AIR STUDIO NAME: YITAO LIU TUTOR: CAITLYN
There are three responses to a piece of design — yes, no, and WOW! WOW is the one to aim for. – Milton Glaser, named the Most Influential Graphic Designer of the Past 50 Years
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CONTENTS INTRODUCTION 4 PART A. CONCEPTUALISATION A.1. Design Futuring 8 A.2. Design Computation 16 A.3. Composition/Generation 23 A.4. Conclusion 30 A.5. Learning outcomes 32 A.6. Appendix - Algorithmic Sketches 34 PART B. CRITERIA DESIGN B.1. Research Field 44 B.2. Case Study 1.0 47 B.3. Case Study 2.0 53 B.4. Technique: Development 58 B.5. Technique: Prototypes 62 B.6. Technique: Proposal 66 B.7. Learning Objectives and Outcomes 69 B.8. Appendix - Algorithmic Sketches 71 PART C. DETAILED DESIGN C.1. Design Concept 77 C.2. Tectonic Elements & Prototypes 81 C.3. Final Detail Model 89 C.4. Learning Objectives and Outcomes 94 REFERENCE 98
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INTRODUCTION
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My name is Yitao Liu. I currently study the major of architecture in the university of Melbourne. This is my third year of a Bachelor of Environment. I was born in China and came to Australia when I was 16 years old. I have learnt a Chinese traditional instrument called ‘Guzheng’ since I was a little girl, it is a kind of Chinese zither. I also do well in drawing and painting. I like cosplay, literally, ‘costume play’. I enjoy dressing up and pretending to be the character I like.
It is very interesting to change myself into a totally different image. As I like fine art very much, It is not hard for me to decide the major I want to study and my future career. Personally, comparing to design in other disciplines, architecture is more magnificent. It is not only important for our daily life, but also shows the character of one city or maybe become a landmark for one city. It is my dream to become famous and to leave some great works in the world.
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Actually, as I said before, I’m good at free hand drawing but weak at using techniques. I am a beginner of Rhino and AutoCAD. I did some work with AutoCAD and I found my skill has been improved by doing more practice. As digital design becomes more and more important, using the software like Rhino, Grasshopper and Auto CAD must be considered as a necessary skill for an architect. I hope to improve my skills through this subject and also through doing more practice. Personally, the theory of digital architecture is using computer techniques modelling, programming and imaging some structures that can not be done by free hand. By considering the development of techniques, digital design inspires designers and will bring a better future.
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PART A CONCEPTUALISATION
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A.1. Design Futuring 8
It has been pointed out that architecture should be seen as a design practice that contributes ideas to the ongoing disciplinary discourse and culture at large. With this concept of architecture, the designed projects will be more willing to achieve a better future.
According to the readings, the earth is facing many problems such as global warming, water shortages and overpopulation. Nowadays, the sustainable design is demanded urgently in order to welcome our future.
HOK/Vanderweil, Process Zero: Retrofit Resolution (GSA building retrofit for Metropolis magazine’s ‘Get the Feds to Zero’ competition), 2011 ‘A network of systems operates in concert to maintain occupant comfort, provide ventilation, and generate power while minimising consumption. Solar thermal heats water for the radiant floor and domestic water heating. A geothermal system distributes cold water to chilled beams, which are fed conditioned ventilation air from a central energyrecovery unit. During swing seasons, these systems do not operate and the building is naturally ventilated.’ This project tried to define the ways of The HOK design team encourage the green creating sustainable architecture. According building and appeal people to participate to the journal Experimental Green Strategies, in ‘green strategies‘. It explores the way it presents a state of the art in applied that pioneering designers are advancing ecological, architectural research. It is a sustainable architectural design, moreover, new way to make a building ecological. It is contemporary practices are understanding a kind of revolutionary but not as radical as the emerging brief of ‘sustainability’. They the previous architectural movements such also developed sorts of new design tools as Futurism. and design approaches to achieve their goal.
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According to the research, this project is not actually built as there is no real photos for this building. It is kind of important for architects to discover whether sustainable designs equal sustainable buildings. It is impossible to conceive of a successful ecological building without ecologically mindful building users. People play a huge role in how buildings perform.
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According to Simos Yannas from the journal, creating adaptive architecture that responds to specific inhabitation and specific user needs is a necessary step towards a more ecological approach. This project illustrates emerging approaches to ecological design research that point to new ways of understanding ecological design. They hold the view that the future of applied architectural research lies in integrated, systems-based strategies of understanding ecologies at various scales, relating to design process, building and place.
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Roland Snooks, Composite Wing, ‘The Future is Here’, Design Hub, RMIT University, Melbourne, August–October 2014 ‘We are told that search engines and social media incorporate algorithms that record our desires and serve them up to us, for sale. Corporations are well aware of this, using popups to invade public and private space.’
Roland Snooks, whose work uses relatively autonomous swarming algorithms, created a pavilion-cumparasol-cum-pop-up for the ‘The Future is Here’ exhibition at the Design Hub at RMIT University from August to October 2014. The work, Composite Wing, was also shown at the Shanghai Biennale. This project is influenced by the chrysalis-tobutterfly transitions of Godsell’s MPavilion.
In this evanescent and embracing project, coiled structural stiffeners assemble themselves in differing densities within a fibreglass skin, supporting its shifts from the vertical to the horizontal, and creating a delicate spatial magic. This hazy view of the parasol reveals its architectural qualities. The pavilion-cumparasol-cum-pop-up is a new spatial hybrid, creating a poetics that is part swarming, part fabric, part translucent.
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The composite fibre installation compresses surface, structure and ornament into one intricate and irreducible assemblage. The complexity of the project is made possible through the development of robotic fabrication techniques including the extrusion of the fine-scale surface articulation. The surface gains its strength through the location of the articulation that operate as structural beams within the surface. This strategy enables the surface to remain only a few millimetres thick while spanning and cantilevering considerable distances.
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The Composite wing installation is an architectural prototype exploring the relationship of robotic fabrication, composite materials and algorithmic design. For the future contribution, the prototype is intended to test composite tectonics for the future application to larger architectural projects.
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A.2. Design Computation 16
COMPRESSED COMPLEXITY, Peter Mitterer and Matthias Moroder, Studio Hadid(Zaha Hadid and Patrik Schumacher), University ofApplied Arts, Vienna, Austria, 2006
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The development of design computation has nearly 50 years. It can be seen as a digital continuum from design to production, from form generation to fabrication design, which is called Vitruvian effect according to Oxman. This new continuity begun to evolve as a medium that supports a continuous logic of design thinking and making. It also enabled a set of symbiotic relationships between the formulation of design processes and developing technologies. In order to accommodate these developments, a new and comprehensive domain of architectural theories is beginning to emerge in the intersection between science, technology, design and architectural culture.
A grasshopper algorithm was developed to facilitate the conversion of the geometry into a wire frame structure, compatible with the engineer’s analysis tool. This enabled both teams minimize the time that would have been required in creating an engineering-specific model. The parametric algorithm also had surface analysis integrated in it to test for the planarity of each petal. Kangaroo physics has also been used in combination with a visualisation script to envision, tensile, compressive forces and areas of maximum stress. Having this integrated at the early stage of design also improved the collaboration between the structural and design teams.
Compressed Complexity rethinks the typology of the classical skyscraper by combining a largely horizontal public shopping base and a mono-functional stacked private office or housing slab. The typical horizontal system of public programmes is superimposed on to a vertical organisational pattern and subsequently developed as a diagonal spatial prototype. Adaptations of this basic prototype are generated to produce various functional formulations. The diagonal allocation of the public programme enables a continuous vertical public space that enhances the mix of functions and facilitates navigation around the site. As the surface folds up from the landscape into the tower, the geometric features are mutated and do not repeat.
FIBROUS TOWER, Kokkugia (Roland Snooks, Rob Stuart-Smith, Juan DeMarco and Timo Carl), 2008
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This fibrous concrete shell tower for Hong Kong emerged from aeries of earlier studies, undertaken with Rojkind Arquitectos, of exoskeleton tower typologies. The project compresses the structural and tectonic hierarchies of contemporary tower design into a single shell whose articulation self-organises in response to multiple design criteria, incorporating structural, spatial,environmental and ornamental imperatives. The initial topology of the shell’s articulation is algorithmically generated through a cell division procedure in response to the tower geometry. The shell is both performative and ornamental, and operates as a non-linear structure where load is distributed through a network of paths,relying on collectively organised intensities rather than on hierarchy of discrete elements.
The load-bearing shell and slender floor plates enable the building to remain column-free. Although the external articulation is geometrically complex, it operates within the thickness of comparatively simple shell geometry,enabling the use of conventional formwork techniques to construct a highly differentiated tower. The localised spatial complexity and intensifications in the shell geometry suggest are reading of the shell as epidermis – a performative outer skin that integrates a set of discrete concerns through the cellular structure of a continuous surface. Computational swarm processes have already been developed by experimental architecture research practice Kokkugia to design architectural projects.
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Studio Robert Stuart-Smith/Void student team (Karthikeyan Arunachalam, Maria GarcĂa, Alejandra Rojas and Mel Sfeir), The Thread, Architectural Association Design Research Laboratory (AADRL), London, 2014 It has been pointed out that computers were capable of more than just automated calculation. With artificial intelligence, programming now utilised in many industries, will construction also look beyond automation. Studio Robert Stuart-Smith has been investigating the design possibilities of a robot swarm-constructed architecture. The research speculates on the use of flying multicopters (UAVs)2 to additively manufacture (3D print) buildings on-site by layered deposition using bespoke 3D printing hardware attachments. As an automated robotic technology, 3D printing reduces the time, cost, material and waste of construction while enabling design variety and complexity at minimal additional cost.
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These 3D printers deliver economically competitive construction, yet their linear production process and fixed build volume are not ideal for many on-site scenarios. While current prints are not yet suitable for construction, although the AADRL studio has developed a number of printing techniques that mitigate a lack of precision in multicopter fight and demonstrate aerial 3D printing is achievable, informing design research into robot fight-control strategies.
Three multicopters undertake the cooperative building of the tensile installation through autonomous choreographic movement. Rather than 3D printing, in The Thread (2014)(above) Void delivered a tensile-structure installation composed of lightweight nylon thread. Multicopters undertook aerial weaving and bundling operations that are theoretically scalable and able to be used to construct larger structures. The swarm performed in an autonomous and choreographed manner, achieving a three-dimensional weave of threads only repeatable if constructed with the same specific fight sequence.
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As an automated robotic technology, 3D printing reduces the time, cost, material and waste of construction while enabling design variety and complexity at minimal additional cost. The Swarm Bridge (2014) project (below) was a bridge constructed incrementally from two opposing sides, hence, joined in the middle to create a unified structure. This strategy involves a change in structural type during construction, converting two independent cantilevers into a single-span beam. Both conditions distribute stress and deflection differently, requiring different optimal organisations of material. SCL proposed 3D printing a bridge between two cliffs using lightweight fibre-composite construction while sensitively responding to this change in structural type.
The pedestrian bridge design is intrinsic to a locally determined construction sequence. The bridge design exhibits variations of material density and direction in relation to structural stress and deflection.
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A.3. Composition/Generation 23
According to Robert and Frank, the core idea of an algorithm is a finite set of rules or operations with all foundational mathematical ideas that are unambiguous and simple to follow. Although the connection between algorithms and computation is quite tight, algorithm still can be constituted by pencil and paper without computer. But it will become more precise when using computer. They also indicate that thinking itself is an algorithm—or perhaps better, the result of many algorithms working simultaneously. One of the important techniques used to study the mind into levels is Virtual machine. In order to completely and truly understand the mind, theories at all levels are going to be needed. Advantages: Unambiguous Precise Subtle Effective Simple operations Easy to follow Creative Specific Important for the movement from statics to dynamics Shortcomings: Definite Finite Always halts or terminates on purpose or accidentally
Terreform ONE, Super Docking, Brooklyn Navy Yards, New York, 2014 ‘The future is often envisioned as a perfectly organised utopia, just like this theoretical white, latticed monolithic structure emerging from an urban industrial site in Brooklyn, as envisioned by Mitchell Joachim and Terreform ONE.’
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As a form of Urbaneering, this project continues to explore the possibilities of the architectural retrofit. The designed landscape is adapted to local climate dynamics and is outfitted for a living infrastructure to seamlessly connect land and water. The project interfaces the historic dry-docks, which are retrofitted into five distinct research and production facilities; massive 3D digital prototyping/ scanning, replicable test beds for studies in limnology and restorative ecology, freight delivery of raw materials and finished goods, automated shipbuilding, and phytoremediation barges for CSO (Combined Sewer Overflow) issues. The surface of the site mitigates architectural space and river flows. It supports programs to clean polluted water and sets the terrain for privileging pedestrian movement throughout the site. The project docks are highlighted by shapeable deployable structures and membranes. It is an industrial ecology landscape established to manage both man made and natural systems, with reinforced land use needs. The current urgency to aggregate areas for innovation with social and economic diversity is necessary. Their project encourages research, both as an industrial activity and as an ecological intervention. They appeal to promote new products, jobs, green office spaces, and areas of exchange.
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Aedas R&D, Al Bahr ICHQ Towers, Abu Dhabi, due for completion in 2012
‘The design integrates parameters of form, geometry and structure, shown here for the curtain wall and dynamic shading screen.’
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A quick glimpse at the upcoming weather for Abu Dhabi will show a week of intense sunshine, temperatures steadily above 100 degrees Fahrenheit with 0% chance of rain. With the extreme weather conditions of Abu Dhabi, the top priority for design principle must be environmental design. The design is based on the concept of adaptive flowers and the “mashrabiya�. It is a wooden lattice shading screen, which are traditionally used to achieve privacy whilst reducing glare and solar gain. The geometry of the shading screen folds and unfolds in response to the movement of the sun, reducing solar gain by up to 50%, whilst simultaneously improving admission of natural diffused light into the towers and improving visibility. Al Bahr Towers fuse the principles of bio-inspiration, regional architecture, and performance oriented technology with an underlying performance criteria, grid-guide, and geometric composition that generates a highly efficient integrated system. Traditionally, circles and orbits are used to reflect the concept of unification and unity evident in nature. The towers were awarded the 2012 Tall Building Innovation Award by the Council of Tall Buildings and Urban Habitat. Such an award acknowledges the importance of the necessary integration of architectural form, structure, systems, and sustainable design strategies.
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A.4. Conclusion 30
Without doubt, design computation becomes a major part of architectural theory, culture and practice nowadays. According to Peters, computation is redefining the practice of architecture. With the digital tools, many opportunities in design process, fabrication and construction can be created. With the benefits of design computation, my intended design approach is to combine the ideas of hand drawing and digital design. I think there should be a way to connect them together. Personally, hand drawing can bring me more feelings when I get the design agenda. After I make sure the main design direction, I will use digital tools to generate my design in different ways and choose the best one. I think computation design is mainly used to design the appearance of the building. But for the interior design and structure, hand drawing may suit me more.
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A.5. Learning outcomes 32
Learning about the theory and practice of architectural computing provides a significant skill for my future development. Through the researching of case studies, many impressive projects have been seen and my sight has been broader. Obviously, algorithmic thinking and design computation can be considered as the major part of design theory and practice nowadays. At the beginning of the semester, I simply understand the digital design as using computer and some software to design. At that time, I did not consider about the algorithmic thinking and other benefits of developing design ideas. With the learning of Grasshopper these weeks, I become understand the advantages of using techniques in a real way. Comparing to hand drawing, digital design is more effective and convenient. For example, with my experience of using Grasshopper, adding a slide to a component and changing the number of slide could make the whole project become very different. Not like hand drawing, it is no need to redo the whole project by using grasshopper. Moreover, the outcome of the design is unthinkable. Grasshopper always surprise me! As computation design can make the project more specific, unique and creative, I will try to improve my past design by setting the main components only and using the algorithmic way to creating a variety of design outcomes and choose the best one.
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A.6. Appendix - Algorithmic Sketches 34
Loft with 3 Curves
(with the loft option of closed loft)
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Loft with 4 Curves
(with the loft option of closed loft)
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Triangulation Algorithms
Through the learning of theories of design computation, it is obvious that having the skills of an algorithmic thinking, parametric modelling and scripting cultures are necessary for an architect in the future. Without doubt, Grasshopper is a very useful tool to achieve this point. As I am very new of using techniques, it was a difficult start for me. The Grasshopper online tutorials help a lot. Following the tutorials, I created many interesting geometries. Personally, these works should be hardly done by free hand. However, with the use of Rhino and Grasshopper, it becomes convenient and effective.
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From creating a surface to a geometry, then a gridshell, the parametric logic and algorithmic method using in the structural systems of the projects become more and more complex. I chose these examples to show the development of my work. In addition, these algorithmic sketches also show the characteristics of specific and creative of digital design. Changing a single factor can make the whole project transform to an unthinkable shape.
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Surface Development with Character Mesh
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‘THE IRON WINGS’ This project looks like iron wings, therefore, I used silver to render it. It is made up by two exactly same parts as I mirrored the left one to get the right one. The mesh is a line work type. Computational design brings both advantages and drawbacks for me. For the positive aspect, it is very interesting to observe the huge changing of my project by altering the original inputs. For the negative aspect, it is too hard to recreate a similar project. Every one of them (my works) is unique.
(I lost my original grasshopper definition as the rhino crashed after rendering without saving the grasshopper&rhino files. This definition should be similar to my original one.)
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‘THE SNOWY WEDDING‘ The design of this wrapped dress looks simple with the colour of pure white. However, the pattern of the surface could be seen by observing the highlight parts and the shading parts of the dress. The dress is made up by two exactly same surfaces, one for the front and one for the back.. Further improvement: The shape of the dress could be improved by having a better connection between the front part and the back part.
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PART B CRITERIA DESIGN
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B.1. Research Field 44
With the brief of design a wearable structure, the most suitable research streams in computational design could be considered as Patterning and Strips/Folding. I choose Patterning for my starting point for the development of my technique.
UNStudio - Galleria Centre City
Project Information:
The Galleria attempts to re-define the Galleria Centre city, Cheonan, South-Korea traditional typology of such a place, as changing societal norms in Asia have led supermarkets to operate as “social and ARCHITECT: UNStudio, Amsterdam semi-cultural meeting places,� according Location: 521-3 Buldang-dong, Seobuk-gu, to Ben van Berkel. As a result, the project blends the functional aspect of a large scale Cheonan, Chungcheongnam-do, Korea commercial store, while placing emphasis on maintaining a sense of public space for Structure: Steel-concrete composite social and cultural aspects. columns, floor: steel structure with concrete slab.
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According to UNStudio, department stores serve a highly social function, such as people meet, gather, eat, drink and both shop and window shop in these venues. The department store is no longer solely a commercial space, it now offers the architect the opportunity to build upon and expand the social and cultural experience of the visitor. The exterior of Galleria boasts a dynamic double layered facade intended to stimulate use experience. The skin is articulated in a trompe l’oeuil pattern of vertical mullions making the building virtually scale-less as the structure provides no hint as to how many stories it contains. ”The most interesting thing to me about the effect of the Galleria Cheonan is that, because of the organisation of the atrium and the moiré treatment of the facade, Illusions are created which result in the seeming alteration of scales and the creation of double images. No image is permanent in this building,” said by van Berkel.
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B.2. Case Study 1.0 47
Mesonic Fabrics – Biothing
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ARM_PortraitBuilding
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For this section, I investigated on both of the research streams to find the most suitable one for my project. I chose the Biothing project to investigate the research field of Strips and Folding, in addition, the portrait building to investigate the research field of Pattern by change existing parameters, input geometries and component options. By comparing both of the matrices, I chose Pattern as my final direction of the project. Personally, Pattern has a regular distribution, however, Strips and Folding looks a little bit messy. In addition, Pattern can reveal the idea or the meaning inside my project in a more obvious way. As the brief of my project is to design something wearable at the location of Merri Creek, I tried to make the input geometry has a wearable shape, such as a dress, with the combination of a body mesh. Therefore, the selection criteria should be considered as wearable, beautiful and neat.
4 Most Successful Outcomes
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B.3. Case Study 2.0 53
Studio Gang - Aqua Tower
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Architects: Studio Gang Location: 200 North Columbus Drive, Chicago, IL 60601, United States Project Year: 2009
The new Aqua Tower by Studio Gang is a highlight along the timeline of skyscraper history, not just because of its height (250m tall) but also because of its sculptural condition. The design was inspired by the striated limestone outcroppings common in the Great Lakes area. But this sinuous shape is not just a mere formal gesture, but it is also a strategy to extend the views and maximize solar shading. For my process of recreating this project. I am going to use the picture below, which was provided in the article of Aqua Tower, as my pattern input.
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Reverse-engineer using grasshopper Step 1
Step 2
Step 3
Strip Pattern with Image Sampling
Rotate and Mirror
Add Glass Inner Surface (Trim)
Step 4 (Failure--too messy but looks great) Change Input Surface to a 3D Cubic
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Step 5
Step 6 (Final OUTCOME)
Flatten and Remove Matrix Flip
Add Following Definitions to Y Axis
Similarities: -- The shape of the building is similar, which is a rectangle with round edges. -- The white facade has the pattern of striated limestone outcroppings. -- There are glass screens inside the white decorations. Differences: -- The pattern created by the white facade is different, which may caused by the different input patterns and variables. -- The details of the white facade are not perfect, some layers are not smooth enough, especially at the four edges. Further Development: -- Without the constraint of the original form, this design could be used to the wearable structure, such as three dimensional patterns on dresses. -- Also, it could be used on the artworks.
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B.4. Technique: Development 58
Input Geometry
Iterations
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Failure as the geometry/pattern becomes too messy.
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4 Most Successful Outcomes In order to design a wearable structure, the outcomes must be different with the reverse engineer project, which is a building. Different input shapes have been tried, with the help of lunchbox, and limits of variable have been pushed step by step in the matrix. The criteria for this part are: wearable, neat, aesthetic and unique.
Wearable: Neat: Aesthetic: Unique:
Wearable: Neat: Aesthetic: Unique:
Wearable: Neat: Aesthetic: Unique:
Wearable: Neat: Aesthetic: Unique:
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B.5. Technique: Prototypes 62
Materials Selection:
Polypropylene(Black) Polypropylene(White) Used
Cloth
Paper(Thick)
Used Other Materials:
Rubber Mat
Elastic Cord Used
Nylon Rope Used
Joint Selection:
Used
Used
Used
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Final Model
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This kneecap has a very flexible structure, which can fit the movement of the knee very well. The joint at the back can tight and loose the rope, which makes this structure easy to put on and take off.
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B.6. Technique: Proposal 66
Site Visit: Merri Creek Merri Creek is a natural place, which borrows its name from the Wurundjeriwillam phrase with the meaning of “very rocky�. It has been characterised by its rocky cliff face and abundant flora and fauna species.
Target Site: Early Learning Centre
Target Clients: Kids
As the design of the project needs to be a wearable structure/garment, the best suitable target for me is some place with people stay at. Therefore, I chose the Early Learning Centre as my target site, hence, the possible clients are the children in there. Because Merri Creek is a very natural place, the Early Learning Centre also looks very natural, such as its soil ground and surrounding plants. Hence, it is important to design something which can protect children from the harm of the nature.
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My design is a kneecap for children. One of the important point inside the design is to create a flexible structure. Therefore, there are some requirements for choosing materials. The materials should be bendable and hard. If the material is too soft, the kneecap will lose its ability. Another design concept is to express something thought the pattern created by the kneecap as I used image sampling in the grasshopper definition (the photo of the creek).However, this point has not be achieved as the photo is too complicated. For the future development, a simpler input pattern could be used, other materials could be tested, in addition, the shape of the design could be changed to a more creative one with the feeling of fashion.
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“Manus x Machina: Fashion in an Age of Technology.� Photo by Biel Parklee.
THE LIVING POINTS STRUCTURE BY EWA SLIWINSKA
B.7. Learning Objectives and Outcomes 69
Before the start of this project, I could only play around with grasshopper, which means I could not use it to build the actual things I want, all the results are randomly gained. However, during this project, I was thinking to use grasshopper to achieve a specific goal. It makes me to gain a sense of achievement when I actually create a similar prototype of the Aqua tower. By changing each variable in the definition, a better understanding of the function of each item could be achieved. Sometimes, due to the complicated algorithm inside the grasshopper definition, an unexpected outcome could be gained. It sometimes helps me have a better idea but sometimes just makes my work worse. What is more, as I have limit skill of rhino, the lunchbox component of grasshopper helps me a lot when I tried to create some complex input geometries. Secondly, 3D modelling helps me to develop the skill of fabrication. This is my first time to do the garment design, which is more like a clothes design comparing with architecture. For my previous design, the only materials I used were cardboard, foam board and timber to build a building. However, during the process of this project, I tried other materials, as well as many different kinds of joint. As the digital design done by grasshopper only shows the shape of the outcome, during the 3D modelling, the relationships between the digital model and fabrication should be considered, such as the way to connect each parts. In addition, in order to keep the model in the shape of digital model, the properties of materials are very important. At first, I was thinking to use Fablab to do the 3D model, but I thought that may not help me develop the skill of fabrication very much. Therefore, I chose to do it by hand. The drawback is the shape of each component could not be exactly same as the digital model. However, it may be seen as an improvement of the design from digital to fabrication.
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B.8. Appendix - Algorithmic Sketches 71
Fractal Geometry
Personally, the best material used to render these fractal geometries is glass. Because of their shapes, the glass render makes them look like some jewellery. It also could be designed as a glass house/tower.
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Image Sampling/Pattern 2D circles on the surface of a cylinder shape (unroll brep)
3D Circular Cones on a Surface (loft)
Strip Pattern on a Surface (loft)
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Some Other Render Works during the Process of Development Cylinder Gives a feeling of a pen container...
Sphere Like an artwork...
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Torus
One of the successful outcome... Like a bracelet...
Wearable Structure Patterns with dress shape on a body mesh...
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PART C DETAILED DESIGN
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C.1. Design Concept 77
Final Design Ideas: For the final production, we changed from an individual work to a group work. In order to combine the advantages of three people, we intended to consider the specialities of our previous designs and redesign the final project. For the design brief, we considered in the aspects of both practicability and ideology. At this stage, we could not ensure how the final project looks like, as we have the design idea but it could be hard for fabrication to achieve the product we expected. Therefore, the design brief is simply decided to be a wearable structure for kids entertainment, in order to give less limitations for our design possibilities. By considering the interim presentation, we agreed that Hao’s design, which is sphere with roughness surface, is very interesting, therefore, we decided to use her design as the main part. My design is about strips and I focused to investigated the joints and flexibility of the structure. Therefore, I am mainly in charge of the design of connections. Yang knows a lot about fabrication, he gave some useful suggestions about fabrication.
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Fabrication Consideration: However, by considering of fabrication, it seems like impossible to make the model as an entirety with the scale of 1:1 to the design. Neither the material nor the fabrication machine are big enough for the model size (maximum 600 x 900 mm for fabrication). Therefore, we decided to separate the model from one big bubble to several small pieces and connected them together. In order to achieve the curving surface, we decided to use the fabrication skills of laser cutting and vacuum forming.
Laser Cutting
Vacuum Forming
Vacuum Forming Heat Expansion
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C.2. Tectonic Elements & Prototypes 81
Fabrication Process 1: Firstly, we used grasshopper to find the boundary of the bubble pieces. Secondly, we sent the laser cutting file to Fablab and get the MDF board (3.0mm, 600 x 600) with the boundary of bubble. Thirdly, we used the MDF with the bubble boundary to generate the bubble by applying heat expansion technique of vacuum forming. Finally, we get the prototype 1 with the material of HPP Black 1.5mm 600 x 600.
Prototype 1
Obviously, there is a huge difference between our design and the prototype we got. The curving surface of the project we got is too smooth which can not reach the quality of roughness of the design we had. We imaged that the simple combination of the bubble pieces with this kind of quality will not achieve a satisfied final product. However, we quite like the technique of heat expansion of vacuum forming. Therefore, we decided to keep these bubble in our design and do more work on the connections of these bubbles. Namely, we needed to redo our design.
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As we want to apply more techniques of grasshopper and make our design more complicated, we decided to combine strips and bubbles in our design. We intended to create a grid and set these bubbles into their corresponding positions. We researched a grasshopper skill called ‘grid spreading’. It quite fits the effect we want.
Researched Pictures: Positions of bubbles
Strips
Back to Design Concept... At this time, we started to rethink and improve our design concept. As we used many strips in our design, we wanted to make them symbolize some natural things to embody the relationship between human and nature, by considering the natural environment of the design site. Then, we thought about the pattern of zebra-stripe. Zebra-stripe has the characteristic of black strips with variable width. It is a protective colour/pattern for zebra to make them invisible in the natural environment. To sum up, the design concept is to design a garment for children to have fun and cover themselves under the protection of nature. It contains the idea of the relationship between human and nature.
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Redesign Process: Firstly, we created a two-dimensional grid spreading and made the grid lines into strips with constant width. As we intended to make these strips has a zebra-strip pattern, we added ‘image sampler’ into the grasshopper definition rather than simply making strips from the gird lines. After succeeding on the two-dimensional surface, we changed the input geometry into a threedimensional surface with the shape of a small cape. We got two choices for making strips after image sampler. As the images shown below, we could make strips in x-axis or z-axis direction. After discussion, we chose the second one. As the material chosen for fabrication is Polypropylene, it is too hard to bend in x-axis direction.
Making strips in x-axis direction...
Making strips in z-axis direction...
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Strip Design
-- Zebra-Stripe Cape
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Joint Design: From the digital model, it can be seen that these strips did not actually touch with each other. In addition, the variable distance between each of them is an important point for this design. Therefore, there must be some joints or holders to keep them fixed at they specific position. We decided to insert these strips into their corresponding gaps on two holders. Hence, the variable distance between the strips could be shown and fixed by the different distances between the contiguous gaps on each holder.
Fabrication Process 2: Firstly, we used unroll surface to get each of these strips in two-dimension. As the maximum size of laser cutting material is not big enough, we separate one strip into several small pieces and sent the file to Fablab. We extracted the boundaries of bubbles and sent the file to Fablab to laser cutting the MDF formwork for vacuum forming. This time, for prototype, we tried to fabricate the last and the longest three strips with two holders to see if they can maintain their shapes or not. It is also about material testing.
Laser cutter file:
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Prototype 2 - Strips Part
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1. MDF holder (3mm): -- Strong enough. -- MDF would melt if the distance between the contiguous gaps is less than 1mm. -- The minimum size for gaps is 1mm. 2. Polypropylene holder (0.6mm): -- Too soft, not strong enough to hold the strips. -- Easy to be broken. 3 & 4. Polypropylene Strips (0.6mm): -- Too soft to maintain their positions by their own strength. -- Two holders are not enough, more holders would be better. -- Bendable. To sum up, the material used for holders would be MDF and the number of holder would be added to six. The polypropylene strips are workable, however, the colour would be changed to black to fit the concept of zebra-stripe. Pin joints would be used for connecting the small pieces of strip into the original strip size,
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Prototype 3 - Bubbles Part
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Attempt 1: 1.5mm HPP (White) Heating Time: 150s Failed as too hard to trim
Attempt 2: 1.0mm HPP (White) Heating Time: 45s Filed
Attempt 3: 1.0mm HPP (White) Heating Time: 120s Failed
Attempt 4: 1.0mm HPP (White) Heating Time: 100s Failed
Attempt 5: 1.0mm HPP (White) Heating Time: 70s Successful
Attempt 6: 1.0mm HPP (White) Heating Time: 60s Relatively Successful
C.3. Final Detail Model 89
Assembling Process
1. The MDF holder (x 6) for strips to keep them on their specific positions. 2. As the maximum size of material used for laser cut is not big enough for one whole strip, we separated one into several small pieces and connected them with pin joins (rivets).
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3 & 4. We marked the corresponding positions on each strips in order to inserting them into the MDF holders at the right places. We did this to ensure the model could fit the original digital design as possible as we can. 5. Finishing assembly of strips. 6. Adding bubbles into strips.
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Unexpected drawbacks: Firstly, the minimum gap cut by laser cutter is 1mm, however, the pp we used for strips is 0.6mm. Therefore, the gaps on the holders are larger than the thickness of strips. We added some tapes into the gaps to make them smaller. Secondly, the bubbles we generated are unsatisfied, they are too flat and not curving enough. Therefore, they could not fit the positions between strips well. We could not insert the bubbles into the strips, we only can add them on the model.
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Final Detail Model:
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Details:
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C.4. Learning Objectives and Outcomes 94
Feedback, Conclusion and Further Improvement: Core construction element changed from the beginning to the end: A Big Bubble -- Several Small Bubbles -- Strips and Bubbles -- Strips Through all these process, the original bubble element seems not to be outstanding anymore. This is caused by the unversed skill and the lack of experience of using vacuum forming. We did not generate the perfect small bubbles as we expected, and relatively we did a lot work on strips, although they were suppose to be the supporting for bubbles. Therefore, it makes our core construction element changed from bubbles to strips. The feedback given from tutors helps me a lot, not only in this project, but also in my future studies. I agreed with that the interesting failure during the experiment might be an inspiration for a better design direction. I am quite interested in the technique of vacuum forming, if I have more time, I would like to have more investigation on vacuum forming of generating different curving surfaces. In this case, we intended to make the diversity of the project but not focused on one area. There are two choices for our improvement. Firstly, investigating on generating bubbles or curving surface by using vacuum forming. However, it may still failed at the end. Secondly, adding more strips and making the small cape into a large cloak. This way has less challenge but still could be exciting for me.
Learning Objectives: Objective 1. “interrogat[ing] a brief” With the core concept of designing a wearable garment, the design concept has not been changed a lot in our project. The general direction has been setted at the beginning of the design, a garment for children entertainment. During the process of design, mainly due to the fabrication, we changed a lot of our design and the final product, which could be constructed, finally could be expected. At that time, we improved our brief and made it has a deeper meaning, which is zebra-stripe, coving under the nature. When we ensured our brief, we used our digital technologies of grasshopper to approach every elements inside the brief. Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” By using grasshopper, one of the simple ways is changing the sliders/variables to gain different results. Another way is changing the original inputs and investigating the changes of the results. By using parametric modelling, the real model fabricated could be perfectly fit the digital design by applying the techniques of laser cutting or 3D printing. In this case, we used laser cutting, different design possibilities can still be achieved by applying different materials. We also used vacuum forming. As we only have a little experience about it, we failed to generate our project many times. However, some interesting failures could be design possibilities as well.
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Objective 3. developing “skills in various three-dimensional media” With the learning of grasshopper, the skills in three-dimensional media has been improved. From a point to a line, a line to a surface and a surface to a three-dimensional geometry, these transformations could be simply achieve by using grasshopper or rhino. Also, in order to use digital fabrication, the transformation between three-dimension and two-dimension has been developed as we needed to convert three-dimensional strips into two-dimensional surfaces for laser cutting. Vacuum forming is also a three-dimensional media with the skill of heat expansion. Objective 4. developing “an understanding of relationships between architecture and air” Sometimes the physical model is not as good as expected. In addition, there may be some problems during fabrication, which makes the model quite different from the digital design. For my part B, the prototype is quite different from the digital design. The digital design is only a design idea achieved by grasshopper. It is really hard (impossible) to make the same thing by hand. Therefore, by considering my design concept, a kneecap, I chose the material and changed some details of the design, such as the curving surface, different types of joints - open, fixed or adjustable, to make it practicable. Objective 5. developing “the ability to make a case for proposals” Through the twice presentations and the feedback gained of individual work and group work, the skill of the ability to make a case for proposals has been developed. In order to respond the feedback and improve my/our design, I/we redesigned for several times. In addition, when I was watching others’ presentation, I would think his/her advantages and drawbacks and consider if I have the same issue in my design. Moreover, group work is very helpful for developing this skill. When everybody hold different opinions, it is necessary to persuade others with a strong case for proposals and decide the next step of the project. Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; This skill has been developed through Part A and Part B. Through the research, my horizon has been expanded and more knowledge of the contemporary architectural projects has been gained. It is excited for me to create a project which is similar to a famous contemporary project, although there is still a big gap between my work and the actual project. This skill also can be developed by analysing the previous good examples and the presentations of classmates’ works. Objective 7. develop foundational understandings of computational geometry, data structures and types of programming; Before the studio, I was unfamiliar with the computational design and had a poor skill of using Grasshopper. With the constant weekly learning and practising, I have a better understanding to the grasshopper definitions. Although I can not remember all of the definitions, but for these I have remembered, I can understand the way it works and the way it would affect the project. When I see a computational geometry (not too compli-
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cated), I could tell the way that achieved by grasshopper. With the understanding of data structures and programming types, more problems about digital design could be solved by myself. Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. So far, grasshopper seems to be my best computational techniques except autoCAD. Combining with my experience, grasshopper helps to generate a variety of patterns which seem irregular but contain some algorithms among them. Designing garment is a new attempt for me, it is my first time to take the knowledge of this area and it is very interesting. However, personally, I feel myself doing better in designing buildings. Honestly, the cape we designed looks like a pavilion for me. I prefer pavilion to skyscraper. Pavilion is more delicate and detailed. In addition, the shape of pavilion is not fixed. It could combine the creation and the utility for this design. Many grasshopper definitions could be used to develop a pavilion, such as strips and bubbles. Grasshopper also has the advantages of generating many design possibilities in a fast way, moreover, it is easy to change a design component without redo it all. Therefore, it could be considered as my personalised repertoire.
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