STUDIO
AIR MELLISSA YAP [787747]
4 6
CONTENT INTRODUCTION PART A: CONCEPTUALISATION 8
A.1: DESIGN FUTURING - NAGAOKA CITY HALL (JAPAN) - METROPOL PARASOL (SPAIN)
18
A.2: DESIGN COMPUTATION
- PATHÉ FOUNDATION (FRANCE) - NINE BRIDGES COUNTRY CLUB (SOUTH KOREA)
28
A.3: COMPOSITION/ GENERATION - BANVARD GALLARY “C” WALL (OHIO) - DAL CANOPY DESIGN (CHINA)
34 34 35
36
A.4: CONCLUSION A.5: LEARNING OUTCOMES A.6: APPENDIX - ALGORITHMIC SKETCHES
PART B: CRITERIA DESIGN
38 40
B.1: RESEARCH FIELD B.2: CASE STUDY 1.0
46
B.3: CASE STUDY 2.0
48 52 54 56 57
B.4: B.5: B.6: B.7: B.8:
59
60 64 72 79
80
- SEROUSSI PAVILION (FRANCE) - ICD/ITKE RESEARCH PAVILION (GERMANY)
TECHNIQUE: DEVELOPMENT TECHNIQUE: PROPOTYPES TECHNIQUE: PROPOSAL LEARNING OBJECTIVES AND OUTCOMES APPENDIX - ALGORITHMIC SKETCHES
PART C: DETAILED DESIGN C.1: C.2: C.3: C.4:
DESIGN CONCEPT TECTONIC ELEMENTS AND PROTOTYES FINAL DETAIL MODEL LEARNING OBJECTIVS AND OUTCOMES
REFERENCES STUDIO AIR | CONTENT | 3
MELLISSA YAP,
21, SINGAPORE
2016-Present B. Environments [ARCH],
University of Melbourne [AUS] 2012-2015 Diploma in Architecture, Singapore Polytechnic [SIN]
I am currently an undergraduate student taking the Bachelor of Environments [Architecture] in the University of Melbourne. Prior to studying here, I completed a Diploma in Architecture from Singapore. I have always been interested in building design and early childhood education. I took a part-time job in as a ‘Kids Club’ crew. This job required me to watch over toddlers and guide them during Arts and Carft sessions. During the time spent, I found myself enjoying sketching, exploring massings with blocks and guiding the children as to how to draw and build. Since then, I decided to pursue architecture as a major because I felt that this would allow me to have an opportunity to create and design more. Having graduated from polytechnic, I have learnt to use computer software skills such as Autocad, Revit, SketchUp, Photoshop & Indesign. As part of my career development, I also worked at various Architecture firms in Singapore [RT+Q & CGNG]. This helped to improve my skills in digital software as I continue to learn new things while working. Model making has always been my favourite part of a project. I enjoy building up the model as this helps me understand my project better and how materials are being connected to one another.
4 | STUDIO AIR | INTRODUCTION
INTRODUCTION
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PART A:
CONCEPTUALISATION
A.1:
DESIGN FUTURING
8 | STUDIO AIR | A.1 DESIGN FUTURING
STUDIO AIR | A.1 DESIGN FUTURING | 9
10 | STUDIO AIR | A.1 DESIGN FUTURING
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NAGAOKA CITY HALL
ď °
FIG 1.1 - Meeting Room Ceiling Installation
Architect: Kengo Kuma & Associates Location: Japan Completion Date: March 2012 Project Area: 40, 000m2 Awards: - Barrier-Free Universal Design Promotion Award - Good Lighting Award from The Illuminating Engineering Institute of Japan - 2012 Good Design Award - The 25th Nikkei New Office Award /Encouragement Prize, Kanto Region - The Japan Society of Seismic Isolation Award - The Japan Building Mechanical and Electrical Engineers Association Award - Barrier-Free Universal Design Promotion Award
12 | STUDIO AIR | A.1 DESIGN FUTURING
CASE STUDY 01
NAGAOKA CITY HALL
Nagaoka City Hall is a project which aims to redirect public buildings back to the ‘City Center’ as it was being cast aside due to urban exapansion. This evokes the thought of recreating a space for community interaction. Being a ‘built’ project, it is important that many see the need of having social interaction rather than using technology to interact. The idea of instigating change and promoting community spaces was not thought of only recently and this project has been part of the movement which helped enphasized the need for a ‘City Center’.
FIG 1.2 - Plaza
“To be able to design for the future, we have to look back at the history.”
FIG 1.3 - Assembly Hall
This project not only brought the ‘City Center’ back to life, it also made a few new additions to enhance the focal point of the building and integrated the facilities to fit the 21st century. Timber panels are cladded randomly to break away from rigid designs. This recreates the design of the space while keeping in mind the function of it. FIG 1.4 - Foyer entrance to Assembly Hall
STUDIO AIR | A.1 DESIGN FUTURING | 13
SHUTER DREAMWORKS GREEN FACTORY Architect: Williamson Architects Pty Ltd Location: Tian Jing, China Completion Date: - (Compeition Project) Project Area: 13,230m2 Awards: - SHUTER International DreamWorks Architecture Competition (3rd Place)
14 | STUDIO AIR | A.1 DESIGN FUTURING
FIG 2.0 - Overall Massing
FIG 2.1 - Sectional Perspective
STUDIO AIR | A.1 DESIGN FUTURING | 15
FIG 2.3 - Concept Model 1
FIG 2.2 - Design Inspiration
CASE STUDY 02
SHUTER DREAMWORKS GREEN FACTORY
An inspiration given by the banyan tree (also known as ‘the source of life’) to create a building of life whereby columns are trunks and the crown is the roof garden. This carbon neutral designed factory has displayed environmental sustainability ideas and concepts as seen in Fig 2.4 (beside). Recent trend in the architectural industry has angled towards designing and building more environmentally-friendly buildings as part of strategies against global warming. Although this project has not been built, it allows one to applaud to the efforts made in designing an environmentallyfriendly building. Having natural ventilation, sufficient daylighting and eco-friendly designed in factories prove that factories need not always be harmful for the environments. The concept and idea of this project helps to start a new cycle of creating factories that are environmentally friendly.
FIG 2.4 - Exploded Axonometric FIG 2.5 - Concept Model 2
‘They conceive the factory as a tremendous tree. Make the tree as the main structure of factory which directly connects the design concept to the environment.’ – Jury Citation. 16 | STUDIO AIR | A.1 DESIGN FUTURING
STUDIO AIR | A.1 DESIGN FUTURING | 17
18 | STUDIO AIR | A.2 DESIGN COMPUTATION
A.2:
DESIGN COMPUTATION
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CASE STUDY O1
FIG 3.0 - Office Spaces
PATHÉ FOUNDATION
An example of Design Computering can be shown through this project. The Pathé Foundation started out with drawings and sketches but soon turned to design computing to aid in drafting of its complex form. The capping cladding is made up of specifically engineered timber ribs guide to support the layer of double glazed curved glass panels on the top and preforated aluminium louvers that wraps around the building. These approximately 7000 preforated aluminium panels are angled to precision to form the smooth egg-shaped roof Renzo Piano was trying to achieve. With design computation, the customized bookshelf(seen in the above image) is able to take it’s form on a software and measured to precision before commencing site works. This would be of great help to carpenters as they have detailed dimensions to build t the Architect’s intent.
20 | STUDIO AIR | A.2 DESIGN COMPUTATION
PATHÉ FOUNDATION Architect: Renzo Piano Building Workshop, Architects Location: Paris, France Completion Date: 2006 Project Area: 22, 000m2
FIG 3.1 - Sectional View t FIG 3.2 - Renzo Piano’s Sketch
‘The computer is perfect in the moment when you cannot be perfect.’ - Renzo Piano
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22 | STUDIO AIR | A.2 DESIGN COMPUTATION
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FIG 4.0 - External View
NINE BRIDGES COUNTRY CLUB Architect: Shigeru Ban Architects Location: Yeoju-Gun, Gyeonggi-do, South Korea Completion Date: 2009 Project Area: 20, 977m2
24 | STUDIO AIR | A.2 DESIGN COMPUTATION
FIG 4.3 - Axometric View t FIG 4.2 - Lounge Area 2 tt FIG 4.1 - Lounge Area 1
STUDIO AIR | A.2 DESIGN COMPUTATION | 25
26 | STUDIO AIR | A.2 DESIGN COMPUTATION
CASE STUDY 02
NINE BRIDGES COUNTRY CLUB
To achieve the complex looking yet load-bearing structure of this building, a new software had to be created. The design team was firm with the idea of achieving ‘sprouting branches’ as its columns, all the way to the main support structure of the roof. All this was made possible with the software created. This helps to further enhance and bring forth this concept and idea through visualisation as well as mathematically calculating the angle of each bend or length. Complex angles and forms are thus easier to fabricate without wasting materials and time due to the precision and location each timber stick has. The benefits of engaging with comtemporary computational design techniques was a major help through this project. It allowed the team of designers to convey ideas and thought processes easily through graphic designing (shown in FIG 4.3). Design computation has made exploring complex forms easier to achieve. Angles and curves would also be easier to calculate and this helps the carpenter understand the work better before building. Thus, materials and time wont be wasted on site. q FIG 4.5 - Fabrication
t
FIG 4.4 - Main Hall
STUDIO AIR | A.2 DESIGN COMPUTATION | 27
A.3:
COMPOSITION VS.
GENERATION
28 | STUDIO AIR | A.3 COMPOSITION/GENERATION
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BANVARD GALLARY- “C” WALL
FIG 5.1
CASE STUDY 01
Architect: Andrew Kudless Location: Columbus, Ohio Completion Date: 2006 Project Area: 300MM X 100MM X 200MM The “C” wall is the result of an algorithmic pattern formed by a wide range of fields that affected local conditions in Ohio. Using the honeycomb and voronoi geometries as its base, points of the various data was infused, transforming them into 3-Dimensional forms which easily makes up the wall. The use of generation in this project has brought forth immeasurable patterning through computation, aiding the architectural design process to cross boundary and limitlessly fabricate through a simple set of rules.
30 | STUDIO AIR | A.3 COMPOSITION/GENERATION
FIG 5.2
“This project is the latest development in an ongoing area of research into cellular aggregate structures that has examined honeycomb and voronoi geometries and their ability to produce interesting structural, thermal, and visual performances.” -Andrew Kutless
FIG 5.3
STUDIO AIR | A.3 COMPOSITION/GENERATION | 31
DAL CANOPY DESIGN CASE STUDY 02 Architect: Digital Architectural Lab Location: Changsha, Hu Nan, China Completion Date: 2011 Project Area: 3000MM X 3000MM X 6000MM The concept of this canopy is to create based on ‘aggregated porosity’ and enhance this through the use of computational-driven fabrication techniques. Timber Ply as a material itself would not be able to bend and form the curves that had to be achieved. The organic-like form was derived from having a basic L-structure support. This L-shape is then contorted and hexagonal shapes are used to form this canopy. The rule in this algorithm was to constrain 3 sides and open the 3 other as this would allow the flow to emerge. The use of computational softwares easily calculated each piece of timber ply to be fabricated which saved a great deal of manpower and installation time. q FIG 6.3
p
FIG 6.1
q
FIG 6.2
FIG 6.0 u
32 | STUDIO AIR | A.3 COMPOSITION/GENERATION
STUDIO AIR | A.3 COMPOSITION/GENERATION | 33
A.4:
CONCLUSION As a conclusion, all case studies have showed that computational design has been beneficial in expressing designs and ideas to its fullest. This has reminded me to always design to my fullest and that computational design can be a tool to enhance it. Living in a era where technology is considered as necessity, we must take advantage of this time to design limitlessly.It is important to not let design computation limit our abilities. This way, the person who would benefit the most would definately be the designer himself as he has brought himself to a greater height by developing a greater sense of thought while designing.
A.5:
LEARNING OUTCOME Design computation is not something that is new to me but through case studies, lectures and tutorials, I’ve learnt more about algorithmic design and how it can help me enhance my project even more just simply by computation. Through this past few weeks, I’ve learnt to use new softwares that could possibly helped me in creating more abstract forms for my project that will help in strengthen my design concept through form making. If design computation was available in the past, it would have saved a lot of time wasted on calculating irregular designs and patterns which a made available today using algorithm. Fabrication have also significantly helped by creating accurately scaled models at a faster pace. The joy of not knowing what lies ahead of the algorithmic outcome is interesting and it thrills me to want to continue building and creating through this way of thinking and designing.
34 | STUDIO AIR | A.4 & 5 CONCLUSION & LEARNING OUTCOMES
A.6:
ALGORITHMIC SKETCHES WEEK 1
|
Introduction to Rhino and Grasshopper
The week’s task was to familiarise ourselves with these two softwares and to come up with various massings using a focal point as the main control.
WEEK 2 | Extruding elements with more than 1 point The week’s task was to explore deeper to create more points the massings would shun away from.
WEEK 3
|
Curvature with undulation
The week’s task was the usage of curves as the focal line to create the ‘scales’ effect.
STUDIO AIR | A.6 ALGORITHMIC SKETCHES | 35
36 | STUDIO AIR | B. CRITERIA DESIGN
PART B:
CRITERIA DESIGN
STUDIO AIR | B. CRITERIA DESIGN | 37
q
FIG 7.1
FIG 7.3
38 | STUDIO AIR | B.1 RESEARCH FIELD
q
FIG 7.2
FIG 7.4
B.1: RESEARCH FIELD STRIPS & FOLDINGS Stepping into a specific research field, I chose to do strips and foldings. In today’s architectural world, strips and folding has been a major design starting point to many famous projects and design. To me, it allows endless design opportunities to explore and create new forms and massings. All this can also be enhanced while using computational softwares.
In order to understand strips and foldings better through computational softwares, the following case studies and matrices will portray the unfolding and assembling of my thoughts and interpretations.
STUDIO AIR | B.1 RESEARCH FIELD | 39
B.2 CASE STUDY 1.0 SEROUSSI PAVILION Architect/ Designer: Alisa Andrasek Design team: Ezio Blasetti, Che Wei Wang, Fabian Evers, Lakhena Raingsan, Jin Pyo Eun & Mark Bearak Location: Paris, France Completion Year: 2007 The Seroussi Pavilion by Biothing is structure described as grown from self-modifying patterns of vectors based on Electromagnetic Fields.1 Additional features were also attached to the generating script as site conditions were being accounted for. The ‘sine-wave’ function is also used to drive parametric differentiation of the angle, orientation, size of the aperture and the relationship of metal and glass components within each cell.2
FIG 7.3
AFTERTHOUGHTS The project portrays an organic that has a very interesting distribution of lighting play and shading effect. This unique play of self-modifying patterns of vectors through Electromagnetic Fields allows for endless opportunities to recreate and suit the needs of almost any project under the research field: strips and foldings.
1 & 2
:http://www.arch2o.com/seroussi-pavilion-biothing/
40 | STUDIO AIR | B.2 CASE STUDY 1.0
FIG 7.2
PROJECT DETAILS CEILING INSTALLATION IN MEETING ROOM The final product designed will be a ceiling installation for a meeting room in an architectural firm. Based on the following details of the meeting room (as shown in the plan below) and the idea of strips and foldings, I’ve thought of the following as a few of my design criteria while creating the matrices.
DESIGN CRITERIA A series of play in undulation to interect with the users of the room as well as to provide sensorial engagement and rhythem to the design. The ceiling installation should feature a form of shadow play while using the timber veneers as selected by the client. Lights should be able to harmonise with the proposed ceiling installation. INITIAL MASSING
STUDIO AIR | B.2 CASE STUDY 1.0 | 41
B.2 CASE STUDY 1.0 SEROUSSI PAVILION (ITERATIONS) Distortation
1.1
1.2
1.3
1.4
2.2
2.3
2.4
3.2
3.3
3.4
4.2
4.3
4.4
Surfaces
2.1 Spin Field
3.1 Graphing
4.1
42 | STUDIO AIR | B.2 CASE STUDY 1.0 (ITERATIONS)
1.5
1.6
1.7
1.8
2.5
2.6
2.7
2.8
3.5
3.6
3.7
3.8
4.5
4.6
4.7
4.8
STUDIO AIR | B.2 CASE STUDY 1.0 (ITERATIONS) | 43
B.2 ANALYSIS OF RESULTS SEROUSSI PAVILION (SELECTED ITERATIONS) A series of play in undulation to interect with the users of the room as well as to provide sensorial engagement and rhythem to the design.
DESIGN CRITERIA
The ceiling installation should feature a form of shadow play while using the timber veneers as selected by the client. Lights should be able to harmonise with the proposed ceiling installation.
DISTORTATION
1.5
This iteration was chosen from this species as I feel that it has the most potential in developing a more subtle massing for the ceiling installation so that users would not feel distracted while in the space. This iteration, against my selection criteria, allows for lighting to harmonise with the ceiling installation through gaps provided within. There is also potential for form of shadow play to take place.
SURFACES
2.2
This massing was chosen from this species as I wanted to experiment with different distortion to bring out a design that was interesting and eye catching. This iteration, against my selection criteria, enhances the idea of undulation and sensorial interaction. Light and shadow play would also be naturally formed through the oddly shaped massing.
44 | STUDIO AIR | B.2 CASE STUDY 1.0 (ITERATIONS)
SPIN FIELD
3.2
This iteration was chosen from this species as I feel that it is the most soothing for a meeting room ceiling installation. Not only does it provide a fluidity motion through the massing, it also creates multiple lighting effects possibility.
GRAPHING
4.1
This iteration was chosen from this species as it is an improved massing from the third series. This massing helps to provide a play of undulation which interacts with the users of the room by visual and sensorial engagement.
STUDIO AIR | B.2 CASE STUDY 1.0 (ITERATIONS) | 45
B.3 CASE STUDY 2.0 ICD/ITKE Research Pavilion 2010 Architect/ Designer: ICD/ITKE University of Stuttgart Location: Stuttgart, Germany Completion Year: 2010 This material-orientated computational pavilion was created through numerous tests and simulations regarding the bendability of its material and the effects of light and shadow play. The structure is entirely based on elastic bending behaviour of birch plpywood strips.1 Parametric dependencies were defined through a large number of physical experiments focusing on the measurement of deflections of elastically bent thin plywood strips.2
1 & 2
FIG 7.5
FIG 7.1
:http://icd.uni-stuttgart.de/?p=4458
46 | STUDIO AIR | B.3 CASE STUDY 2.0
FIG 7.6
FIG 7.4
REVERSE ENGINEERING ICD/ITKE RESEARCH PAVILION 2010 Step 1
Step 2
Create 3 curves, placing point on curve and dividing them into desired number of points.
Loft curves and interpolate curves to create a surfaces for the massing.
Step 3
Step 4
Using a rectangular surface, split the curve.
Selected massing would be shown through culling of the geometry. Transform geometry to maesh.
Step 5
Step 6
Mesh edges was then pluged into the mesh to create stripy grids on weaverbird.
Width of grids can be changed through kangaroo plug-ins.
Step 7
Step 8
Weaverbird’s WebWindow may then be used to create panels.
Likewise, if panels are not preferred, grids made of strips can be formed by weaverbird’s WebEdges.
STUDIO AIR | B.3 CASE STUDY 2.0 | 47
B.4 TECHNIQUE DEVELOPMENT ICD/ITKE RESEARCH PAVILION 2010 REVERSE ENGINEERING (ITERATIONS)
Distortation
1.1
1.2
1.3
1.4
1.5
2.2
2.3
2.4
2.5
3.2
3.3
3.4
3.5
Surfaces
2.1
Gridshells
3.1
48 | STUDIO AIR | B.4 TECHNIQUE DEVELOPMENT
1.6
1.7
1.8
1.9
1.10
2.6
2.7
2.8
2.9
2.10
3.6
3.7
3.8
3.9
3.10
STUDIO AIR | B.4 TECHNIQUE DEVELOPMENT | 49
B.4 ANALYSIS OF RESULTS ICD/ITKE RESEARCH PAVILION 2010 REVERSE ENGINEERING (SELECTED ITERATIONS)
A series of play in undulation to interect with the users of the room as well as to provide sensorial engagement and rhythem to the design.
DESIGN CRITERIA
The ceiling installation should feature a form of shadow play while using the timber veneers as selected by the client. Lights should be able to harmonise with the proposed ceiling installation.
DISTORTATION
1.7
This massing was chosen from this species as I felt this was an interesting form to place as a ceiling installation which it’s soft undulating curves. This iteration not only has the potential to be improved through the needs of the prototype later on, but also has grid-liked voids which would create a nice shadow play effect.
50 | STUDIO AIR | B.4 TECHNIQUE DEVELOPMENT
SURFACES
2.6
As the topic I am focusing on is strips and foldings, this massing creates a nice play of interlocking panels which I felt would create nice forms of shadow play. This random form of panels at different angles could also potentially allow users to feel a sense of sensorial engagement while in the space.
GRIDSHELLS
3.6
This iteration was chosen from this species as it is the most interesting in terms of its soothing curvature and interlocking of strips gracefully. As a ceiling installation for a meeting room, I feel that this massing is suitable due to the form and the curvature of the iterationg being very subtle yet a hint of uniformely formed strips.
STUDIO AIR | B.4 TECHNIQUE DEVELOPMENT | 51
B.5 TECHNIQUE: PROTOTYPE Mellissa Yap | Rachel Lee | Ray Zhang We began the fabrication process by integrating 2 research fields, strips and foldings & material performances to create a suitable ceiling installation for the meeting room. As we knew that the materials used was to be timber veneer, we sourced for a few timber suppliers around Melbourne. Things we were mindful of while selecting the timber veneer was that it had to be able to bend, for us to integrate how timber veneer was able to stretch through its limits.
After receiving the timber veneers, we found out that the veneer itself was not as bendable and we had to laser cut perpendiculalarly to wood grains. This would allow us to bend the timber veneer even more for us to create the weaving pattern.
52 | STUDIO AIR | B.5 TECHNIQUE: PROTOTYPES
After the weaving pattern has been formed, the ends of each parallel strips will then be sewn together to from its shape. The construction method of weaving allowed for flexibility within each group of strips to cater for lighting and projector purposes. The movable strips also allowed for light and shadow play. This was an interesting factor I felt was suitable for the meeting room as it would be able to provide unique patterning on the walls to the floor, but also subtly so as to not distract the users in the room while a meeting is ongoing.
FABRICATION CONCERNS There were a few fabrication concerns we pondered about if this massing were to be fabricated in a big scaled project. Firstly, as the bendability of wood veneer has its limits, fabricating might be a challenge. While doing the prototype, we has snapped a few pieces that were being over bent. If it were to be done in its actual scale, the amount of curvature for each veneer strip has to be calculated to it’s precised bendability. Secondly, another concern we might face is the connectivity of veneer strips at each intersecting point. While creating the prototype, sewing was used to connect the timber veneer strips together. If this project were to be done in its actual scale, it would be time consuming to sew every intersecting point with one another. Also, by sewing the intersecting points, each curved prototype would not be able to connect with the next prototype as the connecting points would then be buldging, making it the more obvious point in the ceiling installation. As the focal point of the ceiling installation is the material bendability and the strips of timber veneer, it would be unsightly to show the connecting joints.
STUDIO AIR | B.5 TECHNIQUE: PROTOTYPES | 53
B.6 TECHNIQUE: PROPOSAL Mellissa Yap | Rachel Lee | Ray Zhang Our proposed design came about from the integration of two research fields: Strips and foldings + material performances. In addition to that, our aim was to design with the idea that is should be formal and suitable for the meeting room yet dramatic enough to activate the office space. Our design criteria for the ceiling installation are as follows: Firstly, to create a series of play in undulation to interect with the users of the room as well as to provide sensorial engagement and rhythem to the design. Secondly, the ceiling installation should feature a form of shadow play while using the timber veneers as selected by the client. Lastly, lights and ceiling equipments should be able to harmonise with the proposed ceiling installation.
With the design criteria and reseach fields in mind, our proposed design is as shown above. The ceiling installation is made up of veneer stripes running 3 ways to create triangular surfaces that is able to push the boundaries of the bendability of wood veneer and create undulating surfaces.
54 | STUDIO AIR | B.6 TECHNIQUE: PROPOSAL
COMPUTATIONAL DESIGN PROCESS 1. We started off with a triangular grid using the boundary of the dimensions of the meeting room. 2. Weaverbird’s sierpinski carpet tool was then used to create a mesh which was then projected to the triangular grid. This would create uniformed gaps on the surface of the mesh. 3. To produce the vault, a point was drawn on the center of the mesh and offset downwards along the z-axis. 4. 2 circular geometries were then drawn to make the shape of one vault. 5. Lastly, the surface was being lofted and the weaverbird mesh was then being projected onto the loft to create the strips and triangular voids.
MOVING ON WITH THE PROJECT Moving forward, we would go into detail looking at lighting and acoustics. We would also aim to counter the problems faced while fabricating the model and also improving the computational definitions of our project. As our design is meant to be undulating vaults, we would have to look into the fabricating concerns as well as various definitions to aid us in portraying our design better and clearer.
STUDIO AIR | B.6 TECHNIQUE: PROPOSAL | 55
B.7 LEARNING OBJECTIVES AND OUTCOMES Learning Objective 1: To be able to learn various ways on achieving desired definition on grasshopper and develop new computational skills and understanding definitions and different types of computational sofwares and its ability. Learning Outcome 1: Through B2 to B4, it is evident that I have been able to achieve the desired definitions that I hope for through these selected few iterations that are my personal favourite. With the use of grasshopper and Rhino, I have also learnt about other plugins such as weaverbird, lunchbox, kangaroo and a few others. However, I feel that that is always room for improvement and learning opportunities to discover new techniques and skills.
Learning Objective 2: To hone presentation skills in front of clients and an audience Learning Outcome 2: This presentation was a good opportunity in getting an experience to present in front of a client in a real-life situation, I am able to step out of my comfort zone and effectively putforth our proposal and ideas across the panel.
56 | STUDIO AIR | B.7 LEARNING OBJECTIVES AND OUTCOMES
B.8 ALGORITHMIC SKETCHBOOK COMPUTATIONAL EXPERIMENTS
The above shows a few computational massings I have done while experimenting with veronoi and driftwood surfaces. I decided that this was not suitable for my iterations as it creates more of patterning which was not what I had wanted to achieve. Going back to strips and foldings, these massings did not help in protraying the idea it well. Despite that, I have learnt to use these two types of techniques and this would be helpful for future learning and understanding. PROTOTYPE EXPERIMENTS
The above shows our first try in the prototype we were trying to achieve. This prototype was then replaced with the final one as we were not able to form the vault through using the weaving process. This process allowed us to learn and figure out another alternative in creating our prototype.
STUDIO AIR | B.8 ALGORITHMIC SKETCHBOOK | 57
58 | STUDIO AIR | C. DETAILED DESIGN
PART C:
DETAILED DESIGN
STUDIO AIR | C. DETAILED DESIGN | 59
C.1 DESIGN CONCEPT
INTERIM FEEDBACK
Physical model was preferred over grasshopper definition. (The physical model was made through the weaving of strips that converged at each end to create an arc while the grasshopper model was weaved together creating a modular vault.) Converging of strips and making strips into slits/ thinner strips
PHYSICAL MODEL
GRASSHOPPER DEFINITION
60 | STUDIO AIR | C.1 DESIGN CONCEPT
CONCEPT DEVELOPMENT Develop the vault to break away from the constraints of a hemisphere We wanted to create vaults that would reflect the flexibility of timber veneer, instead of a constrained hemisphere.
Investigate less complicated fabrication methods
Develop the structure as a whole to create a more complex system
As we were using parametric design, we wanted to make use of this opportunity using our grasshopper model to easily unroll the surfaces for fabrication.
We wanted to challenge ourselves by developing a more complex structure by strategically ocating mutiple vaults accross the room, and also varying their depths, keeping in mind the spatial context.
STUDIO AIR | C.1 DESIGN CONCEPT | 61
DESIGN TECHNIQUE
SPLIT .. LIST ITEM
.......
......
. SECTION ..
SPHERE ..
.......
.. ..
........
........... .....
........
..
. GRAPH LINE .. INTERSECTION .... ........
A/B
.....
.. SERIES ............... LIST ITEM .. ...
................
. DIVIDE .......................... LIST ITEM ....... A+B ..
..
..
..........................
..................
..................................
DESIGN CONSTRUCTION PROCESS
JOINING
. TRANSPORT ..
RHINO MODEL..
.. LASER CUT ..
.. ...........
...... .....
. LASER CUT ..
JOINING
TO SITE
..
62 | STUDIO AIR | C.1 DESIGN CONCEPT
JOINING
..
ATTACH TO CEILING FRAME
RADIAN
...
DEGREE
..
....
ROTATE
MERGE
LOFT
....
...................
ROTATE
...
LIST ITEM ..
..............
.....
........ ...
..... LIST ITEM ... PLANE 3PT ...
....... .......
....................................... ROTATE .... ....... .......
ARC
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C.2 TECTONIC ELEMENTS & PROTOTYPES
CORE CONSTRUCTION ELEMENT
Moving on, we decided the main core element we should revolve our idea and prototype around would be CONVERGING STRIPS. Based on this concept, we experimented with different prototypes. Each time, to improve the idea and to solve the issue we faced creating a next prototype.
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PROTOTYPE 1.0
IDEA
ISSUE
The main idea of this prototype was to use petals with slits and test out overlaying multiple pieces of veneer to create the modular vaults. We also tried to use 3D printing to produce joineries that would combine it into a singular system.
Prototype 1.1 - View 1
Through Prototype 1.0, we found that the connections were too bukly and the veneer used was not suitable for bending. As for the design, we felt that it was still not able to portray the undulating vaults we had in mind.
Prototype 1.1 - View 2
Joinery
These prototypes shows the overlaying of ‘petals’ used to create each vaults. Each vault consist of 3 ‘petals’. These ‘petals’ are then connected to a joinery and suspended from the ceiling. In these prototypes, each vault will be an independant installation. The joinery is connected to the ‘petals’ by slotting them into the middle of each petal.
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Prototype 1.2 - View 1
Prototype 1.2 - View 2
Joinery
These prototypes shows the ‘petals’ being inserted into the joinery to connect them as a singular system of vaults in strips. Each vault consist of 3 ‘petals’ running horizontally, vertically and diagonally. In these prototypes, vaults will be connected in strip form. The joinery is connected to the ‘petals’ by slotting them into the cube. A rod is then inserted to hold the timber veneer ‘petals’ in place.
REVIEW After completing these prototypes, our reviews are as follows: Connections/ Joinery :
Fabrication:
Material Performances:
Cost
:
Moving on to our next prototype, we should improve the material performance by sourcing for another timber veneer material that is more flexible. The material should be flexible enough to achieve the curvature and be able to bend as we require. As for the connecting joints, we should reduce it so as to not have the the joinery taking the main focus of the installation. Fabrication should be kept to it’s minimal (2 elements would be ideal) as it is in this prototype. 3D printing the joineries is not ideal as the cost of the installation would increase. for the next prototype, we would look at alternative joineries to reduce the cost as a whole.
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PROTOTYPE 2.0
IDEA
ISSUE
The main idea of this prototype was to use circle packing as the base of our vault system. The hemisphere would be individually hooked into place as shown in the image below.
Through Prototype 1.0, we found that the connections were too bukly and the veneer used was not suitable for bending. As for the design, we felt that it was still not able to portray the undulating vaults we had in mind.
Prototype 2.0 - View 1
Prototype 2.0 - View 2
Instead of creating individual ‘petals’, we decided to make circle packing as our main focus. The ‘petals’ were then designed to be 1 entity instead of 3. As we experimented, we used th ring to constrained a flattened piece of veneer to create a vault. However from this, we found that it was impossible to force a single planar module to become a doubly curved surface. Hence, we thought of another alternative, to split each doubly curved surface into triangles to create the vaults.
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DESIGN TECHNIQUE
To achieve undulation and a randomly arranged design, we used kangaroo’s circle packing which helped in creating the above module.
REVIEW After completing these prototypes, our reviews are as follows: Connections/ Joinery :
Fabrication:
Material Performances:
Cost
:
For the second prototype, we felt that the circle packing joints were to large and obstrcutive, which did not look good aesthetically. Despite that, laser cutting timber plywood (6mm thk) and using it as the joinery was a cheaper alternative that we found which we decided to carry forward for the following prototypes. This prototype was not fasible because it was not possible to force the timber veneer into the circle. Moving on from this prototype, we needed to source for a new timber veneer alternative. Paperbacking timber veneer was our solution to achieving a better flexibility through the design.
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PROTOTYPE 3.0
IDEA
ISSUE
The main idea of this prototype was to split each vault into multiple triangular surfaces to bend it into shape. Constrained by the points determined by a voronoi, we were able to adjust the depth of each vault therefore creating a series of undulations.
Prototype 2.0 - View 1
Through Prototype 1.0, we found that the connections were too bukly and the veneer used was not suitable for bending. As for the design, we felt that it was still not able to portray the undulating vaults we had in mind.
Prototype 2.0 - View 2
Joinery
We utalised the flexibility of a paperback timber veneer to constrain it into a rectangular base. As for the joineries, we wanted to create a simple detail to push the entire system of vaults into tension and control the depth of it. At each intersection of triangular surface, the timber veneer would be slotted through a piece of rod and would be held by a designed piece of lasercut plate at the end of the rod as shown in the picture.
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DESIGN TECHNIQUE
We used paneling to split the vaults into triangular panels. To enhance the converging strips, we portrayed it to the triangular panels by using surface splits.
REVIEW After completing these prototypes, our reviews are as follows: Connections/ Joinery :
Fabrication:
Material Performances:
Cost
:
Progressing from this, we wanted to push the limits of the geometry by reducing the width of the strips and increasing the density. As for the joinery, we decided to refine it to be able to use a non-adhesive connection that is easy to assemble.
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C.3 FINAL DETAIL MODEL RIBBONED VAULTS
PROJECT PROPOSAL Ribboned vaults is created through computational softwares and plugins such as Rhino, Grasshopper & Kangaroo. Through the following images and renders, we can say that this project has been successful in fully utilizing the space by creating volume and dynamism through vaults which demonstrates the ability of wood veneer and pushes its boundaries with fine, converging strips.
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JOINERY Form of joinery to be used to ‘lock’ the installation in place.
Final model - View 1
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GRASSHOPPER DEFINITION
The final prototype was derived from Prototype 3. We basically neaten the structure but yet maintain its complexity as a form. In addition, we also included more converging strips to create a more dense looking installion.
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To create the digital model, we firstly used a voronoi to determine the centre and base shape of each vault. Points were strategically placed accross the room to create the lowest point of each vault.
To simulate the physical properties of veneer, we use the physics plug-in, Kangaroo to create the drooping effect by using a vector force downward.
Lastly, converging strips are added through the use of surface split. This would omit the gaps between creating an alternating surface in a panel.
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FABRICATION (JOINERY)
Initiation of joinery
Developement of joinery
Overview of joinery
We have decided to make the joints using timber plywood that is 6mm thick. This would allow us to save on cost (comparing it to 3D Printing which was another alternative we had tried earlier). Using laser cutting as a method to create the joinery was also a good challenge as it allows us to create joints that are easy to install and fabricate.
The joinery is made up of 4 parts altogether: 2 parts of the rods and 2 pins to hold the timber veneer in place. The rods would first interconnect with one another to creating the sturdy rod that would be attached to the ceiling upon completion. To lock the veneer in place, simply slot in the triangular pin and twist it so that the hole would be in the opposite direction as shown in the image above.
The joinery has been created to aid in suspending the timber veneer ceiling installation. It helps to hold the middle of the vault allowing the veneer to fall freely from the middle point to the sides.
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FABRICATION (MODEL)
Initiation of model
Developement of model
We have decided to start the overall model by unrolling the surfaces we got from the computational model. Through that, we were able to laser cut the timber veneer. The joining of each vault had to be done manually as each surface was curved at variations.
Each vault was then joined to the other vaults which was bound by the rectangular dimensions of the room. The small-scaled model was however unable to portray the dangling strips as we thought. To present the intention of the vault, we created a bigger scaled model. This model aid in showing the dangling effect each vault was suppose to have once the right scale is being used.
Overview of model The small scaled model helped to give an overview of the whole meeting room. It also shows the points at which the lowest point of the vault is suppose to go. This portrays the undulation of installation we had designed. The larger model was able to portray the converging strips at a clearer close up view. This model also helped to illustrate material performance of the vault at a 1:1 scale. The joinery shown at this scale was useful in depicting how the joinery was made.-
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PERSPECTIVES Our final product hangs at the determined points from the ceiling. Using the fabricated joints created, it helps to pull the vaults inwards. At the same time, the rod is attached to a frame on the ceiling. The design of converging strips helps to make it seem light and delicate creating interesting shadows casting effects.
C.4 LEARNING OBJECTIVES & OUTCOMES
From the model, the ends of the ceiling installation should be connected to the room and not ‘flapping’ out.
PRESENTATION FEEDBACK
The scale of strips in the 1:15 scaled model was eye-pleasing. As soon as it becomes 1:2 scaled, the strips are deemed too large.
LEARNING OBJECTIVES & OUTCOMES The learning objectives of this studio is to expose use to new computational softwares. This softwares in-turn will help us in creating an installation based on our design criterias. Through this project, I am equipped with computer skills that I have learnt throughout this semester. This allows me to create unknown forms and curves depending on the architectural context of the project. From this, I have also learnt ways to fabricate joineries and making multiple prototypes based on the criterias we have, each time to improve the fabrication works and design of it.
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REFERENCES COVER PAGE https://paulaparicio.wordpress.com/2014/02/06/the-milwaukee-art-museum/#jp-carousel-290
PART A A.1: Design Futuring
FIG 1.0 http://aasarchitecture.com/2014/06/nagaoka-city-hall-aore-kengo-kuma.html/nagaokacity-hall-aore-by-kengo-kuma-10 FIG 1.1 https://www.flickr.com/photos/kenlee2010/6918506642 FIG 1.2 http://www.nesite.com/wp-content/uploads/2013/04/nagaoka-city-hall.jpg FIG 1.3 http://aasarchitecture.com/2014/06/nagaoka-city-hall-aore-kengo-kuma.html/nagaokacity-hall-aore-by-kengo-kuma-16 FIG 1.4 https://www.flickr.com/photos/kenlee2010/7064584155 FIG 2.0-2.5 http://www.williamsonarchitects.com.au/works/shuter-dreamworks-green-factory/
A.2: Design Computation
FIG 3.0 http://www.wired.com/2014/07/look-its-a-giant-armadillo-or-just-a-clever-buildingjammed-into-a-tiny-lot/ FIG 3.1 http://www.dezeen.com/2014/06/04/renzo-piano-pathe-foundation-paris/ FIG 3.2 http://www.archdaily.com/550625/pathe-foundation-renzopiano/5420decec07a8086fc00008f-pathe-foundation-renzo-piano-sketch FIG 3,3 https://www.pinterest.com/pin/424956914813279054/ FIG 3.4 https://www.pinterest.com/pin/406449935096118352/ FIG 4.0 https://www.pinterest.com/pin/433119689136144313/ FIG 4.1 https://www.pinterest.com/pin/339107046918577376/
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A.2: Design Computation [Con’t]
FIG 4.2 https://www.pinterest.com/pin/51228514485781005/ FIG 4.3 https://www.pinterest.com/pin/392446555008984313/ FIG 4.4 https://www.pinterest.com/pin/498421883730522352/ FIG 4.5 http://www.area-arch.it/en/haesley-nine-bridges-golf-clubhouse/
A.3: Composition/ Generation
FIG 5.0-5.2 http://matsysdesign.com/2009/06/19/c_wall/ FIG 6.0 https://www.pinterest.com/pin/449937819001129883/ FIG 6.1 https://www.pinterest.com/pin/305330049718049692/ FIG 6.2 http://www.archdaily.com/165298/dal-canopy-design-digital-architecturallab/501589a928ba0d5a4b000140-dal-canopy-design-digital-architectural-lab-design-process FIG 6.3 https://www.pinterest.com/pin/503277327089483024/
PART B Criteria Design FIG 7.1, 7.4, 7.5, 7.6 https://simonschleicher.wordpress.com/2010/07/24/research-pavilion-icditke-opening/ FIG 7.2, 7.3 http://www.biothing.org/?cat=10
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