Studio Air
Liaoyu Zhou 784143 2017 semester 2 Tutor: Finnia Warnock Tutorial 2
STUDIO AIR A Design Process Following Biomimicry
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CONTENT
0.0 Biography PART A CONCEPTUALIZATION A1.0 Design Future A2.0 Design Computation A3.0 Composition / Generation A4.0 Conclusion A5.0 Learning Outcome
4 8 14 20 26 27
PART B CRITERIA DESIGN B1 Research Field B2 Case Study 1 Paramatric Experimentation B3 Case Study 2 Eden Project B4 Technology Development B5 Prototype B6 Proposal B7 Learning Outcome
36 42 50 56 64 68 70
PART C DETAILED DESIGN C1 Design Concept C2 Tectonic Elements & Prototype C3 Final Model
76 82 98
0.0 biography
My name is Liaoyu Zhou (Rosie). I am a third-year architecture student. I was born in China and have study in Australia for 3 years. My point of interest in architecture was arisen from the architecture theories which discussing architecture’s relations and influences towards human. I guess I am a more theoretic person instead of practical. And I also less interested in the fancy architecture which shock people at the first sight. I am interested in the architecture with more organic shape and brings comforts and peace to users or generating certain thinking. 4
I had experience on some software like rhino and CAD, but I usually organized my initial design on paper instead of using computer programing. I guess it is my bias towards some extreme geometric building with less functionality attached and also lacking of skills is my reasons for less computer works.
Earth secret project 1
For this studio, I really want to learn more computation skills which will definitely better my future design. I am expecting to know more about today’s computation and design due to I have not exposed to this much.
Earth secret project 2
There are some projects from my studio earth.
Earth project frame and infill
Part A. conceptualiza
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ation
A1.0 design future Current situation Now human is facing an unstainable situation of exploiting the world, and there will be no future for us if this human and world relation is maintained. In this situation, design is regarded as an important method to secure our future, for its capacity to influence people’s thoughts and behaviors and shape the material world [1]. Driven by today’s condition, a series of designs highlight sustainability, human-nature relation, and possible future living model, are proposed and contributed to the discourse about future possibilities. Architecture’s role Instead of perceiving as a container for people, architecture is viewed as a practice to test out revolutionary ideas and employ changes to existing relations of culture, politics, and social discourses[2]. In history, many revolutionary cases of architecture were proposed, driven by critical issues of that time. These cases contributed to existing debates among society and generated various possibilities for future at that time. For some cases, we can still see their influences among architects, architectures and social discussion today. It is reasonable that we consider different architectures as our possibilities towards future. technology New technology can change design feature of that era profoundly. For example, the designs we produce using Rhino and CAD have its similarities to some extent, which is quite different from a hand-drawn proposal.
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Issue right now But the reality for this industry is more about the profit aspect. Commercial development is surely the key factor for an industry to grow. In the sense, the challenge for architects is how to balance the commercial consideration and the need to secure future. Also there are some designs with the title of sustainability actually produces much more waste than the normal design. Therefore, as a designer, we should consider what design can be regarded as sustainable, and if all the inputs contributing to the design are worthwhile. According to Fry, our future can only be secure by insightful design[3]. In order to coop with our existing issues, Fry also states that design intelligence engaging with our social, economic and political theories and decaying environment needs to be established[4]. As a result, people can make more rational judgment towards our situation. Critical design and dark design that push the boundary of our narrow assumptions and creating discussion can also be effective building up design intelligence[5].
A1.1 case study 1 Architect: Superstudio Project: The Continuous Monument Time: 1969 - 1970 Unbuilt project
Figure 1: Superstudio The continuous monument 1
The Continuous Monument project is consisted of a series of city and nature compositions, in which buildings seem monumental, overwhelming and having a negative relation towards nature. It had been created mainly through photo collage and drawing. This project has never intended to be built, therefore, it can be really radical and conveying revolutionary ideas.
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The grid structure in this project is implying our city grid and all the artificial structure in our social, cultural and political areas. It points out a possible future which includes a total and unpleasant urbanism, 1969’s social beliefs might bring us to. In 1960s cities is growing fast and rectangular city grids are regarded as scientific and functional. Superstudio tried to point out the absurdities and dangers behind arbitrary urban planning and criticized the unhealthy urbanism structure.
This project is also aimed to challenge the technology optimism in society. By portraying a dark and overwhelming city machine created through the ‘great technology’, they made the public to realize technology can lead to a bad future without careful implement. Through inserting a giant city grid into harmonious nature, a concern about the way human values nature also arose. In this sense, technology and human society show their ridiculousness.
Figure 2: Superstudio The continuous monument 2
Around 1960s there were series of political events around the world, like Cultural Revolution in China, feminist movements, and politicized gay rights movement in western society. This turbulent political and social environment enabled all kind of different theories and ideas to grow. It is reasonable that many radical works like the continuous monuments are proposed at that time. According to Dunne and Ruby, it is a dark design, generating a undesirable future to break the naĂŻve dream of techno-utopianism[6]. The continuous monument project functioned well to propose a series of questions about urbanism, technology, environment and social, cultural and political structure at that time. And it is still radical today. We still reference it as a miserable future and try to avoid it through careful designs. These ideas behind the continuous monument project is highly appreciate by lateral architects and even contemporary masters like Rem Koolhaas and Zaha Hadid. It is a good example depicting how architecture can help to achieve a better future but also questioning this future at the same time.
Figure 3: Superstudio The continuous monument 3
Figure 4: Superstudio The continuous monument 4
A1.2 case study 2 Architect: Diller Scofidio & Renfro Project: Zaryadye Park Time: 2013 Built project to be finished in 2017
Figure 5: Zaryadye Park 1
This project introduces an idea called “wild urbanism”, which states that human and vegetation share equal importance. In Zaryadye park, architecture and nature are a harmonious whole and we can see a balance of nature and culture. Currently, we are facing a situation of environment degradation due to our exploit to environment. This proposal shows a new human-nature relationship, which is sustainable in its concept and care about nature. We can see a positive future presenting in Zaryadye park. 12
Zaryadye Park employs a system using particular heating and cooling techniques to maintain four different microclimates, which is trying to mimic four Russian landscape typologies: tundra, wetland, forest and the steppe. Visitors can even experience different season in this park. Because it is Moscow’s first new park in 50 years, this design also is viewed as a milestone for Moscow. All these vegetation works not only as attraction but also exhibition for educational uses. However, in terms of energy it consumes to create these microclimates, it is not self-sustaining.
Zaryadye park locates in the city center of Moscow, which makes it more revolutionary and influential. Because it at least represents Moscow’s attitude towards new humannature relationship. The word “wild” in Russia is actually a stain, reminding they of the economic collapse and failure of past political system. Diller Scofidio & Renfro redefine this “wild” within the control of technology and cater for the social meaning of wilderness. This park also have positive psychological influences to people in Russia.
Figure 6: Zaryadye Park 2
This park is designed to be open for all years and having large open space, which allows people to gather and protest there. By comparing these two precedents, we can see that a large-size built project is less revolutionary and radical than an unbuilt project. Because a built project needs to carter more about only not the social, cultural and political ground but also all the commercial reasons and feeling of clients. Sometimes an unbuilt project can inspire people more than a built project. For Zayardye Park project, the idea of “wild urbanism” is meaningful contracting the traditional way of thinking urbanism as an irrational expanding human’s order upon nature. The idea of nature and human share equal values is meaningful. However, using technology to create artificial natural environment is still exerting human power upon nature and the park is not selfsustaining, which seems contradicting its concepts. It is the compromise of built project to clients. However, generally it is a critical design that pointing out new possibility for human future and allowing discussion for the gap between reality and an imaginary and perfect future [7].
Figure 7: Zaryadye Park 3
Figure 8: Zaryadye Park 4
A2.0 design computation Architecture design requires both the consideration of imposed constraints and personal inspiration, in other words, analysis and creativity[8]. Today we have come to a shift point of architecture due to the great help of computer towards both analysis and creativity. Computerization is helpful as a powerful analytic tool for architectural design. Firstly, Kalay states that “computers, by their nature, are superb analytical engines”[9]. A new formation of architecture through algorithm has been provided through computer programs, which allows designers to drafting and communicate their design in greater details. Also by keeping the parameters of the building formation process, designer has the ability to change them and others are able to have a better understanding towards the design. Usually algorithmic formfinding method is used to discover a most efficient surface for design which is based on algorithmic calculation which human finds hard to achieve. Secondly, computerized design process allows not only testing of material performance, but also make material fabrication more detailed and easier. The digital connection of material and performance stimulation already create a new collaborative relationship between architects and engineers[10]. Thirdly, according to Oxman, material experimentation in computer program helps to build ecological design corresponding closely with surrounding environment[11]. Designer can have a better control of these interactive relations between environment and material by computerized model. Creativity generated by computerization is usually recognized as “fake” creativity, which seems arbitrary. Firstly, there are many architects undergo a physical computation process, which uses more mathematic methods to approach design solutions. We cannot claim these creativities are fake. In this sense, computerization is a great method to generate creativity. Secondly, scripting has become a new architectural thinking method and has its own stylistic preferences [12]. Computation has its own style, which is the similar topic as drawing having its own style, and physical model having its own style. However, people tend to overlook computation as a design tool. In order to come out with better design solution, designers need to explore all kinds of methods and media. But we are unwilling to admit that computerization leads us to a more creative outcome and creativity is more likely to be fortuitous outcome.
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In conclusion, computerization help us to have more efficient analysis and generate creativity, which is the key to a better design.
A2.1 case study 1 Architects: Zaha Hadid Architects Project: The Morpheus Hotel Location: Cotai, Macau Built finish time: 2017
Figure 9: The Morpheus Hotel 1
This 40-story luxury hotel designed by Zaha Hadid Architects is using total 3-D modeling technique from the concept establishing to the faรงade detailing. It shows how computerization can help us to generate good design in a creative way and perfect it with analytical method.
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The concept is gradually developing from testing different overall shapes of the building. With Tspline, the smooth surface and structure is made and communicated easily(Fig 10). Without computerization, this particular style of one smooth piece of building with central voids is hard to imagine and propose. After an initial concept established, a more detailed model is produced after simulating structural, and material performance and surrounding environment conditions. The form of the hotel is changed as parameters changed. We can see that the whole form-finding process is highly influenced by computer script and comes out with a computerized style eventually. The two bridges between voids are not only providing natural lighting but also forming a creative indoor space with brand-new experience. Computer’s strong ability in terms of light penetration and testing environmental relations, works as the basis of these bridges’ design[13](Fig 11). This first highrise building supported by a free-form exoskeleton steel structure worldwide cannot be designed and built without support of computer programing. Envelope and cladding structures are also tested on a 3-D model in terms of efficiency and material performance. We can see a new collaborative relationship between architects and engineers from different companies with cross-disciplinary knowledge involving to ensure all the structures are successful and fulfilling the aesthetic requirement. With computer file as communication tool as well, sharing knowledge and fix errors can be easier [14]. Façade elements are designed according to their different curvature(Fig 12). These components are in great details and modeled as individual Rhino files. These detailed components can be directly sent to production. They also are in high quality due to the detailed and accurate 3-D model and the performance testing process on computer.
Figure 10: The Morpheus Hotel 2
Figure 11: The Morpheus Hotel 3
Figure 12: The Morpheus Hotel 4
A2.2 case study 2 Designer: Brian Peters, Assistant Professor Kent State University, Design.Lab.Workshop Project: The Solar Bytes Pavilion Location: Cleveland, Ohio, United States Date: 2014
Figure 13: The Solar Bytes Pavilion 1
This pavilion is a temporary structure which uses new technologies to find out a new solution for architecture in more efficient and environmental ways. In this case, computerization is working more to enhance creativity and providing stylish features. The overall shape of this pavilion is designed to be barrel vault. By replacing the traditional module bricks with 3D printed plastic elements, the design gains a totally new look. This vault includes 94 hexagonal modules and some of them are slightly different with shapes. They are modelled carefully in computer and sent to 3D printer. During the design stage, many prototypes are made to discover the most effective model. Computer programs made prototypes easier to compared and making change, which lead to a best solution in a small amount of time [15]. Because of this digital process, the vault gains a neat surface and pattern, and the detailed and precise interlocking systems becomes structurally powerful and anesthetically valuable. Viewers can easily surmise that it is a product of computerization due to its neatness, lightness and sense of technology.
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Each module contains a photovoltaic panel and LED light in the center and the Pavilion is located along the sun path to gain maximum solar exposure. The pavilion will light up during night and it acts also as a recorder for weather, because the part receiving longer and stronger sunlight will last longer time at night. It is supporting Oxman’s argument that computerized design learning from the natural principle of design to create a responding work to the surrounding context [16]. This also forms a unique aesthetic feature corresponding with surrounding environment. It is clear that without technological innovations, connecting environment condition and architecture is extremely difficult. We can also see a brand-new possibility for future design from it. This pavilion is turned into small pieces and reused as material for extruder that accepts recycled material to build a totally different structure. It suggests a way of being sustainable for future design industry. The project expresses a strong sense of computerized design feature. It is efficient, time-saving and environmentally sustainable. I think the most important part for computerized design is their unique visual expression, and this expression is not only for aesthetic values but also driving by functional reasons.
Figure 14: The Solar Bytes Pavilion 2
Figure 15: The Solar Bytes Pavilion 3
Figure 16: The Solar Bytes Pavilion 4
A3.0 Composition/Generation Architecture is experiencing a change from a social-cultural event driven composition mode to a computation driven generation mode. Generation architecture asking the control over the whole formation process, is enabled by the use of algorithmic scripting. An algorithm is described as a recipe for computer to follow and it generally transfers complex situations to be computational programs, which is controllable and easy to communicate [17]. Shifting from composition architecture to generation architecture benefits the whole industry and brings future possibilities due to computation. According to Peters, the structure of architectural firms is changing, and there are different roles computation experts can play in the companies [18]. There will be more choices and different working relations for architecture industry. Parametric modelling could potentially lead to a future, in which architects and users can keep communicating and changing the occupied buildings through digital models [19].
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Generation mode use algorithmic thinking, parametric modelling and scripting as tools to free a new area of architecture, which cannot be reached with only human’s mind. Peters states that generation architectural designs with computation potentially providing unexpected results and generating inspirations that sometimes surpass human intelligences[20]. Because algorithmic thinking simplifies the complicated conditions. It is similar to the “game of life”, in which complex situations are produced by only a few simple rules. Also parametric model helps to calculate and represent the a project in details, which also helps designer to better the project. With parametric model programing developed, it not only improves ideas’ communication, but also actualizes the building experience and apply new meanings to projects[21]. Majidi argued that computation has a great impact on the way projects are built [22]. In this way, parametric model acts as annalistic and reflective stages. Scripting is the most direct and clear presentation of certain project’s formation. Analyzing scripts is the quickest way to communicate projects.
However, according to Whitehead, there is a danger for some scripters who is totally obsessed with the pure scripting technique and creating isolated crafts away from reality, which appears to be astray from the integrated and artful core of architecture [23]. It will better to employ the social and cultural concerns in composition formation to generation formation, in order to give architecture meanings. Architects understanding of algorithmic concept are still in a primary level and computation programming has not arrived a mature stage. Peters states that when architects utterly acquire algorithmic thinking method, computation will become a true design method eventually [24].
A3.1 case study 1 Architects: Marc Fornes/ Theverymany Project: Vaulted Willow Location: Borden Park – Edmonton, Alberta, Canada Date: 2014
Figure 17: Vaulted Willow 1
Vaulted Willow as a lightweight and self-supported shell derive from a series of form findings process. Starting with a 2D geometry and inflate it upwards to searching for an optimized structure. Thinking algorithmically it starts with a simple idea of inflating a 2D pattern, but comes out with a complicated form. 22
A good parametric model is also generated to finding the best form. Porosity increases with height to minimize upper weight and double curvature and edge strips are used to stiffen weak points. After this, a series of testing like dynamic analysis and stress ratio is processed on this model to ensure it function well(Fig 18).
The pressure of snow is also taken into account to stimulate the real surrounding environment. A small size model is made to ensure its functionality(Fig 19). Due to every piece of shingles is similar but unique, the fabrication must be precise which means the model have to be precise and extremely detailed. This freeform structure can only be calculated carry out through computation. It is clear that parametric modelling and computation process has enable this kind of freeform architecture which require high-quality of structural analysis and detailing. Also the detailing of model requires a high standard of precise fabrication. The color configuration of this pavilion is deriving form a potter pattern which depicts Chinese romantic story(Fig 20). It also coops with the surrounding color to merge in. This color finding process is more in a composition mode, comparing with the form finding process which is a generative procedure. It is beneficial to combine these two modes together, and attaching more social and cultural values to pure scientific form-finding.
Figure 18: Vaulted Willow 2
Figure 19: Vaulted Willow 3
Figure 20: Vaulted Willow 4
A3.2 case study 2 Architects: Moritz Doerstelmann, Jan Knippers, Achim Menges, Stefana Parascho, Marshall Prado and Tobias Schwinn Project: ICD/ITKE Research Pavilion Location: University of Stuttgart Date: 2013-2014
Figure 21: ICD/ITKE Research Pavilion 1
This pavilion is built out of the concept of flying beetles’ elytra. Research team search for help from biologists to study various kinds of elytra and use computer to analyze the structural performance(Fig 22). Finally a coreless and lightweight double-layer shell structure is created. With fibre-composite structures, the beetle’s elytra’s working theory is presented(Fig 23).
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numerous forewings protect the fragile flying wings working together against lateral load. In this practice, the input is elytra and the output comes out of algorithmic formation is the similar structure look fragile but structurally sound. Many modelling and analysis help to find the best elytra’s structure and transform it into architectural model. This deep biological research generates a creative and performative morphology with generative method.
The dedicated use of material and computational fabrication method creates unique and performative modules. With the help of dual-robot machine, the frame and the glass fibre are carefully applied. After the initial layer of glass fibre installed, the frame is put in the same condition of local load bearing requirements, which made each module unique and extremely performative(Fig 24). It is clear that the careful script and developed computation program can maximize architecture’s quality and performance to a stage we cannot imagine before.
Figure 22: ICD/ITKE Research Pavilion 2
I think this generative architecture combines both the sophisticated built manner of computation and the fine precedents of beetle’s elytra. It appears to be an integrated artform for generative architecture Figure 23: ICD/ITKE Research Pavilion 3
Figure 24: ICD/ITKE Research Pavilion 4
A4.0 Conclusion After study of Part A, I realize except for the pure practical area of architecture, it also need to point out future opportunities. Architecture as the most widely existing features for social exchange, should leads discussion itself. Under this theme, design computation appears to be one of the most important tools for analysis and generating creativity. Sophisticated use of computation can expand our future possibility. We are experience a shift form composition mode to generation mode of architectural formation, which is mainly driven by computation, especially algorithmic thinking, parametric model and scripting. Architectural industry has been changing profoundly and a computerized and stylish future can already be perceived.
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The generation form-finding method in case study of ICD/ITKE Research Pavilion appears to be really fascinating for me. It involves in a really scientific approach using computation technique to generate the optimized form and try to present the natural composition in a constructable way. I believe it is innovative in terms of this form-finding method starting from natural object can generate creativity that we might not exposed to in normal situation. Because these elements existing in nature are usually both elegant and functional. Also the sophisticated use of new programing technique to fix specific problem is innovative itself. I think this form-finding technique can create interesting projects with organic shape and great functionality. Designers who is seeking for optimal form might benefit from this technique. After these case study, I believe I will pay more attention to the natural shapes and try to incorporate them into my design generating process.
A5.0 Learning outcomes After the study of part A, I have changed my attitude towards architectural computation. I am not appealed by computation process in the past, because I think many of computation projects are expressing the pure seeking of complicated geometries and they look similar to some extent. After researching of different process and projects with totally different intentions behind, I am really fascinated by the possibility computation can bring to us. I realize the past bias I had towards computation is particular towards computerized and unthoughtful designs, but there are much more we can do and innovate with computation. It is the technique that has a greater revolutionary impact for our future. Also the exposure to grasshopper is exciting. Through simply changing parameter, there will be lots of results I can comparing before deciding the final outcome.
Earth project
With these outcomes more analyses can be done, more potential problems might be uncovered, a design can be efficiently improved both through its functionality and visual aesthetics. During my past design process, I was doing computerized design instead of computation. Due to I always came up with the fixed design idea and then draw it on computer, which is not employing the creativity and unexpected results of computation. I will definitely try to generate my design on computer and explore different options to achieve the best outcome. I think the unexpected results computer bring to me will inspired me with new ideas and possibilities towards design in the future. Also I am really fascinate by the idea of using computation programming to recreate the design we might usually get used to do in other method, just like the experiment of drawing tree trunks in rhino presented in the lecture. The combination of traditional design process and the computation programming, and the way they changed each other is attractive to me. After this study, I have a review on my past earth studio project and I realized by input the parameter in grasshopper I will definitely come out with various options for the organic shape for my design, which I manually adjusted and had fewer other options towards it. Also through slightly adjustments, I can come up with unique and similar pieces for my organic form instead of a monolithic piece, which might have a totally different result.
Reference [1] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 3. [2] Richard Williams, ‘Architecture and Visual Culture’, Exploring Visual Culture: Definitions (Edinburgh: Edinburgh University Press, 2005), p. 108. [3] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 3. [4] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 12. [5] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) p. 38. [6] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) p. 38. [7] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) p. 43. [8] Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 2. [9] Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 2. [10] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 4. [11] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 7. [12] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 7. [13] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 7. 28
[14] Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 13. [15] Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 2324. [16] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 8. [17] A. Robert and C. Keil Frank, (1999). “Definition of ‘Algorithm’ in Wilson”, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), p. 11. [18] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.11. [19] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.14. [20] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.10. [21] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.13. [22] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.13. [23] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.15. [24] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.12.
Case study Archdaily, ‘A Wilderness in the City: How Diller Scofidio + Renfro's Zaryadye Park Could Help Fix Moscow” <http://www.archdaily.com/598907/a-wildernessin-the-city-how-diller-scofidio-renfro-s-zaryadye-park-could-help-fix-moscow> [accessed 10 August 2017]. Archdaily, ‘"City of Dreams" Hotel Tower / Zaha Hadid Architects’ < http:// www.archdaily.com/491074/zaha-hadid-designs-city-of-dreams-hotel-tower-inmacau> [accessed 10 August 2017]. Archdaily, ‘This 3D Printed Pavilion Provides Shade During the Day and Illuminates at Night’ <http://www.archdaily.com/772241/this-3d-printed-pavilionprovides-shade-during-the-day-and-illuminates-at-night>[accessed 10 August 2017]. Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE), University of Stuttgart, ‘ICD/ITKE Research Pavilion’ <file:///D:/uni/air/weekly task/week 3/journal/Doerstelmann_et_al2015-Architectural_Design.pdf>[accessed 10 August 2017]. Newcastle University, ‘The continuous monument - superstudio’ < http://20142015.nclurbandesign.org/sustainability/superstudio/ fg> [accessed 10 August 2017]. Vimeo, ‘The Morpheus Hotel: From Design to Production: Live Webinar’ <https://vimeo.com/203509846#t=35m36s> [accessed 10 August 2017].
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Image list Figure 1: Superstudio The continuous monument 1 <http://2014-2015. nclurbandesign.org/sustainability/superstudio/ > [accessed 10 August 2017]. Figure 2: Superstudio The continuous monument 2 < http://2014-2015. nclurbandesign.org/sustainability/superstudio/> [accessed 10 August 2017]. Figure 3: Superstudio The continuous monument 3 < https://www.moma.org/ collection/works/934> [accessed 10 August 2017]. Figure 4: Superstudio The continuous monument <https://www.moma.org/ collection/works/937> [accessed 10 August 2017]. Figure 5: Zaryadye Park 1 <http://www.archdaily.com/447637/diller-scofidiorenfro-win-zaryadye-park-competition> [accessed 10 August 2017]. Figure 6: Zaryadye Park 2 <http://www.archdaily.com/447637/diller-scofidiorenfro-win-zaryadye-park-competition> [accessed 10 August 2017]. Figure 7: Zaryadye Park 3 <http://www.archdaily.com/447637/diller-scofidiorenfro-win-zaryadye-park-competition> [accessed 10 August 2017]. Figure 8: Zaryadye Park 4 <http://www.archdaily.com/447637/diller-scofidiorenfro-win-zaryadye-park-competition> [accessed 10 August 2017]. Figure 9: The Morpheus Hotel 1 <http://www.archdaily.com/491074/zaha-hadiddesigns-city-of-dreams-hotel-tower-in-macau> [accessed 10 August 2017]. Figure 10: The Morpheus Hotel 2 <https://vimeo.com/203509846#t=35m36s > [accessed 10 August 2017]. Figure 11: The Morpheus Hotel 3 <https://vimeo.com/203509846#t=35m36s > [accessed 10 August 2017]. Figure 12: The Morpheus Hotel 4 <https://vimeo.com/203509846#t=35m36s > [accessed 10 August 2017]. Figure 13: The Solar Bytes Pavilion 1 <http://www.archdaily.com/772241/this3d-printed-pavilion-provides-shade-during-the-day-and-illuminates-at-night>
[accessed 10 August 2017]. Figure 14: The Solar Bytes Pavilion 2 <http://www.archdaily.com/772241/this-3dprinted-pavilion-provides-shade-during-the-day-and-illuminates-at-night> [accessed 10 August 2017]. Figure 15: The Solar Bytes Pavilion 3 <http://www.archdaily.com/772241/this-3dprinted-pavilion-provides-shade-during-the-day-and-illuminates-at-night> [accessed 10 August 2017]. Figure 16: The Solar Bytes Pavilion 4 <http://www.archdaily.com/772241/this-3dprinted-pavilion-provides-shade-during-the-day-and-illuminates-at-night> [accessed 10 August 2017]. Figure 17: Vaulted Willow 1 <https://theverymany.com/projects#/public-art/11edmonton/> [accessed 10 August 2017]. Figure 18: Vaulted Willow 2 <https://theverymany.com/projects#/public-art/11edmonton/> [accessed 10 August 2017]. Figure 19: Vaulted Willow 3 <https://theverymany.com/projects#/public-art/11edmonton/> [accessed 10 August 2017]. Figure 20: Vaulted Willow 4 <https://theverymany.com/projects#/public-art/11edmonton/> [accessed 10 August 2017]. Figure 21: ICD/ITKE Research Pavilion 1 <http://www.archdaily.com/522408/icditke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 10 August 2017]. Figure 22: ICD/ITKE Research Pavilion 2 <http://www.archdaily.com/522408/icditke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 10 August 2017]. Figure 23: ICD/ITKE Research Pavilion 3 <http://www.archdaily.com/522408/icditke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 10 August 2017]. Figure 24: ICD/ITKE Research Pavilion 4 <http://www.archdaily.com/522408/icditke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 10 August 2017]. 32
Bibliography Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Oxman, Rivka and Oxman, Robert, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12. Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116.
Part B. Crite
34
eria design
B1 Research Field
Biomimicry – nature’s inspiration Biomimicry is an approach that discovers and applies the rules of nature to achieve a sustainable and creative architecture. Biomimicry usually not only brings about a particular aesthetic outcome but also appears to be more efficient on buildings’ performance. According to Janine Benyus, “nature always doubles up on functions, think of feather – waterproof, airfoil, self-cleaning, insulation, beauty for sexual reproduction”(1). Nature has its secret of being beautiful and efficient with the minimum use of material, which we can definitely learn from. It is a method that we incorporate the existing and highly effective natural system with man-made environment, instead of making up a brand new one. The heart of biomimicry method is valuing the performance of architecture, which mimics the natural system and have a sustainable and ecofriendly outcome. Most of the biomimicry architectural designs share the same values with passive designs. Biomimicry is closely associated with technology, which helps us to fully understand the sophisticated nature theory and delicate produced through parametric design with precise control of data.
36
n
Precedent - The Morning Line Architect: Aranda Lasch Location: Seville, Spain; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany Year: 2008-2013
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Figure 2: morning line 2
40
The Morning Line
This structure is a continuous piece of black aluminium “line work” drawing in space which is over 8 meters high and 20 meter long. It tries to capture the continuity of universe, as a result, there is barely broken lines in this structure. It also creates a dynamic movement of people experiencing this space, which implies human’s relations and position in the universe. The morning line is designed to be the comprehensive pavilion of art, music and cosmology. It has an elegant black outlook and appears to be an artwork on a square. Designer considered the way morning line will carry sound and encourage local music performance. “The bit” is also installed to perfect the sonic experience in the Morning Line.
B2. Case study 1 parametric experimentat
42
tion In this parametric experiment of the Morning Line, I mostly explore the different patterning of the basic geometry. But the main problem I encounter is the way to model the continuous structure consists of the base geometry.
criteria Functionality: What functions the structure might provide and where it might be positioned. Is it going to work for certain environment? Is there a good light and shadow effect? Biomimicry: How the structure shows the buried biomimicry approach in terms of theories and outlook. Buildability: Is the structure being possible in real life? Is it easy to fabricate the components? Is it easy to assemble? Beauty: Is the structure visually appearing? Are people going to be attracted by that?
Figure 3: morning line 3
ma *1 a. polygon S5 R10
a. cluster factor - 0.56
a. cluster fa
a. deconstruct brep b. point on curve (0.5) c. delaunay edge d. pipe
a. deconstruct brep b. point on curve (0.5) c. polyline d. pipe
a. deconstru b. point on c c. polyline d. pipe e. polygon -
a. diamond panel b. cluster - 0.52- 0.33 c. polygon - R4
a. diamond panel b. deconstruct brep c. cull face
a. facet patte b. copy and
*2
*3
*4 a. wb catmullclark
44
a. wb sierpinski
a. wb si b. wb la
atrix
actor - 0.4
uct brep curve (0.5)
a. add 4th cluster b. hide first cluster
a. deconstruct brep b. delaunay edge c. pipe
a. evaluate facotor - 0.4-1 b. jitter- 4-49 c. connect 1th 2rd and 4th cluster
a. deconstruct brep b. polyline c. pipe
R2.7-5
ern paste link
ierpinski aplace
a. facet pattern b. reverse matrix
a. wb mesh window
a. facet pattern D 3
a. wb laplace b. wb split polygons
*5 a. deconstruct brep b. voronoi c. extrude point
a. deconstruct brep b. voronoi c. extrude point d. split
a. pop 3d b. facet dome
a. pop 3d b. facet dome
a. deconstr b. voronoi c. extrude d. cull patte
*6 c. cull pattern
a. pop 3d b. facet dome c. adding tut5 out the surfac
*7 a. polygon S3 R2.5 b. array along curve N 20
46
a. polygon S3 R2.5 b. array along curve c. change curve form
a. polygon S b. array alon c. change cu
ruct brep
point ern
a. deconstruct brep b. voronoi c. extrude
a. deconstruct brep b. voronoi 3d
e 5's definition - pull ce
a. pop 3d b. facet dome c. adding tut5's definition - pull out the surface d. face normal
a. pop 3d b. facet dome c. adding tut5's definition - pull out the surface d. multiply - 0.03-6
S3 R2.5 ng curve N 25 urve form
a. polygon S3 R1.6 b. array along curve N 38 c. change curve form
a. polygon S3 R1.6 b. array along curve N 25 c. change curve form d. polar array
It can be used as a hunging shelter in urban space. It will work effectively with nice light and shadow effect. I really like this pattern and it is visually appearing. This pattern is mimic the snowflake accidentally, which can bring a sense of nature and relaxation in the urban areas. It can be built with light weight and waterproof cloth, which can be cut through computer.
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This structure is more likely to be a sculputral pavilion which can be poisitioned in a square or a park. The grid structure can have a good lighting effect and quick connected to the surroundings. It has a simplity compared with other iteration, which I appreciated. This system is not complicated as a result can be assemble eassily after fabrication.
successful
Compared with other iterations, this one is pretty enclouse. It can be used as a considerably enclosed shelter in a park, which give mroe privacy. the shattering patterns will provide good light and shadows. Even if it looked quiet massy, it consists all the basic square shapes which also give a sense of union. This structure is harder to assembly due to there are many pieces but it is easy to fabricate these shample geometry.
This structure can act like a sunshade also a eyecatching spot in urban areas. The shape of it is unique and beautiful and it looks like a trees. Also the layerings is similar to layers of tree branches. This structure has less fucntionality and considerably harder to assembly than others.
B3 Case Study 2 Eden Project - the biomes Architect: Grimshaw Location: Cornwall, UK
50
The Eden Project is cover 2.2 ha land hold an indoor humid and warm rainforest. The whole project was conducted on computer. Designers get their inspiration from soap bubble to construct a hexagon cover to coop with changing surrounding and allow variation in structure. They built a series of geodesic domes out of hexagon patterns. As a result, cells can be removed and added in if needed. These steel tubes and joints form the structure are lightweight and transportable and the cladding material are triple layers pillow of ETFE foil. Due to its lightness this whole structure are highly adjustable.
Figure 4: eden 1
reverse process
a. spilt shpere with surface
d. attach polygon along on these equally devided points
52
b. forming the gri the sphere
e. use array polar and list item to pick the mo fitted shapes
id for
c. divide the gride with length equally
d ost
f. outcome with pipe
I tried to use the lunch box hexagon grid to formt the dome, but it defomed. I cannot get a even hexagon grid with it.
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I also usde the project component to project a grid of haxageon on my dome, however it also deformed largely on the edge.
B4. technolo
original dome
a. circle
a. mesh brep
a. diagrid structure b. array along curve c. pipe
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a. polygon r6.8
a. lunch box hexagon grid
a. surface closet point b. mesh brep
a. diagrid structure b. array along curve c. wb mesh thicken
a. move t
a. diagrid
a. surface closet b. mesh brep c. change norma
a. diagrid struct b. array along c c. wb mesh thic d. change dista
ogy development
the split surface
d structure
point
al factor
ture curve cken ance parameter
a. rotate
a.grid structure
a. offset t100
a. diamond panel b. edge c. pipe
a. surface closet point b. mesh brep c. change uv factor
a. surface closet point b. mesh brep c. jitter d. change point input
a. diagrid structure b. array along curve c. extrude
a. diagrid structure b. array along curve c. explode d. delaunay cell
a. wb inner polygon subdivision
a. wb stellate / cumulation b. change distance parameter
a. offset b. wb S/C c. dispatch
a. kangaroo spring force b. kangaroo physics c. reset length
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a. wb inner polygon subdivision b. wb mesh thicken
a. wb stellate / cumulation b. change distance parameter c. offset d. cull pattern
a. offset b. wb S/C c. cull pattern
a. kangaroo spring force b. kangaroo physics c. reset length d. facet dome e.pipe
a. wb sirpins subdivisons
a. wb sierpin
a. offset b. wb S/C c. trim with
a. kangar b. kangar c. reset le d. facet d e.pipe
ski triangles
a. wb midedge subdivision
a. wb stellate / cumulation
nski carpet
a. wb sierpinski carpet b. offset c. change distance parameter
a. wb sierpinski carpet b. offset c. change distance parameter d. cull pattern
brep
roo spring force roo physics ength dome (r45)
a. offset b. wb S/C c. trim with brep
a. kangaroo spring force b. kangaroo physics c. delaunay mesh d. edge e.pipe
a. offset b. wb S/C c. trim with brep
a. kangaroo spring force b. kangaroo physics c. delaunay edge
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a. array along curve
a. array along curve b.sublist c. domain
a. array along curve b. facet dome c. mesh
a. array along curve b. facet dome c. point charge d. evaluate field e. expression f. remap g. mesh
a. array a change) b. scale
a. array b. facet d c. point c d. evalua e. expre f. remap g. mesh h. move
along curve (n
a. array along curve (n change) b. scale
along curve dome charge ate field ession p
a. array along curve b. facet dome c. point charge d. evaluate field e. expression f. remap g. mesh h. spin force
atract point
a. scale b. array along curve c. change curve form
a. array along curve b. facet dome c. point charge d. evaluate field e. expression f. remap g. mesh h. vector force
Fu Is
Ac
successful iterations
Bu
co
Be
de
The structure is interesting in terms of how it can be viewed through the vacancy.
the pattern on the structure provide good level of privacy and the large amount of opening make it a good semiprivate space. the patterns on this design provide better acoustic effects than others.
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CRITERIA
unctionality: What functions the structure might provide and where it might be positioned. it going to work for certain environment? Is there a good light and shadow effect?
coustic: how well the acoustic performance is?
uildability: Is the structure being possible in real life? Is it easy to fabricate the
omponents? Is it easy to assemble?
eauty: Is the structure visually appearing? Are people going to be attracted by that?
egree of privacy- semiprivate space is needed.
I really like two of these organic cells structure. they are giving a visually variation to the views. But they have less acoustic performance campared with the 2rd iterations. Both these four iterations are easy to construcut and have certain degree of visual appearing working as a semi-private pavilion-like structure.
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B5. Prototype This protype mainly test out a self-supported dome strucuture, with hexagon cells. The material is MDF which considerably rigid. The middle layer is a layer of adjustable timber layer which is supposed to change its shape due to humidity. As a result, a good extent of privacy can be applied. However, the timber we used now has been seasoned with little effect of expansion which we will fix in part c. we made two layer of persex to control the humidit inside the cells which will also provide a good acoustic effects. But perspex is not perfect as well. cable tie and tenon joints are used for this protoype.
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This protype is more flexible, which is mainly derive from the fexiblity hexagon cells can achiteve. It work like a hexagon cover can be apply to any geometry's stucture to provide good privacy and lighting effect. And the cells can be added and remove easily.
B6. Proposal
For part c, I will do a dome like strucutre based on these hexagon cells. Due to this pattern and curvature of dome can procide good service of sight block but still keep the space open. I planed to find a way to give more variation to the hexagon cells and the shape as well so it can be more dynamic. I want to use this curve to create more movement of sight to the space instead of keeping a straigh line box in the builidng.
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B7. learning outcome
After half semister's study, I feel more confident with parametric model and digital fabrication. I feel it directly increase my ability of geting a finer outcome than before. I am not settle with one design outcome through this time due to the change of parameter change the outcome hugely. Sometimes I am even inspired by the mistaken step I made. It drive me to a proprosal that I have not thinke about before. But I also feel a sense of losing control over the final outcome as well. Because I find it really hard for me to connect the digital model to the really life stuff unitl I made the physical model.
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Reference [1] Janine Benyus, ‘Nature as measure’(2011), p. 46.
Case study Benyus, Janine. Tarri Peters ‘Nature as measure’ <http://onlinelibrary.wiley.com.ezp.lib. unimelb.edu.au/doi/10.1002/ad.1318/epdf> [accessed 10 spe 2017]. Aranda Lasch, “Moring line”:< http://arandalasch.com/works/the-morning-line/> [accessed 10 spe 2017]. Grimshaw architect, “eden project”<https://grimshaw.global/projects/the-eden-project-thebiomes/> [accessed 10 spe 2017].
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Image list Figure 1: morning line 1 ďź&#x161; https://wieesseinkoennte.files.wordpress. com/2011/06/10a_the_morning_line.jpg Figure 2: morning line 2 http://arandalasch.com/works/the-morning-line/ [accessed 10 spe 2017]. Figure 3: morning line 3 http://arandalasch.com/works/the-morning-line/ [accessed 10 spe 2017]. Figure 4: eden 1 https://wieesseinkoennte.files.wordpress.com/2011/06/10a_ the_morning_line.jpg [accessed 10 spe 2017].
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PART C Detailed Design
76
C1.1 Design Concept
From the Part B presentation, we receive the critics that, on the one hand, we have clear precendents of â&#x20AC;&#x153;hygroscopeâ&#x20AC;?and show a good departure from the precendent, on the other hand, the overal geometry needs to be defined with more variation, and the modular prototype should be the main focus of the part C. Thus, our team starts Part C by exploring the overall form of the acoustic pod with consideration of the brief and site more specifically.
C1.2 Matrix of Form Exploring 01
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02
Species A
- points along boundaries & in the centre as anchor points to creat a dome shape with a central column
Species B
- points along the back boundaries as anchor points to create a shell shape
Species C
- change the unary force and anchors to get a dome fit better into the space - z=0.5, x=y=0
03
- reduce anchor points to create openings - add an unary force in the Y-axis - y= - 0.5
- keep the anchor points - add an unary force along Y-axis - y= 0.5
- reduce anchor points to create openings - increase the unary force along Z-axis - z= 1.5
- add the central points as anchors as well to create a central column
- change the unary force - z=y=0.5, x=0
- add the central points as anchors as well to create a central column
C1.3 Site Analysis
Looking at the site we found that the office is divide into two patch of working space by the central aisle. We realise it is an moderated space and it wonâ&#x20AC;&#x2122;t be a good idea to bring a heavy, solid structure into this interior office environment. Thus, we want to follow the original pattern of circulation and try not to interrupt the existing office environment by making the acoustic pod as light-weighted as possible.
01
We designed the acoustic pod to be functional by making the acoustic effect happening mainly on the sides facing the two working area. Meanwhile openings are placed on the original path of circulation, facing the doorway and the central aisle.
Circulation Analysis
02 Spatial Analysis
03 Acoustic Analysis
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Also, we leave enough space for people to walk around the structure when they are not allowed to pass through the structure.
Step 1: Create a octagonal grid which covers the entire site area as the base to run the kagaroo physics. This grid provides hundreds of points which can be defined as anchor points later.
Step 2: Based on the form exploration, we select the most successful outcome. It creates a vault shape with a void conceals the structral column. It defines the circulation with openings facing the main entrance and the cnetral aisle while creating the acoustic protection on the sides facing the main worrking areas.
Step 3: To create better acoustic performance by embracing the design approach of biomimicry, we applied a voronoi pattern on the mesh surface. It also reates more interesting visual effect.
Step 4: The pattern is further developed and the development will be explained in details in the next chapter of prototype.
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C2 Tectonic Elements & Prototypes
C2.1 Material Research
Timber meeting with water deforms greatly when it is cut perpendicular to its grain and it will not change much when it is cut along its grain. We are using this property of timber to fabricate our petals which is designed to be responsive to humidity and changing the view. Therefore we found three different species of timber and both of them are unbacked, which will deform properly. We cut them perpendicular towards their grains and spray water to test out which species has the greatest capacity of bending. After this water deformation testing, we are settled on blackwood due to its great bending ability when encounter with moisture.
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DRY
blackwood
WET
blackheart sessafras
myrtle
C2.2 PROTOTYPE 1
Reflected on our midterm model, we decided to add some varieties to our rigid hexagon pattern. We applied voronoied hexagon pattern to our overall shape so every cell is different from each other. They seems visually more interesting than the last attempt, but harder to fabricate. And we encountered the problem of having curved panels which trigers a huge problem for our physical model. Some cells are bending towards different directions.The differences of each cell made the defects intolerable.
86
Congregation 88
Cells are glu
perspex lay space for ris
finger joint side of one
moisture c going betwe structure. A channel allo glued on.
perspex lay
Detail & Prototype 1
Lower part of the structure is covered by whole timber panel and the upper part is cutted out for timber flower installation.
90
ued together.
yer: to create an closed sing humidity.
ts: connect the each cell
channel: allow moisture een cells inside this Also the edge of this ow timber venner to be
yer
There are some gaps between cells, due to our digital model has slightly curved panels. This defect appears to be more clear after we change from our seamless hexagon cells. We also tried to apply sealent to prevent moisture penetrating between cells.
Finger joints are not as efficient as we thought, and they take longer time to assebly, due to our cells are quite complicated.
C2.3 Prototype 3
Introduction In order to enable the “hygroscopic” effect, we need to design a surface pattern not only for visual attraction, but also producing a sealed, hermetic space in which the humidity level can be well controlled. In other words, the surface needs to act as an “air-lock”. Initially, we thought of making a double layered sealed system where air and moisture can be ventilated only inside. At this poitn, the ICD/ITKE Pavilion 2011 provides us a good example to learn from since it is self-interlocked double layer system, which perfectly meets our requirements. Apart from that, it also gives an interesting rugged surface pattern. Therefore, we decide to reverse engineer this model as the first step. Throughout a more detailed research, we found that the ICD Pavilion took advantage of finger joints, so we also test it out in the prototype process.
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Figure 1: ICD/ITKE Research Pavilion 2011
Joint Ideally, we expecting the finger joint can connect two panels without making any gap, which is essential for the producing a perfectly sealed layter where air carrying moisture can flow without contact with the exterior and this subsequently allows hygroscopic system to work. However, the finger joint turned out to work not really well. On the one hand, the thickness of the panel is not accounted into consideration while been lasercutted which added the perimeter of the bottom plate and thus they fail to join together. On the other hand, the joint is too small and fragile that it often breaks.
Materiality In consider of the critics received in Part B, we decided to move away from high end manufactured product like MDF board, and tested natural timber, and in this case,we used 1.7mm plywood. We made etched lines hoping we can fold the timber panels to join them seamlessly. However, this method of etching panels simply does not work. It cracked a lot every time we fold the panels, which is probably because the plywood sheet is relatively crisp and easy to be broken when the etched lines go perpendicular to the timber grain. In fact, we also tried other timber, and found out that etching and folding is probably more suitable for paper or plastic material, not nature timber with natural grains.
installing timber advanced shap
We create a ten timber step to p panel of our cel are for attaching
94
r petals in the pe from prototype 2
non joint for the plug into the vertical lls. Timber steps g timber petals.
C2.4 PROTOTYPE 3
96
PROTOTYPE 3
Improved from prototype 2, we are pleased with the shape of the cell and try to insert timber petals inside the cell. But in this prototype, the timber steps and tenon joints are not working perfectly in the physical model makng process. Because our model scale is 1:5, which makes the distance between the inner perspex and the edge of the vertical panel really close, the timber steps are too large to fit in and the tenon joints' assemblying is hard to adjust by hand. We also want to test out the appearance when we have some cells installed with petals and some left empty. But we quickly found out these empty cells are not visually pleasing, the void in the center is to large for our initial intention to provide privacy.
C3.0 Final Model 98
3D Print Overall Shape This model is produced by 3D printing, generally demonstrate the way each different cell is positioned on the whole congregation. Each cell is glued together along their vertical edge in real construction.
100
102
Inspired by ICD ITKE 2011 Pavilion, we used voronoi and boundary box to get various connected single cell on our overall shape decided through site. This final proposal is carried out to coop with the past problems we encountered in our prototyping stage such as the panel is curved which we are unable to fabricate. According to this design, every cell is an isolated sytem by itself and should be equiped with humidity adjustment component. Every cell is designed different which have great visual interest and they are also dealing with views from each side and privacy level considering the faced office environment. The lower part of the voronoi pattern is constructed by timber sticks instead of cells, which is intended to make the structure look lighter in a indoor space. These timber stick patttern will not disrupt the level of privacy provided due to they
are located around marginal area. Each entrance also has different size, cooping with different noise level and privacy needs towards different office area. It intends to block the noise out from the most active area. Also trying to keep the origianl circulation path in this office.
3D print model detail
104
appearance of these cells from inside
Final Physical Model This is a demonstration of how our single cells are fabriacated. Inside these cells, timber petals are performing greatly as view-blocker at this point and provided different view through different angle.
106
Final Physical Model These cells are constructed at 1:5. They are quite thick and contain different layers which allows them to have a good noise blocking effect and has a considerable quite space inside this structure. It also provide a good level of visual privacy through the open and close of timber petals through humidity change. These timber petals also create a good light and shadow effect.
108
Assembly Process
glue laser cutted luan plywood connecting panels of cells
glue perspex cover on the inner layer
110
basic shape of cell formed
glue inner layer and the connecting panel together to
glue inner layer of the cell together
glue little attachments inside the connection panel which is
basic shape of inner layer set
glue timber petals onto these attachments.
Assembly Process
timber petals are all guled onto the cell and set
glue the whole cell together
112
glue outer layer of the cell together
a finished cell
basic shape of outer layer set
glue the outer perspex on
After the cell is constructed together, we apply sealent along the connection points to seal up the cell and form a closed space for moisture change. In the real construction, there will be a humidity adjustment compoment inside the cell to control opening and closing of the timber petals. sealent and sealent gun
How the timber petal work
SPRAYING WATER PROCESS
When the timber petals are dry, they are almost straight and block most of the view.
114
After spraying m they are bending this way open the space. Viewer ca cell.
moisture on them, g heavily and in e cell's center an see through the
This is the view people inside this structure can see.
116
How the light penetrating through cell after spraying water
118
120
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C4. Learning objectives and outcomes
learning outcomes This air project is really helpful for me in terms of computer skills and fabrication skills. I feel really confident to use these skills even better in the future. We have choosed a considerably hard area (at least for me) biomimicry. I have never imaged I can produce something that is really responsive using natural rules. It has surprised me that this project is gradually progressing throught this semester. In some way it gives me the courage to challenge some interesting but hard topic in the future. The other really interesting experience is looking for the material. Due to our material has its certain requirement and divergent from popular product on the market. We went through a lot of research article and different product provider. At some point, we even had no hope to actually found our material. I think this experience is really encouraging me and it is something I had never imagined in an educational environment. I think our project at this stage still have some problems associated with the massive fabrication and production process due to each piece is unique, and engineering issue related to the humidity changing component. We will definitely progress more if we test out more prototype idea along this path.
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arning objectives
1. “interrogat[ing] a brief” by ng the process of brief formation of optioneering enabled by hnologies. ettled with our final design concept, clear that we make our design erms of the degree of digital . The brief is interpretted according liar grasshopper commands and er constructablity. I realized that hnologies are largely interpreting ef and directioning our design think it is a good thing interms of in real life.
2. developing “an ability to a variety of design possibilities n situation” by introducing visual ming, algorithmic design and c modelling with their intrinsic s for extensive design-space on. benefit from making slight changes orithm. It gives us opportunity to arious design patterns and shapes hose we had not imaged before in a ble short time. Especially when we overall shape using kangaroo, we variety of shapes using the site area mesh and different anchor points.
It is really impressive to actually see the diffferent outcomes and make selections from them. I feel more confident and have more control over the design instead of purely having it in mind. Objective 3. developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication. This subject opens the door of digital design and digital fabrication for me. I feel I am quite confident to continoue exploring digital design and fabrication in my lateral study and work. It is also helpful to see how others' digital and physical models work to coop with the same problems. I think I learnt a lot from others' methods and my past mistakes. Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere. I really appreciate the process of making physical model. Even if the digital model looks realistic and workable, we can only understand and come across real-life construction problems when making the physical model. Initally we purely use the
learning objectives
fablab material, and realized that proper architectural material can make the prototypes look better. And the experience of looking for the proper material is challenging and enlightening. We also tested out different joints and connections, and applied sealant to our model to create the moisture-lock cell. We kept changing our model to coop with the problems we encountered in real-life model making. I see this process a mistakes fixing stage which makes the model better and easier to construct. After we starting to make physical models, we realized our model is actually quite timeconsuming to assembly and they will not stay at the right location unless we build the whole. We actually to understand more of our design and think about the area we are easily neglecting during digital design. Objective 5. developing â&#x20AC;&#x153;the ability to make a case for proposalsâ&#x20AC;? by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. We gradually building up our design proposal through this semester, and I quite appreciate this experience of building up a proper design proposal. Grasshopper as a tool of digital design enables us to come out with a decent design model. Following the method of biomimicry and few precedents, we
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gradually build up a proper design pro This process is hard but enlightening. most interesting part is we can hardly the settled picture of our final design. E the design we propose now is still cha and not perfect. We can still spend tim reach a better quality. I learnt a lot from this process and fee confident to use those experiences to propose decent cases.
Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architect projects. I used to focus more on the conceptua analysis of a design due to the limited digital capability. Now I feel I can tell th differences between the a good design and a good technique solution. We ac the capability of analysing the way oth projects being constructed. We believe super helpful for us to look at and lear others' design through a new perspec
Objective 7. develop foundational understandings of computational geometry, data structures and types programming. With this semester's learning of Grasshopper, we understand the way grasshopper computerization work, th computer language can be manipulate are able to
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construct some of the complex geometry. We are also more comfortable to develop our digital programming technique and learn new softwares. Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. We realized that for developing overall shape grasshopper is really helpful. But when we reach the stage of detailing and fabrication, there are some errors and the physical model is hard to get as perfect as the digital file due to the material thickness. We also felt that grasshopper is not as easy as rhino for the detailing maybe due to limited skills. However, it is really a problem if the detailings are located on pieces that are different from each other.
Reference
[1] Achim Menges & Steffen Reichert, 'Performative Wood: physically programming the respon Design (2015), p.72-73
Image list
Figure 1: ICD/ITKE Research Pavilion 2011 <https://static1.squarespace.com/static/51eed906 2f697/1383426850396/2.jpg > [accessed 1 October 2017].
Bibliography
Menges, Achim & Reichert, steffen (2015) 'Performative Wood: physically programming the re Architectural Design, 85,5, pp.66-73.
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