE CONTEXT The new student project is about transform the student experience on-campus with renovating the campus and converting it into a world class student hub. The introduction of new buildings and spaces and it is closer to transportation routes and aims to relocate the hub away from the north of the campus to a more central location. The new program add extra amenities for students. This aim to bring the student expand out to the north an south of the campus instead of staying at union house as traditional heart circulation The design proposal should compliment this new modern space as well as further enhance its program. Whilst we are designing a bike shelter, it is important to for this program to work in harmony with the circulation of the space, more specifically close to Swanston street as that is where the most cyclist traffic enters from due to the presence of the bike lane. Furthermore its is important to have enough open space to allow for the circulation of both people and bicycles. Therefore both the design proposal and the site must have the open space capable of accommodating the additional program. The design proposal should fit in the context of the new spaceâ&#x20AC;&#x2122;s circulation, as we are designing bike shelter. It is important to have open space and suitable loaction for cyclists access from Swanston street bike lane to the campus. The architectural aesthetic also should harmonize well with the surrounding context, especially herritage buildings 88
CRITERIA DESIGN
INITIAL PLAN OF EXCAVATING & RENOVATING
LEVELING AND FLATTENING
CRITERIA DESIGN
89
[6.1] SITE ANALYSIS
RENOVATING AREAS
90
CRITERIA DESIGN
NEW CIRCULATION & INFRASTRUCTURE
POTENTIAL SITE CHOSEN The site of the design proposal is situated on the southern side of the precinct between building 1888 and the current Frank Tate building. The cantilevering structure allows for bikes to be sheltered but maintains as much open space as possible for users to move in and out with ease. Its scale is also relatively small compared to its surroundings to avoid overwhelming the heritage building.
CRITERIA DESIGN
91
[6.2] DESIGN PROPOSAL PLAN
ELEVATION
92
CRITERIA DESIGN
SECTION
CRITERIA DESIGN
93
[6.2] DESIGN PROPOSAL
94
CRITERIA DESIGN
CRITERIA DESIGN
95
[7] LEARNING OBJECTIVES AND OUTCO
96
CRITERIA DESIGN
ME
The major concern with difficulties between fabrication and digital stimualtion still remained unsolved and it even become a bigger issue in flexible formwork project. With the flexible forwork, the designer requires more effort in generating digital model through numerous of calculations. It was no easy tasks and requires expertised knowledge as well, as fabric is still a very new subject in casting and formwork. The physics in Kangroo more or less has help us to generate relatively close model to reality. Nonethless, the fabrication is still remain as a challenge as we have to figure out the formwork oursleves not by using Grasshoper definitions. The digital design only serves as the prediction of final casting outcomes not the entire fabrication process Furthermore, during the design process, the Modularity prehaps was our theme, yet as the same time, we misunderstood it which create a lot of problem in tackle the design process. It was not a clear directions until we really find out the key theme of P Wall case study. Additionally, the case study P Wall as vague in guiding us from digital design to fabrication process. There are barely full information on hollow cast of P wall 2013, moreover, the controversy of materials waste for hollow cast still remain as genreally question mark. From the precedent study, there seem to be none of the solution which student budget can really afford for mutiple amount of moulds for casting. It is the ideas that we shoud keep in mind in further development.
CRITERIA DESIGN
97
98
CRITERIA DESIGN
PROJECT PROPOSAL
99
[C] 100
PROJECT PROPOSAL
CRITERIA D 1. Design Concept
2. Tectonic Elements + Prototypes 3. Final Detailed Model
4. Learning Objectives and Outcom
DESIGN
s
me
PROJECT PROPOSAL
101
[1] DESIGN CONCEPT
INTERIM FEEDBACKS & CRITICS
102
PROJECT PROPOSAL
FEEDBACKS Feedbacks from the interim presentation focus on certain issues: 1.
Chosen site context & its justifications
2.
The chosen formâ&#x20AC;&#x2122;s structural integrity
3.
Repetition and dynamics in the patterning of panels
4.
Connections (Panel to Grid structure)
6. Fabrication refining of panel & method of chaining bikes to panels 7.
Extra activities and functions for bike shelter
The most obvious concern as soon as Part B design proposal presented was its aesthetics of design form. It was the historical building as site context has heavily impact on the overall scale of the proposal design. Formal context requires enormous of considerations of bike shelter design, in order not to over-empower the solitude beauty of the historic building located behind. Even though we have achieved the modularity of the design, yet the variability and dynamics in panels are significantly missing. At this point, it was only one based panel which repeats throughout the structure. Another problem to address is the concerns with structural integrity as the form appear to be bend over on the top which likely causing buckling and failure in maintaining its form - due to its lack of footings. As all the panel will be made out of cement, itâ&#x20AC;&#x2122;s extremely difficult for the grid structure resisting the bending moment with top-heaviness. Therefore, the focusing solution on the structure will be majorly about form refining and self-standing structure. The connection between the grid and panel also one of major concern as the exposing bolt will more or less have an impact on the aesthetic of the overall form. On the other hand, the fabrication methods in casting panel also need great attempts in refining. It needed to reduce the minimum weight with steady edges for connections. This not only for convenience in installing the panels but also for the safety of the user as heavy panels prone to collapse, which caused injuries and other serious problems. Overall, not only the biggest concern lies majorly in the structural and paneling design but also about resolving the practicality of changing bikes into panels - since adding conventional bike racks will sweep away the core value of smart design bike shelter should achieve. PROJECT PROPOSAL
103
[1] DESIGN CONCEPT
1. SITE ANALYSIS RE-JUSTIFICATION New Student Precinct
104
PROJECT PROPOSAL
PREVIOUS SITE CHOSEN JUSTIFICATION In PART B the key reason of the chosen site location was to not disrupting the busy junction happens one block of building away from the site location, plus the convenient access from the bike lane on Swanston street to the Univerity lanes. As the vivid characters of the chosen site were the 1888 historical building, it constraint the bike shelter design must not be intrusive to the site context. Beside the suggestive of the site context direct the bike shelter must be subtle and tranquil as possible, other constraints imposed on the design proposal was small areas of unused land that sufficient for a reasonable bike shelter to locate. This will cut down a number of bikes and parking slots can be arranged. Relatively, the areas also very quiet in terms of circulation and activities unlike the student junction at Sidney Myer Center and ERC buildings. The circulated programme proposal has a certainly caught problem in justification. As the walkway is compatible small for any suggestions in attempting to create dynamic circulation around the bike shelter. It was impossible to create proposing entrance with ramp and exit with stairs as the areas are insufficient. This also makes it difficult in attempting to hide the grid structure, as well as the main focus of the design, was to showcase the facade and the panels, not the grid itself. Therefore additionally, adding additional elements to hide the grid with such narrow spaces only make the design seems â&#x20AC;&#x153;too muchâ&#x20AC;? In the sum of all the factor over above, apparently, this site proposal is not ideal for design proposal as the site itself has limited many opportunities for the design to develop and balance out with the site context. Hence the ultimate solution was to change the location that will enhance the potential of design proposing and refinements. .
PROJECT PROPOSAL
105
[1] DESIGN CONCEPT
FIGURE 1: MONASH ROAD ENTR UNIVERISTY EXISTING BIKE S
FIGURE 1: PREVIOUS SI RIGHT SIDE IN FRONT OF
106
PROJECT PROPOSAL
THE NEW SITE PROPOSAL & DETAILS
RANCE AND SHELTER
LOCATION Located behind Sidney Myer Centre and the old John Symth Building (demolished). At the new site, majorly the design will be surrounded by contemporary building and modern designs.
CIRCULATIONS As the student junction located nearby, the circulation in this area is busier and a lot more dynamic. With the new student precinct project proposing, this location is the prime areas with UMSU student union, food court, and libraries. Hence as bike shelter located here will enhance the circulation for the cyclists to conveniently access to the student junction.
AREAS
FIGURE 1: NEW SITE LOACTION BEHIND SIDNEY MYER CENTRE
As well as the walkway area is also much border than the previous site chosen which enable more space for potential to develop a design to the bike shelter including creating transition spaces between Swanston street to the new outdoor programmes
ITE LOCATION 1888 BUILDING
PROJECT PROPOSAL
107
[1] DESIGN CONCEPT
2. GRID STRUCTURE & STRUCTURAL INTERGITY Grid structure refinements
108
PROJECT PROPOSAL
PART B GRID STRUCTURE RESULTS In reality, the grid structure which we generate in Grasshopper in Part B certainly very difficult to stabilize by itself as it has no footing or addition props support. As a cantilever form, we were given a few options to generating the support from the tutor like: 1. Adding tensile cables attached to the back of the structure to balance out the compressive forces on the structure itself 2. Adding additional mirror cantilevers branches to balance out the tilted forces towards both sides Nonetheless, from discussions, this two options seems not really suitable as the cables attachments will requires extra calculations and permission in “damaging” the buildings from the surrounding context. Furthermore, visibility of the cables props only make more contradiction and suspicious to the aesthetic of-of the overall picturesqueness. As well as the extra cantilever solution is also not suitable either as under weathering condition, rainwater will likely stuck between those gaps and cause leaking, hence prone to corrosion and damage the internal structure. 3. Extending the curves (the radius of the arc) and excavating soils for the curve to steadily sit into the ground 4. Adding additional props at the back and hidden it within the soils Apparently, this two were the most optimal solution for the structure to resist bending moment without interrupting the overall composition. Combining them together won’t require extra consideration to the foundation works.
PROJECT PROPOSAL
109
[1] DESIGN CONCEPT
ELEVATION
THE FIRST REFINEMENT In the first attempt of refinement, in order to make our strcuture looks more realistical strong and structurally support. Panelling tool was the most optimal option to replicate the quare grid and bracing between using brep. At this point we still trying to keep the concept of different heights between 2 entrances which will used as the indicate the Exit and Entrance for the users. However, as the result, the different radius at 2 ends causing problem in mesh quard division. The inidividually the panel dimension end up with variety shift to fit the surface, which is not a good sign. Furthermore, the different heights at 2 ends is insufficient to equal load bearing and realistic structure built.
REAR
PERSPECTIVE 110
PROJECT PROPOSAL
ELEVATION THE SECOND REFINEMENT Therefore, in the second refinement, the idea of different heights at 2 ends has been eliminated as it is no longer suitable for quards mesh division. The form appear to be more symmetric and more refined. Yet in term of structurally appearance, it is still not stable enough as the bottom length still very curve bend which will cause incovinience in laying the grid structure on the flat surface. Nevertheless, in term of form, this form is absolutely the direction that we are aiming to achieve as the mesh quards division for square panel has significantly improve comparing to previous generating results.
REAR
PERSPECTIVE PROJECT PROPOSAL
111
[1] DESIGN CONCEPT
PERSPECTIVE
ELEVATION 112
PROJECT PROPOSAL
FINAL GRID STRUCTURE FORM In the final refinement, we made change on the initial geometric component from Arcs to Arcs 3 point in order to have more control of the curve shape that the grid support to have. Thus dividing the grid base arcs into 3 segements in order to maximize it quards divisio. For structural stability, we decide to add extra support at the back which will be hidden within the foundation of the buidling at rear.
PROJECT PROPOSAL
113
[1] DESIGN CONCEPT
3. PATTERNING Patterning Refinement
114
PROJECT PROPOSAL
PART B PATTERNING RESULTS As the end of Part B, the panel was not really resolved well, as it is very uniform (one-panel repeat throughout the structure) in order to fit in Modularity category. Yet, the core idea about Modularity certainly does not constrain the design towards the repetition of the same unit. Modularity is more dynamic than that...
PROJECT PROPOSAL
115
[1] DESIGN CONCEPT
LEGEND
Solid cast White Cement Panels
Hollow cast White Cement Panels + Steel reinforcements - Bike Rack Panels
Translucent Platic Panels - Locker Panels
Transpaprent Platic Panels - Clear Panels
Anchor Line Pattern - Grasshoper generated
116
PROJECT PROPOSAL
REFINEMENT IDEAS AND DIRECTIONS Therefore, the lacking aspect of the patterning panel of the design at this point is Variability. The easiest way to achieve it is to make each panel carry out the unique pattern. However, it is quite tedious in both digitally parametric design and manufacture. So instead of applying the different pattern on every single, alternative strategy is attempting to generate an overall pattern which will apply the entire composition of the panels. The greatest advantage of this strategy is that it controls an overall control of the flow of the pattern from one connection to the others. In this way, it makes the individual panel seems to have a greater connection with its neighbors - as parametrically speaking, the pattern will continue to flow from one to the others and forming a complete pattern throughout the structure. In term of the degree of control, it also utilizes for a designer to potentially determine functionalities of the panel or given certain segment panel with an aesthetic purpose. Moreover, it certainly opens up to a degree of materiality choices. Even though it was only concrete and plaster casting materials that we have experiment so far. Nonetheless, to benefit the structure stability and reducing cost, we also considering plastics as its form also achievable through replicate form through fabric form-work. Thus, additionally experiment with the level of transparency. As this rate, certainly, the variability is achievable in both patternings and materialities.
PROJECT PROPOSAL
117
[1] DESIGN CONCEPT
PATTER
INITIAL CURVES • Starting point • End point • Connection points
ITERATING FIRST GENERATION
ITERATING SUCCEDDING GENERATION
• Starting Vector • Unitise Vector
• Iterate Numerous Generations • Isolate Branch • Orientate Lines
INITIAL VECTOR
PATTERN CUT OFF
• Starting Vector • Unitise Vector
• Draw Theshold Line
STRUCTURE FORM • Base Arc • Move Arc • Loft Arc
ISOLATING PANELS • Isolating Panels • Move Arc • Loft Arc
118
PROJECT PROPOSAL
• List Item • Cull Pattern • Loft Arc
RNING
PANELING
MERGING CURVES
FORCE PARAMETER
• Intersect Curve/Curve • Draw Curve • Join Curve
• Mesh Closet Points • Anchor Mesh Points
ADAPTING CURVE TO THE STRUCTURE • Project Curve onto the Surface
PANELING & MESHING • Subdivide into Qudads • Mesh Quads • Reduce Mesh
• Mesh Strength • Anchor Naked Edges
FINAL SOLUTION • Merge Data • Solve Mesh • Group & Bake
• Aquire Mesh Normal • Change Vector Amplitude
PROJECT PROPOSAL
119
[1] DESIGN CONCEPT
4. CONNECTIONS Attach Panels to Grid Structure
120
PROJECT PROPOSAL
PART B RESULTS From part B, it was no proper solution in resolving the connection from the panel to the grid. The only solution that we actually come up is chemical ankle bolt which typically uses in bolting concrete and cement together. However, the problem with it was the exposing of bolts will impact on the aesthetic aspect of the facade.
REFINEMENT OF PANEL TO STRUCTURE JUNCTION Therefore, with this design concept of the facade is the vital expression, while the grid merely just as support and hidden. Hence, the connection also needs extra consideration as it needs to be addressed in a seamless manner as much as possible in order not to interfere with the aesthetic aspect of the whole. The ideal solution is to attach the back face of the panel attached to the front face of the structure with ensuring the junction between the front and rear panel not overlapping or underlapping each other. If we fixing all elements together with a single bolt, which will reduce the number of bolts exposed on the facade. As it planned out that we use varying materials on the panel, so there are many options and methods we can consider for different materials: 1. Transparent and Translucent panels can be solved by attaching to the grid structure using double-sided tape 2. Cement panels can be bolted as stated above or final adoption is a male/ female dowel to the connection points. It is easy to install to the panels and on the structure with ensuring of concealing behind the panel. Moreover, addition adhesive chemicals can be added to stiffen where the connection.
PROJECT PROPOSAL
121
[1] DESIGN CONCEPT
Translucent Sufarce Timber Frame attached at Panel Edges
Female Dowel Connection - Bolted
Male Dowel Connection - Bolted
Timber Frame of Grid Structure
TYPICAL CONNECTIONS OF TIMBER FRAME AND PANEL 122
PROJECT PROPOSAL
CONNECTION OF LOC
e
Male Dowel Connection
Timber framing Door Frame
Lock Galvernised Steel Reinforcement Panel Frame Timber frame of Grid Structure
Cement Hollow cast Panel
Locker Box
CKER PANEL
STEEL REINFORCEMENT AT EDGES OF BIKE RACK PANEL PROJECT PROPOSAL
123
[2] TECTONIC ELEMENTS + PROTOTYPES
124
PROJECT PROPOSAL
S
TIMBER / GALVERNISED STEEL GRID STRUCTURE
TRANSPARENT PLATICS
LOCKER - TRANSLUCENT PLATICS
WHITE CEMENT SOILD CAST
BIKE RACK - WHITE CEMENT HOLLOW CAST AND STEEL REINFORCEMENT PROJECT PROPOSAL
125
[1] DESIGN CONCEPT FINAL CONCEPT DESIGN LIGHT TUNNEL 1. AIM Enhance current bike shelter qualities at The University of Melbourne and encourage students to travel to university by bikes, though providing an accessible platform for student cyclist to the new student precinct programs
126
PROJECT PROPOSAL
2. DESIGN DETAILS •
A Bike Shelter with 18m long and 2.5 m high curve open cantilevers appear form.
•
16 bike parking slot arranged in compliance with City of Melbourne Design Standards with an indication of steel edged bike rack panels (on the third row of panels)
•
16 locker spaces to store helmets - indicated by translucent panels (on the fourth and fifth rows)
Panel details •
328 panels in total
•
The panel is dimension 450 mm by 450 mm with varying material characteristics and functions
•
The material of the panel shifts gradually from opaque white cement at the bottom to translucent than transparent on the top follow the vertical flow.
•
The converging pattern of the panel indicate 1) Direction towards the exit & 2) Location of the bike rack panels
•
PROJECT PROPOSAL
127
[2] TECTONIC ELEMENTS + PROTOTYPES
128
PROJECT PROPOSAL
S
FABRICATION REFINEMENTS Key issues that need to be addressed in Final Panel Prototype: 1. Thin cast and the cement membrane need to have an equilibrium surface 2. Panelâ&#x20AC;&#x2122;s edges need to be sturdy for Male / Female Dowel connection to the Grid structure 3. Developing and standardizing similar techniques for fabricating both Cement and Plastic panels 4.
Connections (Panel to Grid structure) & Testing
Furthermore, all elements are needed to be considered and carefully resolved because the aesthetic of the whole project really accommodate from all these features, even to the smallest connection details. As Modularity qualities represent through module and repetition tectonics, it requires the fabrication also need to be standardized and as little adjustments as possible to the panel manufacture and assembly.
PROJECT PROPOSAL
129
[2] TECTONIC ELEMENTS + PROTOTYPES MATERIALITIES & MODULES List of Panel Modules in Final Panel Prototype: 1.
CEMENT panel module
2.
PLASTIC panel module
a. Translucent Plastic
b. Transparent Plastic
Cement Fabric is
From the design intentions: A.
The Cement panels will be White Cement cast
The solid cast for the majority at the 1st and 2nd rows Hollow cast with steel reinforcements at edges for the 3rd row as bike racks functioning
Dowel is attache
B. The Plastic panels will consist of Translucent and Transparent Translucent plastic is used for Locker identification for the users on the 4th and 5th rows Transparent plastic is used for aesthetic and decoration, the transparency allows daylight reflect over the entire the bike shelter. The located majority on the rest of the top rows.
D
Fabric soaking a
Fabric soaking in
130
PROJECT PROPOSAL
CEMENT PANEL
S
Plastic sheet is heated up
s moulded by timber frame and dowel
ed to timber frame as pattern formwork
Dowel
Vaccum Formwork
attached to Timber frame Edge
Dowel
n white cement in Big tube
PLATICS PANEL
PROJECT PROPOSAL
131
[2] TECTONIC ELEMENTS + PROTOTYPES
CEMENT PANEL - C
Mixing Cement Powder with decent Water Ratio and PowderMixing Cement Powder with decent Water Ratio and Powder
Pour the mixture into a big tube and soak the fabric in that tube
132
PROJECT PROPOSAL
S
CASTING PROCESS
Place the Cement Fabric on the Timber Frame attached Dowel and wrap the edges onto the frame
PROJECT PROPOSAL
133
[2] TECTONIC ELEMENTS + PROTOTYPES
Taking the panel out after it cured, without damage to the edges or surface
The casting process takes approximately at least 2 days for building a frame and casting for 1 panel. For the best result, the most ideal condition to take out is 28 days, However, due to the time limitation, we have to remove the panel off of the timber mold as soon as it set. Since mixing another component into the mixture will only cause the cast become more dusty and rough on the surface. Hence, the cast was purely just white cement mixture and water ratio. During the curing process, it has to be regularly check in order for the best quality result. The casting process is very similar to Part C, except that we raise the level of the dowel high up and the fabric has become a sacrificial form-work in order to achieve the thinnest cast.
134
PROJECT PROPOSAL
S Drill holes on timber frame for Male Dowel connection representational
PROJECT PROPOSAL
135
[2] TECTONIC ELEMENTS + PROTOTYPES
PLATICS PANEL - VACCU
136
PROJECT PROPOSAL
S
UM FORMING PROCESS
PROJECT PROPOSAL
137
[3] FINAL DETAILED MODELS
138
PROJECT PROPOSAL
PROJECT PROPOSAL
139
[3] FINAL DETAILED MODELS
140
PROJECT PROPOSAL
Student bring their own chains to lock their bike into white cement panel
Bike Park at the edges between 2 panels
PLAN Scale 1:100 @ A4 PROJECT PROPOSAL
141
[3] FINAL DETAILED MODELS
Translucent panel locker to store bike helmet
142
PROJECT PROPOSAL
Hollow Cast White Cement Panels with galvanized steel reinforcements attached with female dowels
Solid cast White Cement Panels
SECTION Scale 1:100 @ A4 PROJECT PROPOSAL
143
[3] FINAL DETAILED MODELS
Translucent Platics
144
PROJECT PROPOSAL
Transparent Platics
White Cement
ELEVATION Scale 1:100 @ A4 PROJECT PROPOSAL
145
[3] FINAL DETAILED MODELS
146
PROJECT PROPOSAL
RENDER PROJECT PROPOSAL
147
[3] FINAL DETAILED MODELS
148
PROJECT PROPOSAL
RENDERS PROJECT PROPOSAL
149
[3] FINAL DETAILED MODELS
FIRST PROTOTYPE The first model was made out of Plaster casting. As the result the plaster is very weak and crumble at edges during the removing form-work process. Thus the plaster doesnâ&#x20AC;&#x2122; t spread equally over the fabric surface causing inequal distribute of Plater casting result.
150
PROJECT PROPOSAL
SECOND PROTOTYPE The second model was the attempt for first hollow cast, we still using Plater for this experiment and fabric was made as sacrificial form-work. Nevertheless the casting still happens to fail and crumbling. Hence, properly we should try out cement or concrete cast which is stronger and more durable.
PROJECT PROPOSAL
151
[3] FINAL DETAILED MODELS CONCRETE TRINITY CAST
3RD CAST - WIRE
2ND CAST - LINE
With the 3rd experiment of this prototypes sqeuences, we experiment if we can create the pattern with wires. However the result was not satisfied as the wire being stucked into then concrete cast and impossible to remove out of the cast. Thus the cast itself is also very heavy as the wire anchors are too weak to work againist the concrete mixture being pull down by gravity
The second cast, we are improving with line experiement by using dowels attached underneath. Instead of concrete mix, we use pure cement which give a smoother surface and cleaner removed with fabric texutre imprinted. The weight also signifcantly reduced compared to the first one
152
PROJECT PROPOSAL
1ST CAST - POINT For the first concrete cast, the prototype was to try out the point anchor as the P Wall study case. As the result the amount of cement pour is consumed more then expected and the panel is extremely heavy. It is insufficient to use point anchors we canâ&#x20AC;&#x2122;t do digitally arrange the anchor that we generate digitally. It is very difficult to distribute the concrete pour equally
PROJECT PROPOSAL
153
[3] FINAL DETAILED MODELS
CEMENT PANEL PROTOTYPE Following photographs show the formwork and its connections. The timber stick as Dowel replication of forming pattern for the cement panel. As the design project requirement, we cast our prototype with white cement mixture for 1:1 scale demostration. (Diagram Cement Panel casting for further details)
154
PROJECT PROPOSAL
CEMENT PANEL CONNECTION PROTOTYPE One side of panel reveal how the bolts with connect to the timber frame. At least 3 bolts on 1 edges with evenly spacing to ensure equally fix connection that connect the cement panel to the timber frame. ( Diagram Typical Connection for further details)
PROJECT PROPOSAL
155
[3] FINAL DETAILED MODELS
1ST PLATICS PANEL PROTOTYPE A protype demostrate the result of vaccum formwork with transparent platics sheet, since the avaliable resource doesnt provide the translucent platics sheet, hence we demostrate it with the transparent panel instead. As this protype was formed from 2nd plaster cast panel, the plaster protype was too weak to show obvious patterns.
156
PROJECT PROPOSAL
LOCKER DOOR PANEL PROTOTYPE This protope demostrate 1:1 scale of locker door panel made out translucent platics ( realistically ) . As the cement panel was used as mould, the pattern and vaccum forming appear to be more refined with obvioud dock lock on plastic panel sheet. After timber frame attached to translucent panel, steel door hindges attached normally with screws.
PROJECT PROPOSAL
157
[3] FINAL DETAILED MODELS
158
PROJECT PROPOSAL
SITE MODEL & 1:100 PROTOTYPE As the casting can not be represented in details with small scale, alternatively , 3D printing was the optimal solution as the project was predominantly design with digital resources . Hence to make the texture repesented closet to chosen materials . Powder printing was utilised as it gives a refined smooth surface then regular platics 3D prinitng. Nevertheless, the supports of the structure was done through laser cutting to demostrate the grid structure is actually sandwitched between panels
PROJECT PROPOSAL
159
[2] TECTONIC ELEMENTS + PROTOTYPES
160
PROJECT PROPOSAL
S
PROJECT PROPOSAL
161
[4] LEARNING OBJECTIVES AND OUTCO
162
PROJECT PROPOSAL
ME CONCLUSIONS The project was continuously developing onwards from Part B.Yet in Part C development, it was completely opposite to its previous progress. In the final progress of the project, we are mainly simplifying on both digital and fabrication process, in order to conclude for a complete outcome with the limitation of available resources and equipment. Even though in Part A, it was expected that our project will be determined by fabrication then digital refinement come afterwards - as fabric-formwork is only an estimation in computational representation Nevertheless, in the end, our attempts were successful due to the digital stimulation and corresponding iterations on both form and parametric facade design, which benefit us to have a standardised fabrication processes. Hence, in the final development, it can be said that we actually reverse our design method from the Top-down approach to become Bottomup approach. However, it was ironic that the quickest way to simplify the whole fabrication process down was to raise up the complexity of the iterations especially in the final arrangement iterations. Because the facade is â&#x20AC;&#x153;faceâ&#x20AC;? of the project, the iteration requirements are high-expectation. According to Jesse Shen, my group-member who generate the iteration for the panel, he said that the solution which he found for the digital design was more algorithmically than conventional manner and it was very tedious. As we have made a change in site location - leads to significant change in project dimension, relatively the scale for a number of panels and its dimensions also affected. We have to go up from 300x300mm to 450x450mm in order to fit within the arrangments of the grid structure. Personally, as an individual task, I was in charge of the grid structure design. Honestly, the grid form was just merely a refinement version develop from part B. The biggest change we have made is the getting rid of the idea inbalance radius scale between the entrance and the exit and made the form symmetrical for stabilizing purposes. Therefore, most of the works were referring back to the panel development in predominantly the whole notion of our design. For that, we emerge the entrance and exit notion into panel pattern which stimulated digital beforehand. Furthermore, to ensure the stability of the structure, more Karmapa and structure test can be conducted in the future. Another aspect that interesting to the debate was about the material choices and discussions. As first, we personally thought that we could standardize the fabrication process due to the fact
PROJECT PROPOSAL
163
[4] LEARNING OBJECTIVES AND OUTCO that we just utilizing one material and emphasize its monotonical aesthetics as design expression. Nevertheless, a similar incident with a fabric-formwork scenario that the material’ nature actually works against our will. Therefore, in the scale model, we actually have to rely on 3D printer for quality and accurate representational of the project. Nevertheless, in the manner of fabrication, personally speaking, I don’t think our project really have interrogated the accurate representation from the digital to the physical form, as fabric form work’s nature is very distinct itself to have stimulating reminiscence. Mainly during the entire of fabrication, it was trial and error in order to find the best way to cast the panel that satisfying our requirements. With limited knowledge of mixing ratio and casting sequences, it has limited us to cast a strong and durable panel. Even though the panel cast actually improved, at the final cast, crackings still appear and the surface wasn’t really smooth as we expected it will be. Extra care and further cast were added to the cement panel in order to smoothen surface up and it also still very fragile. Casting process also takes up serval days for curing, so it very disturbs the work-flow to be continuous and havoc effort checking on curing process to ensure the prototype and up crumbling. Despite difficulties in the fabrication process, in the end, it was no denial that the computational stimulation was the vital key to determining the successful outcome of the project. Even though there certainly are dis-continuous workflow overall between the digital works and the fabrication works. The calculation and result of the iterations represent enough general outcomes and give clues for the designer - us to work towards the specific direction for refinements.
164
PROJECT PROPOSAL
ME REFLECTION Designing is always an endless process. Even though our projects still have many adjustments that need to be made, from part B development, I am quite delighted that our group has managed to resolve most of the problems that were stated in part B interim feedbacks. There are still more details that we could improve on in the future. It was good to see that we have multiple material choices collaborate in the whole project, yet it still has a very confusion flow between a sculpture and bike shelter. Our project development so far was very too practicality and specific in addressing and solving the design brief. Hence it lacks the dynamics that an outdoor space should have.
WOOD
The suggestion was given that we can use the panel systems as multiple functions like an art sculpture or a playground. As the panel can be controlled by the group through iterations, it is possible for us to have a multifunction space than merely bike shelter. In short, our design direction is lacking flexibility in term of context. Another suggestion was given that our grid structure originally was presented as galvanized steel. However, due to lack of existing resources and expert knowledge in steelworks. We could not represent our prototype in term of the material that we propose. Hence the critics were that we should change into timber as in term of scale, timber is a better material choice. Nevertheless, after considerations, personally, I would like to keep the grid structure made out of Galvernised Steel as steel fit more with our design intention and context. It reminiscences well the whole design as contemporary glass and steel art sculpture surrounded by modernized buildings. Thus as in the 3rd rows of panels, we have steel reinforcement as well, hence as connection points, we can reduce significantly bolts that will be exposed in connecting the panel to the grid structure.
GALVERNISED STEEL
In the end, it was a great journey of designing. Even though our design concept starts from a pretty simple idea, it was surprising to see that parametric design really release a powerful manipulation on multiple data. Casting might not really work well with the digital flow in general. Yet the digital generator is certainly vital in leading and directing in both design and fabrication.
PROJECT PROPOSAL
165
166
PROJECT PROPOSAL
PROJECT PROPOSAL
167
NGHI TU LUU @ ALL RIGHTS RESERVED 2018
168
PROJECT PROPOSAL