UoE Design Thinking & Digital Crafting 2022 by Liu Jiayi

Design Thinking & Digital Crafting

2022

PORTFOLIO

JIAYI LIU S2038689

01 ABSTRACTING PATTERNS

1-11

-1- Group Study -2- Individual Design -3- Assembly

02 PRECEDENT STUDY

12-21

-1- Group Study -2- Individual Investigation

CONTENTS 03 EXQUISITE TOWERS -1-2-3-4-

22-83

Stacking Blocks Experiments Facade Design Interior Design

04 DBF GENERATIVE DESIGN 84-137 -1- Site Analysis -2- Massing Model -3- Facade Design

Group: Jiayi Liu, Meihan Liu, Esther Park, Eloise Zha Date: 2022.01-2022.02

Group: Jiayi Liu, Meihan Liu, Esther Park, Kevin Chen, Eloise Zha Date: 2022.02-2022.03

Group: Jiayi Liu, Meihan Liu, Esther Park, Kevin Chen, Eloise Zha Date: 2022.03-2022.04

02 ABSTRACTING PATTERNS Group: Jiayi Liu, Meihan Liu, Esther Park, Eloise Zha Date: 2022.01

GROUP INVESTIGATION

Designer: Esther Park

Designer: Meihan Liu

Designer: Jiayi Liu

We collaboratively work as a group to learn Rhino and Grasshopper before we choose the final polyhedron. I was interested in the logic behind geometry, so I proposed to set a basic form first and control other variations to make the final product more complex.

Designer: Eloise Zha

SAMPLE GEOMETRIES Sample 1

Sample 2

#20220119-01

#20220119-03 Composition:

Composition:

• Hexagons

• Triangles • Pentagons

No. of Side:

No. of Side: • 32

• 92

Sample 3

Sample 4

#20220119-06

#20220119-08 Composition:

Composition:

• Triangles

No. of Side:

• 362

• 24

FINAL CHOICE Finally, we settles on a transformed dodecahedron. Each hexagon is composed of 5 faces. Therefore, the final design has 60 faces. Each group members in the group of 4 takes responsibility of 12 faces’ design.

Front view of the model

Exploded model

Facade distributed to a group member

PERSONAL INVESTIGATION I inspired by the traditional Chinese lantern and paper-cutting patterns that is popular during Spring Festival Products. The best way to display the form we made is to hang it on a shelf, similar to how a lantern is displayed. The structure of the whole work is identical to that of a faceted dice used in an ancient emperor’s banquet. So I researched traditional patterns and their imagery and arranged them in an orderly manner. I hope this abstracted pattern can reinterpret and rebirth the traditional Chinese handmade practices in a new form.

No. Of Faces: 12 Variations of Pattern: 3 2D Geometry after ‘UNROLL SURFACE’

15 Surfaces distribute to me

Initial Design Pattern

GROUP PATTERN DESIGN Jiayi Liu

Meihan Liu

#20220120-01

#20220120-02

Digital Model Making Process:

Esther Park

Eloise Zha

#20220120-03

#20220120-04

• Use Rhino to illustrate my designed patter. • Export the pattern into AutoCAD. • Use ‘ALIGN’ to make all the design fit into A2 sheet. • Set the engrave lines and cut lines into different layer. • Use Rhino to create surfaces with patter cutting off on a plane. • Extract the aiming plan on the polyhedron and laid on the same plane. • Use ‘FLOWALONGSURFACE’ to move the onto the right surface. • Apply the previous process to all the surface.

PATTERN ALLOCATION

• Meihan Liu

• Jiayi Liu

• Esther Park

• Eloise Zha

LASER CUTTING PROCESS Physical Model Making Process: • • • • • • • •

Use Rhino to illustrate my designed patter. Export the pattern into AutoCAD. Use ‘ALIGN’ to make all the design fit into A2 sheet. Set the engrave lines and cut lines into different layer. Buy 4 A2 cardboard. Use laser cutting to cut the pattern. Refine the cutting. Stick all the surfaces together.

It was the first time for all the group members to use a laser cutting machine; therefore, we were unfamiliar with the setting of the cutting machine, which caused some of the patterns were not cutting off. We have four different designs for processing, so we have a chance to adjust the setting to refine the result. Luckily, all the process went well, and we got a satisfactory result.

PHYSICAL MODEL

Jiayi’s design after assembly

The layout of 4 designs on the ground before final assembly

Final model after assembly

Meihan with her

LIGHT EFFECT

Finally, I photographed the model with a torchlight to magnify the pattern on the wall. The result is fantastic. From this project, I learned several basic commands of Rhino and Grasshopper and experienced their powerful functions. The most important skill I gained is using laser cut to produce a model precisely. The project established my learning goals for the course.

02 PRECEDENT STUDY Group: Jiayi Liu, Meihan Liu, Esther Park, Eloise Zha Date: 2022.01

Investigation 1 Tablecloth Presenter: Esther Park Designer: Ball-nogues Studio Year: 2010

Investigation 2 Vaulted Willow Presenter: Jiayi Liu Designer: MARC FORNS/ THE VERYMANY Year: 2014 Investigation 3 Situation Room Presenter: Meihan Liu, Eloise Zha Designer: MARC FORNS/ THE VERYMANY Year: 2014 https://blog.americansforthearts.org/by-program/networks-and-councils/public-art-network/public-art-year-in-review-database/table-cloth https://www.archdaily.com/596033/marc-fornes-theverymany-constructs-self-supported-vaulted-willow-with-ultra-thin-aluminum-shells/54d50a3ce58ece1912000015-tvm_vaulted-willow_06-jpg?next_project=no https://www.archdaily.com/557215/marc-fornes-and-theverymany-_-storefront-with-immersive-ultra-thin-shell-structure

INVESTIGATION 2 Project: Vaulted Willow Designer: MARC FORNS / THE VERYMANY Year: 2014

The project, known as “Vaulted Willow,” aims to “resolve and delineate structure, skin and ornamentation into a single unified system” by “exploring lightweight, ultra-thin, self-supported shells through the development of custom computational protocols of structural form-finding and descriptive geometry.”

MORPHOLOGY

Typical Elements: • • •

Typical Elements:

Colourations:

• • • •

“Computation and procedural protocols of tessellation have opened up new paradigms: each physical part can be assigned an attribute of a single colour, therefore the sum of the parts can precisely approximate gradients (rather than the fuzziness of earlier airbrush solutions).”

Stripes Porosity Running bonds Rivet density

721 aluminium stripes, 14,043 connectors and 60 epoxy concrete anchors. The project uses aluminium of three different thickness. 24 base plates are anchored to a concrete pad of 240 cubic feet.

Experiments in non-linear architectural typology (multiple entries, Feet with branching and spiralling legs Structural differentiation: bifurcation of structural download forces and tighter radii of leg (more rigid)

John Wiley

DESIGN PROCESS The studies elaborate on the 2D geometry of catenary curves by exploiting a computationally derived dynamic spring network with behavioural attributes. 1. The catenary network is first inflated normal to the ground plane. 2. As a secondary process inflated outward, normal to the surface in order to achieve double curvature. 3. The network inflation stagnates as forces equalise, resolving into an optimised structure. 4. Tessellation considerations therefore have to be embedded within the topology of the system prior to the inflation process. 5. Stripes located at the edge of the surface increase tab overlap to help transfer additional loads through lamination and increased connectivity. 6. Porosity increases with height as the structural needs diminish, allowing more light to permeate the space. 7. Running bonds split the stripes, shortening them to ease fabrication, assembly, and decrease material usage through more efficient nesting. 8. Rivet density is also resolved relative to structural needs, with higher densities and varying configurations at bifurcation points, along the edges, and towards the base of the structure.

Early Precedent: •

1889- Gaudi’s Hanging Chain Models

The an upside-down force model of the Colònia Güell, left image by Canaan (GFDL). Gaudi would hang strings and weights then mirror the results to model columns and arches.

PERSONAL INVESTIGATION Starting Point: I did not learn grasshopper before, so I spent half of the week looking at online tutorials. After discussing Meihan, I decide to look at the plug-in Kangaroo in depth. The grasshopper forum is also an excellent place to learn the design logic of the artwork because some designers explain the original design logic in detail. Define Basic Rule: One of the most challenging tasks for this personal investigation is the abstraction of basic geometries from the artiest’s design. For Vaulted Willow, I found the outline of polygons from the top view of the design drawings. Then, I set the anchor points along the edges. Use Plug-in Kangaroo: The Kangaroo is a physics engine used for form-finding calculations. The control of parameters results in various simulations based on the physics law.

RESULT

Final Modelling Practice Output

REFLECTION

The inflation of the top surface does not successfully applied to my model. A ‘spring’ force should be added onto the edges of the mesh, however, the ‘springsformline’ cannot work properly with the complex mesh I made.

The tighter radius of leg is not added to the programs, therefore the whole structure becomes process less sense of slenderness.

I extract the structural bones and apply pipe geometry onto them, and I finally get a new installation, which seems like bamboo structure or paper pipe structure.

03 EXQUISITE TOWERS 01 Stacking Blocks Group: Jiayi Liu, Meihan Liu, Esther Park, Eloise Zha, Kevin Chen Date: 2022.02

TOWER MASSING MODEL Five group members discuss during the first week, and we decide to propose the tower form individually. We do not want to make a traditional tower of stacked blocks but want a design of staggered units to form an organic whole. The Tetris inspired my design, starting from the smallest square unit, mass and void. However, each segmental block of this design was too complicated for parametric design and 3D printing, so my proposal was not adopted.

Eloise’s Proposal

Kevin’s Proposal

Jiayi’s Proposal: Inspired by the Tetris

Esther’s Proposal

Meihan’s Proposal

Kevin’s Blocks

Eloise’s Blocks

Esther’s Blocks

Meihan’s Blocks

Jiayi’s Blocks

TYPOLOGY STUDY A: availability of C and S source through DMSP catablism. I finally settled on the typology of marine corals after researching parametric design and the interweaving massing model. As a precious marine life, Coral plays a dominant role in the marine ecosystem. Its existence provides a habitat for other aquatic life, which is very similar to the status of architecture in human society. So I explored the types and shapes of corals, hoping to use their growth prototypes to generate the inner and outer structures of the towers.

C: transfer of beneficial genes.

E: provides C and S source through DMSP production.

F: nutrients exchange

B: availabilty of N source.

D: availability of N source.

Peixoto RS, Rosado PM, Leite DCA, Rosado AS and Bourne DG (2017) Beneficial Microorganisms for Corals (BMC): Proposed Mechanisms for Coral Health and Resilience.

TOWER DESIGN CONCEPT CORAL PHOTOGRAPHS

FACADE PATTERN ABSTRACTION

I especially appreciate the porous and tree-like structure of the coral. They have evolved a robust life structure through thousands of years of evolution. The logic of this structure is the optimal solution generated by the effective use of survival resources.

SKETCHES OF CONCEPTUAL SECTION

Their vitality is manifested not only through their blooms but also through the diversity of life brought about by optimising the environment. I intend to extract and abstract some of their structure to optimise human habitation.

MID TERM EXHIBITION Each of my personal designs is between 20 and 30cm, and they all have stability, so I list them up before the group to form a small tower. When making the stack of tower blocks, we did not fully complete the regular interspersed structure in the original design due to some limitations of 3D printing. So we made some adjustments, but the result is still a twin tower structure supported by two base blocks.

Group Tower Assembly Process

Stacking tower of Jiayi’s personal investigation

Group Tower

We, as a group, studied various forms and techniques to produce the final design, including laser cutting, ceramic 3D printing, hand-making, and regular 3D printing. We selected different materials according to our chosen methods, which makes the tower more lively. The most exciting procedure I made was adding my clay column to Kevin’s 3D printing, and the scale of the column fit his design perfectly and served as another supporting structure. This intersection between group members’ work promotes the idea of “Organic Growth.”

Tower Detail

03 EXQUISITE TOWERS 02 Experiments

EXPERIMENTS Transformed Pipe

Waffling Pavilion

#20220214

#20220215 Base on the psudocode tutor teaches in the class, I make this model. • Form a pipe based on a curve • The diameter of the pipe is correlated with the distance to a point • Divide the tube into rings • Set points on the rings evaluate the surface on each point • Set a sphere and circular cone at each point • The scale of the cones and the spheres is also related to the distance to the point

Fabrication Techniques

Tree-pattern Pavilion

#20220220

#20220225

As marine life is composite of organic curves, I decided to learn the SubD tool to make the structure more organic. The method I used in the Transformed Pipe is also applied to this SubD structure. Another Weaverbird is good at transforming the surface into structural weaving.

Inspired by the Metropol Parasol in Spain, I did the second practice. The original form is a handmade rhino model. Then, the 'CONTOUR' command is used to divide the geometry into enclosed lines, then form the entity from a line to give each curve a thickness. I did this again perpendicularly to generate the final design.

I wanted to develop a tree-like structure for the interior design of the project, so I followed an online tutorial and learned the progress of making this precedent, "Cambridge Mosque." This experiment taught me to control points and lines to generate symmetrical patterns.

EXPERIMENTS Weaving Stairs #20220226

To further develop my laser cutting skill, I create a ramp by manipulating a surface. Using the 'CONTOUR' command, get the shape of each panel for laser cutting. I selected coloured acrylic as my material because I wanted to create a semi-transparent waving pattern.

Making an small installation by using wasting material

All the elements for assembly

Creating a box for the interior structure

Coral Vase #20220228

I create a basic shape first. Then, I lofted, rotated, and scaled the curve on the surface to generate this little vase. I used this vase as a starting point for 3D printing testing to evaluate to what extent I should control the design's complexity.

Top view of the model

Front view of the model

03 EXQUISITE TOWERS 03 Formal Facade Design

DESIGN PROCESS First Facade Design: Diamond Enclosure #20220302

Step 1 Set rectangle boundary

Step 2 Explode edges and divide curve

Step 3 Nurbs Curve and Seam Curve

Step 7 Loft along curves

Step 8 Divide the surface into diamond panels

Step 9 Set middle point on each diamond

This initial sketch inspires me to design this facade.

Step 4 Divide curve

Step 5 Tween curves

Step 6 Scaled curves

Step 10 Evaluate each diamond at the middle point

Step 11 Using image sampler to control the pattern three dimensionally

Step 12 Convert surfaces into mesh

GRASSHOPPER PSEUDOCODE First Facade Design: Diamond Enclosure #20220302

ITERATIONS First Facade Design: Diamond Enclosure #20220302

The following iterations are generated by changing other parameters of the pseudocode.

The depth of the diamond pattern is controlled by the image sampler and the multiplication slider. From the diagram on the left, the pattern is multiplied from the smallest number to the largest. The parameter for basic structure construction is not changed.

FINAL OUTPUT First Facade Design: Diamond Enclosure #20220302

I chose a prototype that was not very textured to print because I didn’t want to use support material to print such a self-supporting structure. For the basic shape of the design, I also chose a sleek and streamlined ellipsoid. The final texture is evident and elegant under the illumination of the light.

PRECEDENT RESEARCH LANDMARKS & MONUMENTS NEW YORK, UNITED STATES Architects : Heatherwick Studio Area : 2210 m² Year : 2019 Manufacturers : HDI Railings

https://www.archdaily.com/913699/vessel-public-landmark-heatherwick-studio

This design is famous for its self-supporting structure, which does not contain additional columns and beams other than the 154 interconnecting flights of stairs. The network automatically generates mass and void for visitors to explore in thousands of ways, creating more than a mile of routes. Designers tactically applied steel spines between each pair of staircases to divide ‘up’ and ‘down’. The raw welded steel of this structure is elegantly assembled and exposed to give the object clarity and integrity.

DESIGN PROCESS Second Facade Design: Vertical Net #20220308

Step 1 Set circle vertically by constructing domain

Step 2 Loft along the curves

Step 3 Setting bounding box

Step 7 Build surface along the curves

Step 8 Define edges based on the enclosed curves

Step 9 Rebuild curves by controlling parameters

This initial sketch inspires me to design this facade.

Step 4 Using Voronoi 3D to divide the box

Step 5 Calculate the intersection between the lofted surface and the Voronoi geometry

Step 6 Divide the open curves

Step 10 Divide the surface with pattern

Step 11 Split the surface

Step 12 Loft the surface to create a close brep

GRASSHOPPER PSEUDOCODE Second Facade Design: Vertical Net #20220308

ITERATIONS Second Facade Design: Vertical Net #20220308

Finally, I chose a fundamental vase-like net because it is easier to print by a 3D printer. Furthermore, considering the material limitation and time consumption, I give the wall a slight but printable thickness.

FINAL OUTPUT Second Facade Design: Vertical Net #20220308

Step 1 Define the frame of the SubD

Step 2 Generate a surface

Step 3 Give the structure a thickness

I hope to give enough ventilation and light inside the structure through this hole-like skin structure. People can feel the changes in light and shadow in it. The void between the inner columnar network and the outer skin forms a corridor, which is an open area waiting for residents to define. The subdivision structure formed by the rotation of the four corners shapes the view of the facade. Ideally, each hole would be seeded and eventually become an urban greenery network.

3D PRINTING PROCESS Second Facade Design: Vertical Net #20220308

I sent the final model in stl. format to the ECA workshop. It was the first time I had printed 20 * 20 * 20 cm models, so I asked the teachers in the workshop for help. Thanks to their suggestions and service, I can get the final model by using one of the Ultimaker to print the structure with soluble supporting material. However, the external SubD structure fails due to the rotation force of the bridge between to faces’ edges. Nevertheless, the most crucial porous network works well and firmly supports the ceiling.

After cleaning the supporting and wasting materials, I get the final model, which perfectly reflects my design concept and visualises the spatial experience.

VISUALISATION Second Facade Design: Vertical Net #20220308

03 EXQUISITE TOWERS 04 Formal Interior Design

GROUND MODELLING First Interior Design: Undersea Forest #20220226

Step 1 Construct a sphere with a restricted point

Because corals make the most efficient use of growth resources to extend their form, I thought that if vertical corals were allowed to grow freely in a particular space, they would choose the shortest distance. Therefore, I hope to show the growth structure logic of coral through the ‘Shortest Walk’ command of GS.

Step 2 Evaluate surface and populate 3D

Step 3 Proximity 3D

This initial sketch inspires me to design this facade.

Step 4 Get the shortest walk

Step 5 Pipe curves

Step 6 Symmetry the geometry

GRASSHOPPER PSEUDOCODE First Interior Design: Undersea Forest #20220226

GROUND MODELLING First Interior Design: Undersea Forest #20220226

I added a bubble base to the tree structure using the earlier basic commands. Combining these two elements does not make the whole building feel inconsistent because they are extracted from the undersea ecosystem.

FINAL OUTPUT

Although I tried to ensure that the branches are going vertically to be printable without supporting material, the result is not ideal. However, those failed branches look like leaves on the tree, making the model vivid. To visualise the original design accurately, I made the digital rendering picture.

VISUALISATION First Interior Design: Undersea Forest #20220226

DIGITAL MODELLING Second Interior Design: Spiral Column #20220306

Because of some failures in conventional 3D printing before, I applied for a cement printer from the teacher. Still, it has another defect that it cannot print hollow patterns and supporting structures, so I plan to use it to make indoor columns. Inspired by the wave ramp experiment, I wanted to make a column with a similar ocean wave pattern as an internal support structure. The soft and regular weaves will provide visitors with a dignified and stable spatial experience.

Step 1 Set circle with various diameters on a plane

Step 2 Move the circles vertically

Step 3 Populate circles with point

This initial sketch inspires me to design this facade.

Step 4 Move points inward and outwards

Step 5 Interweaving the points with curves

Step 6 Loft along curves

GRASSHOPPER PSEUDOCODE Second Interior Design: Spiral Column #20220306

ITERATIONS Second Interior Design: Spiral Column #20220306

The iterations at the bottom are generated by changing the parameters below.

3D PRINTING PREPARING Second Interior Design: Spiral Column #20220306

Because the raw material for the WASP printer is ceramic or clay, I attend the material mixing process with Richard, one of the ECA workshop teachers. A WASP printer can continuously press the clay out under the air pressure only if the clay needs to be mixed with alcohol. Under the teacher’s guidance, I mixed about 100ml of alcohol and clay and observed the process of the teacher cleaning and assembling the machine.

Mixing clay

Adjusting air pressure pump

Layout the mixing tools ( the white bottle is the liquid for mixing)

FINAL OUTPUT

The teacher suggested me to try both single and double layer print to test the result. Therefore, I produced several vase designs, starting with a double layer printing test. I worked in the workshop for a week to monitor the printing process. From my perspective, The WASP printer did a similar job to Larger concrete printers in manufactures,

FINAL OUTPUT Second Interior Design: Spiral Column #20220306

I used it as a column for the first printed model and constructed a timber frame around it. The timber frame is created by using a laser cutter. Although the weaving pattern of the design is simple, the thickness of layers of material naturally displays an interesting texture for the model.

The second model I printed successfully is my formal design for the interior tower structure. The original digital model is just an enclosed surface, but that surface is printable to the WASP printer, which is different from the Ultimaker. The final result surprised me because I thought that clay was very fragile, so I did not expect the printer can produce such a stiff form in the end. The lightweight single layer clay perfectly expresses my design concept.

VISUALISATION Second Interior Design: Spiral Column #20220306

04 DBF PARAMETRIC DESIGN 01 Site Analysis Group: Jiayi Liu, Meihan Liu, Esther Park, Eloise Zha, Kevin Chen Date: 2022.03

SITE CONTEXT

Zoning diagram of Edinburgh

Population Density of Edinburgh

Garbage D

Locate at the edge of the city centre.

High density housing area, but most of the housing are residential.

Close to pollution s

SITE A CONTEXT

SITE B CONTEXT

VIEW TO

Disposal Points in Edinburgh

Satellite map

one of the disposal points, air should be considered.

Gilmore Park, Edinburgh EH3 9FN

O THE CANAL

The site pictures shows that the surrounding buildings’ height is low. Therefore, they won’t block sunlight. The canal is at the south of both sites, making the view from the southern windows enjoyable.

Sketch section of Site A and Site B

SITE MAP

SUN STUDIES

The 2D and 3D sun-path diagrams show that site A will receive more sunlight than site B. Whereas, if the building of the design of site A is higher than site B, the natural light for site B is feeble.

ORGANISATION

Functionality of surrounded buildings

COMMERCIAL: 30-40%

Percentage of buildings segregate by their functionality

OFFICE: 20-30%

GREEN AREA: 20-30%

RESIDENTIAL: 10-30%

04 DBF PARAMETRIC DESIGN 02 Massing Model

10 VARIATIONS SITE A

SITE B

COMBINATIONS Combination 1 SITE A - 2 SITE B - 1

Combin SITE A SITE B

Circulation Analysis

Green Area

nation 2 A-3 B-4

Combination 3 SITE A - 4 SITE B - 5

Circulation Analysis

Green Area

INDIVIDUAL WINING COMBINATIONS SITE A - 4

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SITE B - 5

SITE B

SITE A - 4

Site A Design

Thermal Analysis

Wind Analysis

Thermal Analysis

Wind Analysis

SITE B - 5

Site B Design

Residential

Leisure

Office

Commercial

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INDIVIDUAL WINING COMBINATIONS

The setback is chosen for both sites to keep the design’s consistency. The setback will also achieve more external space and increase the internal heat gain getting from the sunlight.

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WINING PAIR IN CONTEXT

The personal winning pair was sent to the ECA workshop to print. The white material is chosen to form a contract with the context. By making the model, the street view is easily demonstrated. However, I found that the building height I set was too tall for Edinburgh, so I later changed the size manually for the group.

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GROUP WINING PAIR Ether’s Design

Site A Design

Esther’s design focused on connecting with other educational buildings and student accommodation. There is a communal garden in the middle of all the buildings facing the southern canal. The total commercial, leisure, and education area are evenly distributed at site A.

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Thermal Analysis

Wind Analysis

Jiayi’s Design

Site B Design

Thermal Analysis

Wind Analysis

The purpose of choosing my site b winning pair is to add some residential space. The thermal condition of this design is the best, and the public green area is on both north and south, linking to the surrounding community.

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BLOCK ALLOCATION ELOISE KEVIN

ESTHER

MEIHAN JIAYI

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PERSONAL FACADE DESIGN BLOCK 109

04 DBF PARAMETRIC DESIGN 03 Facade Design

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Design 1 Sugar Cubes Designer: Jiayi Liu

Date: 20220328

Design 2 Folding Windows Designer: Jiayi Liu

Date: 20220408

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DESIGN CONCEPT

Nakagin Capsule Tower Typology: APARTMENTS Location: TOKYO, JAPAN Architects: Kisho Kurokawa Year : 1972 Photographs : Arcspace Illustrator: Takahiro Ohnishi

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Inspired by the capsule tower, I intend to do a building facade following a similar logic. However, I plan to design more variations of the basic unit to make it a education building.

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PARAMETRIC DESIGN PROCESS

Basic Geometry

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Populate 3D with Points

Fractals

Separation of Volume

Convert to Mesh

Outline Structure

Given Width

Given Thickness

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GRASSHOPPER PSEUDOCODE

116

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COMPOSITION

Internal Space

The modularity of the architecture is demonstrated above. The internal void and the external framework can be constructed individually off-site and assembled in a short amount of time.

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External Structure

Combination

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DESIGN CONCEPT

Origami / Manuelle Gautrand Architecture Typology: Office Location: Paris, France Architects: Manuelle Gautrand Architecture Area : 5800 m² Year : 2011 Photographs :Vincent Fillon Manufacturers : Dip-Tech

https://www.archdaily.com/448940/origami-manuelle-gautrand-architecture?ad_ source=search&ad_medium=projects_tab

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I appreciate the transparency of the facade material and the irregular alignment of the origami shape. The parametric treatment allows the facade to flow along the surface with a moderate flow. The semi-transparent material with a stone texture provides an outstanding aesthetic experience to the viewers.

Then, I experiment with variations of origami forms and make several approaches to the final design I want to apply to my facade design. As origami is an easy-folding structure, it is possible to create moveable elements. Because the movable shading device is becoming more popular, I developed movable central control claddings under the origami rules.

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UNIT DESIGN OF FACADE

Single Unit Glass

Define Basic Triangular Points

Multiplication of Basic Triangular Structure

5 Units Array in a Line

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Single Unit Structure

Combination of Structure and Glass

5 Unit Structure Array in a Line

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OPERATION OF UNIT

0 Degree Unit

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20 Degree Unit

40 Degree Unit

It is possible to move this origami along the line where anchor points settled. The exposure will increase as the degree of angle increases. Thinking about the building as a whole operating by a school, I decided to rotate the origami form into a vertical axis to let it operate from floor to ceiling.

60 Degree Unit

80 Degree Unit

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ASSEMBLY PROCESS

Structure of 20 Degree Unit

Original Block

External Primary Structure

Structure of 60 Degree Unit

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Glass of 20 Degree Unit

Structure of 40 Degree Unit

Glass of 40 Degree Unit

Glass of 60 Degree Unit

Structure of 80 Degree Unit

Glass of 80 Degree Unit

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FINAL OUTPUT

Extraction of Origami Envelope

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Polycarbonate is a unique medium: blending in or protruding, embodying transparency or solidity or expressing roughness or softness. It tells not only a vague interior story but also a hazy beauty. It is possible to optimise natural lighting, thermal comfort, and ventilation needs. When it comes to creating a comfortable, light-filled atmosphere while ensuring resistance, ease of installation, and versatility, polycarbonate sheets become unrivalled.

House in Yanakacho Location: Japan Architects: Taiga Kasai + Chong Aehyang Architecture / KACH Area : 173 m² Year : 2020 Photographs :Vincent Hecht

Seasonless House Location: VINARÒS, SPAIN Architects: Casos de Casas Area : 361 m² Year : 2013 Photographs :José Hévia

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VISUALISATION Finally, materiality is applied to the digital model and pub into the context of Edinburgh. I add vegetations to the central park to make the rendering vivid.

3 130

2 1

4 3

4 131

GRASSHOPPER PSEUDOCODE

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FABRICATION METHOD

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PHASE 1

PHASE 2

20 Degree Unit

40 Degree Unit

PHASE 3

PHASE 4

60 Degree Unit

80 Degree Unit

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FINAL OUTPUT

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Reflection: This project can be improved by manipulating the movable units in various directions instead of along vertical axis, because the operation of such a huge panel will take a lot of time. However, if they are under school’s central control system, then it will not be a huge problem.

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END

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