STUDIO AIR 2017, SEMESTER 1 TUTOR: DAN SCHULZ MENG LEONG
CONTENTS 0.0 INTRODUCTION 1.0 PART A - CONCEPTUALISATION A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION/GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX - ALGORITHMIC SKETCHES 2.0 PART B - CRITERIA DESIGN B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPES B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES B.8. APPENDIX - ALGORITHMIC SKETCHES 3.0 PART C - DETAILED DESIGN C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS & PROTOTYPES C.3. FINAL DETAIL MODEL C.4. LEARNING OBJECTIVES AND OUTCOMES
INTRODUCTION My name is M eng, most of my f r iends c all me A lex, c ur rently a third -year student at the Univer sit y of M elbour ne, major in arc hitec ture. I was bor n in M ac au, a high - densit y c asino c it y, and grew up in a c oast al c it y c alled Zhuhai. The living environment that integrates wester n and easter n c ultures stimulate my interest in visual ar ts at young age whic h eventually tur ned into a passion for arc hitec ture design. Dur ing my study of arc hitec ture, I was deeply inspired by the lightness and openness in Toyo Ito’s wor ks that c reates a dynamic c irculation, and his idea of embrac ing innovating digit al modeling tool in developing spatial relationships. For this semester, with the oppor tunit y of explor ing new design methodology based on the topic of wearable arc hitec ture, I want to exper iment the possibilit y of geometr ic al and organic shapes while maint aining a c lean outline that naturally c ombines with the human body.
PART
CONCEPTUALISATION
A
A1 DESIGN FUTURING
The pursuit of aes thetic, f unc tion and political inf luence of the architec tural indus tr y has come to a controversial situation with the idea of sus tainable development . The contemporar y design and cons tr uc tion methodology are limiting the possibilit y of the f uture. It is essential for architec t s to broaden the vision about problem-solving, think b eyond maintaining the current societ y with new technology and materialit y, but rather embrace the complexit y and power of design, prop erly utilize it with exp erimental tools to shap e and guide the world, exploring a much potential and sus tainable f uture.
HARBIN OPERA HOUSE MAD ARCHITECTS, HARBIN, 2015
MAD Architects professes the idea of blending the architecture with the site. In their 2015 project of Harbin Opera House, it significantly responds to the local landscape, climate, and culture, creating a spiritual connection with the environment and leading an innovating design process of integrating multiple disciplines. The shape and organization of Harbin Opera House go beyond function and physical need, they pursue the concept of human emotion in the perspective of form, social interaction, material, lights, and culture1. The building takes on the organic curvilinear lines of its surrounding wetlands and Songhua river, naturally emerges from the site, analogous to an undulate snow mountain. Multiple ramps are built along the external wall, people can interact with building without entering the theatres, and the expansive square placed in front of the main entrance create a space not only for the ticket holders but also for the Wpublic to enjoy.
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The cladding system of the envelope is aluminium plates, a material possesses good performance under the extreme cool climate of Harbin, and a selected portion of the plates are given arrays of bumps, providing the building a sense of breathing. A blur spatial relationship between indoor and outdoor is created inside the building. Natural light, as the spirit of architecture, was maximally introduced to the lobby through multiple huge openings, and it was offered a fragmental geometrical definition by the ribbed skylight that flows along the shape of a mountain. The main theatre presents a successful cooperation of digital fabrication and traditional craftsmanship. It is designed into a sculptural, organic shape with various concave chambers, and the craftsmen construct this threedimensional modelled form with strips of fine ash, a respond to the local culture of furniture-making2. Bringing intense impact on China’s architectural industry, MAD embraced advanced algorithms modelling tool and experts from various disciplines in their design process. The founder Yansong Ma started his concept with hand drawing, the architects in the firm cooperated with the structural and mechanical engineers to articulate the concept, experiment and optimize the space and structure, efficiently improve the feasibility of the project. The shape, volume, and materials of the interior are highly influenced by the computational acoustic analysis, which defined the best possible sound performance within the theatre, enabling the optimal audio and sensory experience for the audiences3. Additionally, an architect stayed onsite with the worker during the last two year of construction, with the detailed information from the 3D file, the variation between design concept and construction tolerance was minimized4. 1. Hartog Den and Yan-song Ma, “’The City Of The Future Should Concern People And Nature’ : Ma Yansong On Mad’s New Design Philosophy Author(S): Den Hartog, Harry; Ma, YanW-Song”, Mark: Another Architecture, no. 59 (2016): 101. 2. Garber, Richard. “Sinuous Workflows: MAD Architects, The Harbin Opera House”. Architectural Design 87, no. 3 (2017): 128-135. 3. Richard, “Sinuous Workflows,” 128-135 4. Richard, “Sinuous Workflows,” 128-135
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NATIONAL TAICHUNG THEATER TOYO ITO, TAICHUNG, 2016
The National Taichung Theatre design by Toyo Ito is a combination of art and nature. The flourish of sponge and the transparency of jellyfish as the primary inspiration for the building are translated into interconnected curvilinear volumes that integrate external environment with internal space, demonstrating Japanese culture of worshipping nature while creating an advance architectural structure1.
method of catenoids, a mathematical form that generate minimal surfaces by rotating a suspended rope about its horizontal axis, in determining the shape of structural walls3. These walls break down the convention rule of vertical load bearing panels or posts, instead, they are invisible truss structures with specific 400mm thickness, supporting wide spiral spaces that flow both transversely and longitudinally.
Ito, in this project, addresses the concepts of using dynamic stress flows to liberate contemporary staid architectural form and transferring modernist principle of “less is more” into original nature tuned “real space”2. Which according to his later interview, can be understood as a call for the embracement of the digital design process with the concern of real physical world, expressing human senses of spaces in a much innovating way. The project employed the form finding
Despite Ito’s distinct concept, the user and the execution seem to betray the design intent for the National Taichung Theatre. In which, rude furniture occupies the fourth-floor restaurant and the visual clearness of the playhouse lobby is disturbing by the kitschy murals4. Furthermore, the orthogonal volume of the theatre with conventional layout has causes unpleasant collision with the curvilinear lines of the lobby and surrounding circulation, intensely weaken the spatial innovativeness of the project.
1. Michael Webb. “A flawed masterwork : Toyo Ito’s National Taichung Theatre is a stunning building, with rough spots.” Mark: Another Architecture no. 66 (February 2017): 42-55. 2. Webb, “A flawed masterwork,” 42-55 3. Webb, “A flawed masterwork,” 42-55 4. Webb, “A flawed masterwork,” 42-55
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A2 DESIGN COMPUTATION
The evolution of digital technologies integrates with the development of digital in architec ture, produces a continuously expanding relationship b et ween computers and architec ture. The conventional form produc tion and fabrication have shif ted into a graphically and numerically dis tinc t algorithmic s ys tem, emphasizing the communication and ef f icienc y of concept ac tualization. This transition in digital design methodology can b e referred to a change f rom computerization and computation. Computerization is the process of using computers as a draf ting tool, visually represent s the predic table idea in architec t ’s mind. Whereas , Computation means exploring unpredic table form and space by the varietal outcomes generated f rom par ticular r ules.
AL BAHAR TOWER AEDAS ARCHITECTS, ABU DHABI, 2012
Responding the extreme weather of Abu Dhabi, which retains above 38 degrees Celsius for a whole week with zero percentage of rainfall, Aedas Architects employed innovating digital tools in the workflows, create a responsive facade system in their 2012 project of Al Bahar Tower. Inspired by “Masrabiya”, a traditional Islamic lattice shading device, the facade consists a series of triangular panels, which continuously rotate and fold base on the orientation of the sun, vastly reduces the energy consumption for air condition with in the building1. The parametric description was applied in generating the geometral form of the facadepanels, and the design team simulated their operation in the computer, experimented the optimal change of incidence angles in response to sun exposure, efficiently improve the performance of the system. The Materiality was also programmed in decreasing solar gain and glare, as each triangular panel was coated with light yellow fiberglass and placed 2 meters outside the natural tinted glass finished enabled by the preeminent shading ability of the facade2. In addition, a much efficient communication between design and construction was achieved. The identical result refined through multiple digital tools, including engineering analysis, provided detail dates and information for the accurate component verfication3. 1. “Al Bahar Towers Responsive Facade / Aedas”, Archdaily, 2017 <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas> [accessed 6 August 2017]. 2. “Al Bahar Tower” 3. Karanouh Abdulmajid and Kerber Ethan, “Innovations In Dynamic Architecture”, Journal Of Facade Design And Engineering, 3.2 (2015), 185-221.
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DRAGON SKIN PAVILION KRISTOF, SEBASTIEN, EMMI, PEKK A, HONGKONG, 2012
The possibilities of architectural spatial, tactile, and material have been challenged and explored by the installation of the Dragon Skin Pavilion, a revolutionary digital designed and fabricated project located in Hongkong1. The construction of this complex project was executed accurately and fast, as the design team integrated multiple disciplines, including material and structural engineers, in providing accessible form and fabrication for the repetitive while dynamic components without the restricted plans or drawings2.
All 163 plywood components followed a meticulously pre-choreographed montage sequence. Their sliding joints shifted gradually and various in position and angles, which gave each piece a unique characteristic. Algorithmic procedures scripted into the computer precisely indicated the slots for sliding joints and individually labeled each component, provided a distinct and organized instruction for the manufacture in Finland and the relocated assemble in Hongkong4.
Design computation ensured the feasibility of the Dragon Skin Pavilion in the aspects of materiality and manufacture. Post-formable Grada Plywood,an innovating environmental friendly material that challenges the bent plywood industry, was used as the only material in the pavilion3. By utilizing the wooden mould carved by CNCrouter, the preheated flat rectangular plywood components were bent into calculated shapes that attributed the final curved form of the pavilion.
1. “Dragon Skin Pavilion – Page 2259 – LEAD – Laboratory For Explorative Architecture & Design”, L-E-A-D.Pro, 2017 <http://l-e-a-d.pro/projects/dragonskin-pavilion/2259/> [accessed 6 August 2017]. 2. “Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) And Sebastien Delagrange (LEAD)”, Archdaily, 2017 <http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead> [accessed 6 August 2017]. 3. “Dragon Skin Pavilion - Page”
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A3 COMPOSITION/GENERATION
A s advancing digital modeling tool b eing introduced to the architec tural indus tr y, a shif t f rom composition to generation in architec tural methodology emerged. Parametric design and algorithmic logic redef ined the design process , fabrication and cons tr uc tion, emphasized architec t sâ&#x20AC;&#x2122; abilit y to comprehend multiple disciplines as well as ef f iciently simulate varietal and complex situations. In contras t with traditional design method of utilizing digital tool in composing form with limit variation once the model is made. The new form generation under the r ule of algorithm creates a logical relationship b et ween each design component , which provides inf inite oppor tunities for idea exploration as the model can b e enormously altered by adjus ting the r ule.
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WATER DRESS IRIS VAN HERPEN, AMSTERDAM, 2010
The spirit of embracing innovating technology in achieving new design culture is clearly demonstrated in Dutch fashion designer Iris Van Herpen’s futurist works. She cooperated with experts from multiple fields, including architects, choreographers, and digital designer, created complicated wearable sculptures that imitate the organic shape of natural elements1. Herpen had employed conventional digital modeling tools and 3D printing technique in her early work of Water Dress, which intended to present the “uncontrollable force” of water. Whereas, with the difficulty of creating completely free-formed structure in these programs and the lack of communication with materiality, this work resulted in consuming an immense amount of time in form generation and fabrication2. As parametric design being introduced, I believe this design by Herpen can be produced in a much efficient approach. Grasshopper is able to generate and manipulate random biomimetic surface as well as simulating the performance of materials, which will highly improve the feasibility of the work, provide the designer more opportunity to explore the organic shape of water, and truly reflect Herpen’s concept of leading new design trend.
1. Van Herpen, Iris. “Challenging Categorisation.” Aesthetica no. 68 (December 2015): 90-95 2. Van Herpen, Iris. “Challenging Categorisation.” 90-95
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SERPENTINE PAVILION BIG, LONDON, 2016
The Serpentine Pavilion designed by BIG is a significant example of how parametric tools can inspire form generation. Its structure distinctly conveys the algorithmic design process, as the structure possess numerous similar rectangular components that deformed and arranged following particular order. Designer explored the idea of the vertical brick wall in the way of giving it spatial and visual transparency. They pulled the wall panel apart in opposite directions to create an undulating cavity within it, turning a two-dimension surface into a three-dimension environment that can be interacted from multiple aspects1. Digital fabricated fiberglass frames and metal connections were used to represent the brick blocks, introducing grid-defined while dynamic light and shadow into the interior space2. In order to gain a better understanding of the algorithmic logic, I try to rebuild the Serpentine Pavilion in grasshopper. As shown in figure 12, I used divide distance and vector Z orientated contour orders to determine equally distributed points on a curvilinear surfaceBy distributing an orthogonal block through construct plan and orient on these points, .
a series of blocks that flows along the shape of the surface was generated. In term of the blocks that are interlaced with their adjoining one, I copied and pasted the previous script with the new order of series, list item and double amount of curve divided point, quickly located their position. With the algorithmic script controlling all the components, I was able to adjust this intricate model by simply dragging the control point of the original surface, form generation and exploration become much efficient. 1. “BIG | Bjarke Ingels Group”, Big.Dk, 2017 <https://www.big.dk/#projects-serp> [accessed 11 August 2017]. 2. “BIG | Bjarke Ingels Group”
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A4 CONCLUSION Part A explores the theoretical and methodological transition in the context of Design. Architecture as an influential form of design has gone beyond its conventional purposes and comes to the essential role of guiding the development of human society with the idea of maintaining environmental and cultural sustainability as well as embracing new technology for better concept actualization. The emerge of parametric design accelerated this change by challenging the traditional modeling method of using the computer as drafting tools. It introduced an innovating algorithmic thinking to the industry, provided architects the ability to create and manipulate unpredictable complex shape while integrating multiple disciplines, such as materiality and engineering, into the design, fabrication, and construction process. The efficiency and possibility of idea exploration have been vastly improved, leading a switch from composition to generation in the design methodology.
A5 LEARNING OUTCOMES Through out the case study in Part A, I receive a much deeper understanding of the relationship between design and the society. As the world is rapidly developing, architects can no longer stay in the old path of compositing space with traditional tools, instead, we should explore and embrace new design methodology such as the algorithmic tool, generate much complicated and natural forms that integrate various fields and contribute to an efficient decline in defuturing.
A6 APPENDIX ALGORITHMIC SKETCHES
BIBLIOGRAPHY Figure 1. “MAD”. I-Mad.Com, 2017. http://www.i-mad.com/zh-hans/work/harbin-cultural-center-2/?cid=17. Figure 2. ”MAD”. I-Mad.Com, 2017. http://www.i-mad.com/zh-hans/work/harbin-cultural-center-2/?cid=17. Figure 3. ”Toyo Ito’s Taichung Metropolitan Opera House Photographed By Lucas K Doolan”. Archdaily, 2017. http://www. archdaily.com/796428/toyo-itos-taichung-metropolitan-opera-house-photographed-by-lucas-k-doolan. Figure 4. Webb, Michael. “A flawed masterwork : Toyo Ito’s National Taichung Theatre is a stunning building, with rough spots.” Mark: Another Architecture no. 66 (February 2017): 42-55. Figure 5. “Al Bahar Towers Responsive Facade / Aedas”, Archdaily, 2017 <http://www.archdaily. com/270592/al-bahar-towers-responsive-facade-aedas> [accessed 6 August 2017] Figure 6. Abdulmajid, Karanouh, and Kerber Ethan, “Innovations In Dynamic Architecture”, Journal Of Facade Design And Engineering, 3 (2015), 185-221 Figure 7. “Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) And Sebastien Delagrange (LEAD)”, Archdaily, 2017 <http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead> [accessed 6 August 2017] Figure 8. “Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) And Sebastien Delagrange (LEAD)”, Archdaily, 2017 <http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead> [accessed 6 August 2017] Fiugure 9. “Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) And Sebastien Delagrange (LEAD)”, Archdaily, 2017 <http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead> [accessed 6 August 2017] Figure 10. Perepelkin, Paulina, “Iris Van Herpen And 3D Printing: The Beginning - Additive Fashion”, Additive Fashion, 2017 <http://www.additivefashion.com/iris-van-herpen-and-3d-printing-the-beginning/> [accessed 11 August 2017] Figure 11. ”BIG | Bjarke Ingels Group”, Big.Dk, 2017 <https://www.big.dk/#projects-serp> [accessed 11 August 2017] Figure 12. Own image Figure 13. Own imgae
PART CRITERIA DESIGN
B
B1 RESEARCH FIELD RESEARCH FIELDS - STRIPS / FOLDING
The research f ield of s trip and folding provides the possibilit y of exploring non-s tandard and organic cur vilinear forms that create the sense of f ludit y and dynamic spatial movement . This digital design method based on mathematic logic break s through the conventional s ys tem of ver tical panels and pos t s , promotes the generation of abs trac t s tr uc tural component s that not only can b e applied for facade design but also used to f ind the primar y s tr uc ture of the buildings. A s the physical p er formance of materials b eing simulated by computer, s trip and folding can b e determined as an ef f icient method for creating visual and spatial op enness with minimal material, which is corresponding my design intent of interreac ting internal and ex ternal relationship, as well as the contemporar y issue of environmental sus tainabilit y.
B2.1 CASE STUDY 1.0 BIOTHING PAVILION
Alisa Andrasek coop erated with trans- disciplinar y computational design team in exploring vec tor f ield based on the b ehaviors of elec tromagnetic f ields for the creation of self- organizing pat tern s ys tem. Multiple secondar y cur vilinear lines follow the computed logic of at trac tion and repulsion, organically spread in the t wo - dimensional plan, which can b e develop ed into inf inite possibilit y by changing the primar y cur ve or the input of script . This series of cur ves are then lif ted via the s tr uc tural arching generated by dif ferent f requencies of the sine f unc tion and ex tr uded in volume to form the shap e of the pavilion. The technique of 3D -printing was adapted for the fabrication of the exp erimental model, as all the branches are seamlessly connec ted, which in my opinion might limit the possibilit y of large-scale fabrication.
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B2.2 ITERATIONS SERIES ONE
Original
Circle Radius 1.5
Divide Curve 10
Graph Mapper
Circle Radius, Slider
Eplode Tree, Hexagon
Graph Mapper
Graph Mapper
Cull
Reset Surface
CNR circle
Graph mapper
Graph Mapper
SERIES TWO
Reset Curve
SERIES THREE
Reset Surface, Hexagon cell
SERIES FOUR
Reset Sphere
SUCCESSFUL ITERATIONS
Graph Mapper
Vector Y
Circle Radius, Graph Mapper
Divide Curve, Graph Mapper
Loft
Pipe
Graph Mapper
Offset, Loft
Graph Mapper
Spin force
Graph Mapper
Charge -1
Point charge
Graph Mapper
Spin Force
Two Point Charge
B2.3 SUCCESSFUL OUTCOMES
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FABRICABILIT Y PRACTICABILIT Y COMPLEXIT Y FLUIDIT Y POTENTIAL This series simply explores the original script. By adjusting the graph mapper, I generate this coral-like forms that might not look appealing but possess a high potential to be converted into a pavilion.
FABRICABILIT Y PRACTICABILIT Y COMPLEXIT Y FLUIDIT Y POTENTIAL As the most complex one among series two, this variation presents a symmetrically three-direction spread structure with two types of spatially interacting components constructed by curvilinear strips, which can be adapted for the exterior design of a building.
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FABRICABILIT Y PRACTICABILIT Y COMPLEXIT Y FLUIDIT Y POTENTIAL The proper spin force applied to the strips grown from the hexagon cells gives this variation a sense of breathing and creaturelike appearance, which can be used on any surface for a fascinating facade design.
FABRICABILIT Y PRACTICABILIT Y COMPLEXIT FLUIDIT Y POTENTIAL Creating a group of strips with repulsive force on a sphere is able to generate satisfying shape at the early stage. Despite its unsure spatial relationship and connection, this selected one is highly complicated and dynamic, conveying a sense of rising fire.
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B3.1 CASE STUDY 2.0 LOOP3
Loop -3 is a parametric projec t designed by the architec tural s tudent s f rom the Universit y of Bologna for the exploration of new design territor y. The idea of using mathematic tools in tracing s ys tematic form while emphasizing the expressive language and seamless connec tion with other disciplines is demons trated. Str uc ture and expressive f rom are integrated into complex cur vilinear s trips with parametric tools ef f iciently exp erimenting their rationalit y in joining spatial interac tion as well as providing deployment of f unc tions. A s mathematically generated cur vature dominating the f undamental element s of the projec t , Loop -3 present s a revolutionar y architec ture creating path dif fers f rom the conventional approach of indep endent s tr uc ture, skin, and ornament .
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B3.2 REVERSE ENGINEER METHOD ONE
S1: Original Circle
CURVE
S2: Draw Curve Base On Circle
OFFSET
MOVE
DIVIDE CURVE RANGE
CURVE
GRAPH MAPPER
INTERPOLATE
Y VECTOR GRAPH MAPPER
OFFSET
MULTIPLY
MOVE
DIVIDE CURVE RANGE
MULTIPLY
MOVE
DIVIDE CURVE
CURVE
INTERPOLATE
Z VECTOR
OFFSET
RANGE
S3: Graph Mapper
X VECTOR GRAPH MAPPER
MULTIPLY
INTERPOLATE
S4: Mirror
S5: Rotate
S6: Loft
MIRROR ROTATE BLEND CURVE BLEND CURVE DIVIDE CURVE LINE LOF T
This method mainly focuses on using graph mapper to manipulate a two-dimensional curve, providing a series of three-dimensional deformations, which can be mirrored, rotated and lofted into a dynamic loop.
B3.2 REVERSE ENGINEER METHOD TWO
S1: Original Curve
S2: Scale
S3: Point Charge
AVERAGE CURVE
SERIES
MOVE
SCALE
DIVIDE CURVE
Z VECTOR MOVE MULTIPLY RANGE
GRAPH MAPPER
BOUNDS CULL
POINT
REM
VECTOR 2PT
POINT CHARGE
MERGE FIELDS
EVALUATE FIE
S4: Point Charge
S5: Loft
LINE
S6: Loft With 3Points Arch
LOF T
DIVIDE CURVE INTERPOLATE MOVE
MULTIPLY
MAP
EVALUATE
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Started from a series of curves arranged along z vector, charge fields are added to selectively adjust their shapes and positions. By lofting these curves, a loop with a natural transition in the gradient of slopes is created.
B4.1 TECHNIQUE: DEVELOPME
SERIES ONE
Simply adjust the script
SERIES TWO Attractive points
SUCCESSFUL ITERATIONS
SELECTIVE ITERATIONS
ENT
SERIES THREE
Scale with graph mapper
SERIES FOUR
Lunchbox, Voronio & WB
SUCCESSFUL ITERATIONS
SELECTIVE ITERATIONS
SERIES FIVE
Electric field
SERIES SIX
Pattern & Copy trim
SUCCESSFUL ITERATIONS
SELECTIVE ITERATIONS
B4.2 SUCCESSFUL ITERATIONS OUTCOME ONE
FABRICABILIT Y PRACTICABILIT Y COMPLEXIT Y FLUIDIT Y POTENTIAL Focus on manipulating the graph mapper, this iteration follows the similar structural rule of loop 3. Every strip is twisted and rotated while maintaining a seamless connection with another one. It is a structural self-supported folding structural, which not only can be easily fabricated in small scale wearable pieces but also can be altered into a pavilion or building form.
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This iteration can be divided into two parts. This first one is the folding curvilinear base inspired by the shape of the collarbone. The second part is the fins-like strip grown from the edge of the base. These fins are generated through the definition of the electric field in grasshopper, which gives them the characterizes of inter-repulsive and never intersect. A highly fluidic from is created under this rule and a vast potential of being further developed is provided. FABRICABILIT Y PRACTICABILIT Y COMPLEXIT Y FLUIDIT Y POTENTIAL
OUTCOME TWO
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B5 TECHNIQUE: PROTOTYPES PROTOTYPES ONE MATERIAL - BOX BOARD.
METHOD - LASER CUT.
STRUCTURE - WAFFLE
This prototype is an experimental combination of strip and sectioning. In the plan, the smooth and fluidic curves edges are divided by multiple straight lines perpendicular to their tangent, reconstructing a continuous form with a series of vertical components. These components are erected and interlocked with two horizontal panels, forming a steady waffle structure. I first created a digital model in the computer, then labeled and relocated its components onto a twodimensional surface with grasshopper for laser cut, highly increase the efficiency of the fabrication process.
The 1.8mm thick boxboard, a relatively cheap and stiff material are employed to build this prototype. Itâ&#x20AC;&#x2122;s thickness heavily influence the fabrication process for the waffle structure. The position and size of the cutouts on vertical and horizontal components that structurally lock them together are affected by the thickness of the material, which need to be precisely designed and building a digital model for experiments is essential.
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B5 TECHNIQUE: PROTOTYPES PROTOTYPES TWO MATERIAL - POLYPROPYLENE.
METHOD - LASER CUT. STRUCTURE - TEETH
Compare to the first prototype which is likely to present a structural frame of the curvilinear form, This prototype intends to explore the portion of expressive skin. The lofted strips are unrolled onto a two-dimensional space with 1cm rectangular teeth later added to their edges as the connections. The teeth on the conterminous edges of strips possess cutouts in opposite directions, which can clip into each other, providing strong connections that force the strip to twist and form the particular shape.
polypropylene is selected to be used for this prototype because of its high flexibility and elasticity. It is able to be bent and twisted into certain degrees under tensile or compression and its moderated stiffness enables the physical model in this scale to be structural self-supported.
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B5 TECHNIQUE: PROTOTYPES PROTOTYPES THREE MATERIAL - POLYPROPYLENE.
METHOD - LASER CUT. STRUCTURE - SEAM
Similar to the second prototype, this model also explores the idea of skin, whereas, a new method of connection is tested. Instead of teeth, which inevitably creates gaps and redundant structures between strips, a transparent string is adopted for a seamless connection between components. However, this approach is extremely time-consuming and the result is not visually appealing as a good technique in tailoring is required.
Also using the polypropylene, this prototype experiments the materiality a little bit further by cutting linear gaps along the strip. The stiffness of the polypropylene is softened. A higher degree of twisting or bending of the strips is enabled and their shape is redefined into complicated geometrical forms. With the connection being the flexible string, the finished model that folds multiple strips still maintains elasticity, corresponding the movement of the human figure.
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B5 TECHNIQUE: PROTOTYPES FURTHER DEVELOPMENT
As all three prototypes are experimenting similar shape, compositing them tends to generate interesting outcomes that inspire the idea of developing skin and skeleton ,and improve my sense of physical space.
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B6 TECHNIQUE: PROPOSAL NARRTIVE The scenario of the s tudio is about the â&#x20AC;&#x153;body of f utureâ&#x20AC;?, it requires us to create a double-side wearable s tr uc ture with grasshopp er for the exploration of innovating relationship b et ween human body and ar tif icial form. Corresponding this idea, the initial idea of my design focused on representing the bones around the upp er par t of the body, including collarbone, scapula, and spine, with a complicated folding s tr uc ture that imitates the cur vilinear shap es of these body component s , created an ex terior skeleton on top of the human skin. A s the script s b eing develop ed, the natural repulsive charac teris tic of the s trips generated by the def inition of the elec tric f ield in grasshopp er inspired me to create another layer of s tr uc tures above the ar tif icial bone and f unc tions as a group of linear sensors , f ur ther explore the idea of bone with the new sense of s trips replacing skin.
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The collage showing the concept of strips as sensors
B6 TECHNIQUE: PROPOSAL REFINE & POTENTIAL DRAWBACKS Two primar y drawback s had b een pointed out during the interim presentation. The over concern of designâ&#x20AC;&#x2122;s fabricabilit y that leads to insuf f icient development in the possibilit y of the elec tric f ield, fabrication method, and materialit y is the f irs t one. The tendenc y of leading the result toward fashion design rather than architec tural form is the second one.
SOLUTION 1 The iterations of my groupmate, Mengyan, greatly utilized the def inition of the elec tric f ield. They are dynamic in forms and s tr uc tures , possess a high potential to b e f ur ther explored. The fabrication method of these complicated designs are s till yet to b e determined, and b eing able to implement that in physical form while maintaining consis tenc y with the current development of emphasizing body feature can really improve our work s as a team.
[7]
SOLUTION 2 In this par ticular multi- disciplines integrated work by Phillip Beasley, an innovating s tr uc tural s ys tem organized by a hybrid triangular f lexible space- grid was develop ed to suppor t and control the highly dynamic s trips , presenting an ef f icient approach of using geometries to organize organic form generated by the computer. It s application of the elas tic and light-weight material in representation s trips demons trates a feasible fabrication methodology that vas tly inspires the development of our design for par t C.
[8]
B7 LEARNING OBJECTIVES AN Through out the studying of part B, my under standing of parametric design is strengthen and my ability to manipulate grasshopper is improved. I choose strips and folding as my main research field in B1, which in my opinion is an efficient method of generating dynamic curves that not only visually appealing but also possess immense potential to be converted into the structure, pattern and architectural form. The B2 case study of Biothing Pavilion introduces me the definition of the electric field, an incredible utilization of natural attractive and repulsive characteristics. Multiple inspiring outcomes were generated in this section of the journal. Whereas, as the second case study, the Loop 3, was introduced in B3 and explored in B4, I tend to get restrained by the idea of fabricable folding structures. Even though several aesthetically satisfying forms were created with the integration of other definitions, the overall spirit of exploration is weakened. In order to achieve a successful outcome in Part C as a group, I decide to employed my group mate Mengyan’s works, which inspiredly utilize the definition of the electric field in creating complicated strips with intensive parametric logic, and combine it with the idea of exploring the relationship between skin and skeleton around human’s neck that we generated in B5, as well as the embracing the innovating fabrication method presented in Phillip Beasley’s works.
ND OUTCOMES
B8 APPENDIX - ALGORITHMIC S
SKETCHES
BIBLIOGRAPHY Figure 1. “Experimental Desing”, Pinterest, 2017 <https://au.pinterest.com/pin/322218548313989180/> [accessed 27 August 2017] Figure 2. “Seroussi Pavillion”, SUCKERPUNCHDAILY.COM, 2017 <http://www.suckerpunchdaily.com/2009/12/19/seroussi-pavillion/> [accessed 27 August 2017] Figure 3. “Loop_3”, Co-De-It.Com, 2017 <http://www.co-de-it.com/wordpress/loop_3.html> [accessed 27 August 2017] Figure 4. “Loop_3”, Co-De-It.Com, 2017 <http://www.co-de-it.com/wordpress/loop_3.html> [accessed 27 August 2017] Figure 5. “Ad Augusta Per Angusta”, Dulcisdomus.Tumblr.Com, 2017 <http://dulcisdomus.tumblr.com/> [accessed 14 September 2017] Figure 6. “Where Do You Store Your Emotions? | Candace Pert, Phd”, Candacepert.Com, 2017 <http:// candacepert.com/where-do-you-store-your-emotions/> [accessed 14 September 2017] Figure 7. Mengyan’s image Figure 8. Inc., Philip, “Philip Beesley Architect Inc. | Sculptures & Projects”, Philipbeesleyarchitect.Com, 2017 <http:// www.philipbeesleyarchitect.com/sculptures/Sentient-Chamber/index.php> [accessed 15 September 2017]
PART DETAILED DESIGN
C
C1 DESIGN CONCEPT
CHEST CURVE BONE Reviewing the outcome of par t B and the feedback f rom interim presentation, we realize that our design concept is lacking a convincing response to the brief about the possibilit y of human and f uture.
BIOMIMETIC PROTECTION
Several essential ideas of our previous concept such as “Ches t ”, “ Strip and Folding” and “ Future” are selec ted to critically redevelop their potential in relation to the brief, and a bubble diagram is created to cons tr uc t the thinking process.
AIR POLLUTION
FUTURE
STRIP AND FOLDING FASHION
CUSTOMIZATION
LUNGS
TRANSITION OF SUBSTANCE
W ith ideas b eing clearly organized, the f inal proposal of creating a biomimetic ex ternal skeleton that enables p eople to ins tall ar tif icial lungs , which can protec t their original pair of lungs f rom the damage of air pollution while maintaining fashionable in a dys topian f uture hinted by the contemporar y raising issue of air pollution is formed, and the collage at the bot tom present s the basic form of this f inal concept .
Future concern : Air pollution
1. Design Concept Part B exportation : Strip and Folding Content of human body
W O R K
2. Design Components
Site
Chest
Form
Body exten
Function
Lungs
Body Analysis: shoulder , neck , chest (the curvature of
F L O W
3.Grasshopper Technology
Point Charge:
Strips generated via simu
Sonic Flow:
Caculates the movemen
Shortest Walk:
Generates shortest route
3D printing: Creates st
Prototype
Silicon:
Use this 3D Casting si
4.Fabrication Methodology
Lacer Cut: Precise str
Design Scenario: Airpocalypse, artifical respiratory system
Sacrificial/Protect lungs
Skeleton, Rib forms Wearable forms, Flexibility, Function
nsions
those body part effects the shapes of the entire volume, and the application of grasshopper)
ulating the natural repulsion of electric charges
nt of particles on a uneven surface (eg.human body) from line start point to line end points in a network
tiff but accurate model
D print to form a module ilicon model and test the materiality
TESTING, EXPERIMENT
ructural and connection designs are required
Final Model
C1 DESIGN CONCEPT FURTHER RESEARCH To f ur ther f inalize this concept , research on air pollution and human anatomy is required, as the projec t is supposed to b e a feasible proposal in the f uture scenario.
AIR POLLUTION Since 20 0 8 , the amount of par ticulate mat ter in the Beijing’s air, known as PM2.5, is about six times of US’s environmental protec tion agenc y deems safe. This mat ter is able to lodge in human’s respirator y s ys tem, causing serious damage to the lungs , bloods tream, and leading has ten death. SMO G: emissions f rom combus ting fossil f uels reac t with sunlight . SO OT: tiny par ticles of chemicals , soil, smoke, dus t , or allergens. These subs tance can irritate the throat and damage the lungs. The tinies t airborne par ticles in soot can p enetrate the lungs and bloods tream and worsen bronchitis , lead to hear t at tack s , and even has ten death. SO U RCE: cars and tr uck s , fac tories , power plant s , incinerators , engines — any thing that combus t s fossil f uels such as coal, gas , or natu-ral gas.
[2]
ANATOMY Bones Bones with their s tif f ness , can b e seen as the s tr uc tural element s of the human body. Esp ecially rib cage, it protec t s the sof t lungs and hear t s f rom ex ternal damage, creates space for the contrac tion and expansion of organs while maintaining a cer tain degree of f lexibilit y to accommodate the movement of the body. Besides these, a transition of blood is formed b et ween the bones and organs , as red blood cells and white blood cells are all generated inside of bones in the red bone marrow.
[3]
[4]
Lungs The vital trans fer of blood and ox ygen happ ens at the terminal of bronchioles , a s tr uc ture like tree branches divided f rom the bronchi. When p eople inhale polluted air, the harmf ul subs tance will get into the bloods tream through the bronchioles , hence, our design needs to address a solution for this unwanted transition. [5]
C1 DESIGN CONCEPT FORM DEVELOPMENT - CONTENT OF BODY CHALLENGE From skeleton, muscle, organs , and skin, multiple cur vilinear element s form the human body can b e selec ted and applied as the primar y inspiration for the projec t and f undamental component for the parametric def inition we employed. Ins tead of simply imitated or traced the cur ves f rom a t wo dimensional image like we did in the previous protot yp es , a much logical and organic approach in generating these essential element s in a three- dimensional space that not only explores the possibilit y of computation tool but also emphasizes the s tr uc ture of human body is required.
SUGGESTION The plug-in named SonicFlow was discovered. It can calculate the f low of lines via the path of leas t resis tance down a slop ed sur face. In the case of having human body as the topography, this plug-in is able to present the detailed organic f luc tuation and overall shap e of the body par t with series of cur ves , which is highly usef ul for the form-f inding and fabrication process.
[1]
Original Body
Drape Surface
Flow
Flow on 90 Degree
Flow on 45 Degree
Elevation
Elevation
Prespective
Prespective
Select Representative Curves
Select Representative Curves
C1 DESIGN CONCEPT FORM DEVELOPMENT - MATRIX
The parametric def inition of elec tric f ield employed in par t B is combined with the organic cur ves generated via Sonic Flow, creates forms that not only closely at tach and emphasize the shap e of human body, but also enhance the idea of cus tomization, as the outcomes are determined by the input human form. W ith this natural forming f inding logic es tablished, several changes of the def inition, such as the value of charge decay, are modulated for f inding an aes thetically pleasing and feasible form.
SUCCESSFUL ITERATIONS
C1 DESIGN CONCEPT FORM DEVELOPMENT - OUTCOME
A
FABRICABILIT Y PRACTICABILIT Y COMPLEXIT Y FLUIDIT Y POTENTIAL
With more than 15 groups of strips flow along one curve, this iteration successfully emphasized the fluidity of human body. All the strips follow the rule of mutual-repulsion while placed extremely close to each other, which forces them to stretch in opposite direction, forming a highly complicated form that indicates the shape of the human skeleton. However, its complexity makes it almost impossible to be fabricated within the limited time and budget, and the high density of strips tends to left no space for the lungs to develop.
Decreasing the number of the group of strips on each curve, this iteration is much simple in form compared to the previous one. Despite not fully indicating the shape of the human body, it inherits the same logic of customization base on different body shape and clearly demonstrates the possibility of the parametric definition, as more variations of the repetitive component are presented due to the wider space between them.
FABRICABILIT Y PRACTICABILIT Y COMPLEXIT Y FLUIDIT Y POTENTIAL
B
C1 DESIGN CONCEPT FINALIZE PROPOSAL LUNGS To f ully demons trate how the ex ternal skeleton f unc tions as a solution for air pollution, it is impor tant to showcase it s connec tion with the body and the ar tif icial lungs , and designing the form of the ar tif icial lungs b ecomes an indisp ensable par t of the proposal. Compare with the ex ternal skeleton, which emb edded the parametric logic and design concept we develop e since the b eginning of the course, the design of the ar tif icial lungs focus on simply imitating the real lungs , and the grasshopp er plug-in called Shor tes t Walk is employed to help us accomplish this goal.
[6]
Shor tes t Walk is able to calculate the shor tes t route f rom the s tar t point of a lis t of line to it s end point s in a net work , which we found highly helpf ul in imitating the shap e of bronchioles , create an ef f icient impression of the real lungs.
Basic shape
Shortest walk
Pipe variable
CONSIDERATION FOR C2 & C3
- Form adjustment for fabrication - Fabrication methodology - Detailed connec tion of each component - Materialit y: charac teristic, prices, time - Produc t adver tisement - Design application in f uture scenario
C2 TECTONIC ELEMENTS & PRO O ur design for the ex ternal skeleton can b e seen as a group of variations of the same component , which is a series of s trips with the same length, s tretching out f rom the same point s. O ur plan for the protot yp es it to fabricate this complicate component in dif ferent methods , and several criteria are set to assess their potential of b eing employed for the f inal model. -Stif f ness - Flexibilit y -Accurac y -Weight - Material price - Fabrication time
OTOTYPES
C2 TECTONIC ELEMENTS & PRO PROTOTYPE ONE
MATERIAL - WHITE PLASTIC METHOD - 3D PRINTING STRUCTURE - SOLID Scale down to fit the size of 3D printer
Mesh
Ensure the narrowest part is thicker than 2mm
STIFFNESS FLEXIBILIT Y ACCURACY WEIGHT MATERIAL PRICE FABRICATION TIME
3D printing enables the model â&#x20AC;&#x2122;s high level of s tif f ness and accurac y, but it s size is limited by the size of the printer. It s f lexibilit y is also limited as plas tic has relatively low duc tilit y, which makes the model hard to accommodate the dynamic human body.
OTOTYPES
1
C2 TECTONIC ELEMENTS & PRO PROTOTYPE TWO FIRST AT TEMPT MATERIAL - WHITE PLASTIC, SILICON & RESIN METHOD - MOLDING STRUCTURE - SOLID Material perparation
Mix silicon part A with part B
Stir the silicon mixture 5 m i n s
Pour the mixture on to the model 9 0 m i n s
Extract the silicone cast IL from the container FA
Extract the model from IL the silicone mold FA
Mix resin part A with part B
Stir the resin mixture 5 m i n s
Pour the resin mixture into IL the the silicone mold FA 1 8 0 m i n s
Extract the resin from the mold
2.1 Creating a mold requires a long p eriod of time and skill, and our f irs t at tempt completely fail. There are several reasons for this failure. Firs t , we forgot to apply lubrication on the side of the container b efore we poured the silicone mix ture. When the silicon was cured, it was s tuck inside the container, we could not ex trac t it without breaking the container. Second, the model we used for molding is overcomplicated. The cas t tightly lock it inside, we had to cut the silicon cas t into multiple pieces to get the model out . Third, with both container and cas t broken, the process of pouring resin also ended up failing as mos t of the mix ture leaked away f rom the gaps.
OTOTYPES SECOND AT TEMPT MATERIAL - WHITE PLASTIC & RESIN METHOD - MOLDING STRUCTURE - SOLID Af ter analy zing the failure of our f irs t at tempt , we came up with the idea of 3D printing the mold as the resin we used was the sof tes t t yp e and silicone is too exp ensive and timeconsuming to b e applied again
2.2 The mold was designed in Rhino by the boolean dif ference of simplif ied model with rec tangular volume. It was divided into t wo por tions , increasing the possibilit y of ex trac ting the resin. However, due to the low s tif f ness of the resin and it s small volume, the resin broke apar t during ex trac tion.
PROTOTYPE TWO THIRD AT TEMPT MATERIAL - WHITE PLASTIC & RESIN METHOD - MOLDING STRUCTURE - SOLID
Cylinder
Top part
Bottom part
Bottom part
Top part
Cylinder
This mold is divided into three par t s , a bot tom par t , a top par t and a c ylinder that can b e inser ted into the bot tom par t . The sec tion b et ween the top par t and bot tom par t is a smooth camb ered sur face base on the shap e of the model, it enables ever y por tion of the model to b e easily ex trac ted when the resin is set . The c ylinder is designed to create a hole in the middle of the model, and it also indicates the size of connec tor that connec t s the resin model with other component s.
2.3 STIFFNESS FLEXIBILIT Y ACCURACY WEIGHT MATERIAL PRICE FABRICATION TIME
W ith oil for lubrication and clay for sealing the gap, this model was success f ully ex trac ted. The resin model is sof t and f lexible, it can b e easily b ent and t wis ted, however, it s low s tif f ness to weight ratio makes it dif f icult to b e held in a cer tain form. Additionally, it is uneconomic to produce the f inal model with this methodology, due to the high price and long curing time of resin.
C2 TECTONIC ELEMENTS & PRO PROTOTYPE THREE
MATERIAL - POLYPROPYLENE & MOUNT BOARD METHOD - LASER CUT STRUCTURE - NOTCH Af ter receiving unsatis f ying result s f rom the previous protot yp es , we decide to employed polypropylene, the material we had exp erienced in par t B, with the fabrication method of laser cut for this protot yp e. To simulate the complex forms that organically s tretch in three- dimensional space, we design a s tr uc ture that contains four signif icant component s , and each of them is connec ted through detailed designed notches.
Plan
Elevation
Perspective
OTOTYPES Strips
A group of 12 soft and elastic polypropylene strips used to simulate the organic form.
Secondary frame
A circular frame with 24 gaps controlling the direction of the strips
Braces Made of mount board, structurally supporting and connecting the primary frame and secondary frame
Primary frame
Connects all the strips into one component while providing a circular opening for further structural connection.
3 STIFFNESS FLEXIBILIT Y ACCURACY WEIGHT MATERIAL PRICE
W ith the s tr uc tural supp component s and the mate the s trips in this protot yp f lexibilit y. They can b e ea dynamic shap es while physical r ule. In the fabric we intend to create at le same s tr uc ture, the light w fabrication time of this pro suitable one among the ot
3
por t of the three other erialit y of polypropylene, e possess a high level of asily altered into multiple maintaining a similar cation of our f inal design, eas t 20 variations of the weight , low price and low otot yp e make it the mos t thers.
C3 FINAL DETAIL MODEL DESIGN DEVELOPMENT
DEVELOP
Successful Iteration from Part B
Form Finding in Part C.1
Plug-in: Mosquito Flow
Prototype 3
Cast Study: Biothing Seroussi Pavilion
Lungs Design with Shortest Walk
PROCESS
Refine Form with Prototype 3
Final Result
Refine Lungs with Prototype 3
DEFIN
A
Surface
SDivide
Sonic Flow
Curve
Divide
PCharge
R ectangule
Move
UnitX FL ine
Curve
B
Divide
R ange Graph
R eMap
DisC Dom
C
R andom Dom
R andom
Surface
BBox
PT
Eval Srf
PT
NITION A : GENER ATION OF THE PRIMARY CU RVES B: FORM FINDING OF THE E X TERNAL SK ELETON C: CRE ATION OF THE ARTIFIC AL LU NGS
MergeF
Divide
Move
Multi
Int Crv
UnitZ
VPipe
Pop3D
PT DisC LN Dom
PT
R eMap
VPipe
C3 FINAL DETAIL MODEL ELEVATION
Artificial lungs protected by the external skeleton
Strips inserted into the body IMAGES BY MENGYAN
C3 FINAL DETAIL MODEL SECTION
IMAGES BY MENGYAN
C3 FINAL DETAIL MODEL OPERATING PRINCIPLE
INDIVIDUAL COMPONENT
EXTERNAL SKELETON
ARTIFI
Each component is composed by strips. They can
The external skeleton is directly attached to the
The artificial lung is grew
alter into multiple shapes according to the user’s
user’s rib, there-fore, the blood in bone marrow will
ed to the lung in user’s b
body shape. Therefore, after as-sembling, they can
flow through the system and then into artificial
and transfer the clean a
protect the artificial lungs properly.
lung , which can main-tain the lung healthy at least
monthly; but depends o
one month.
ICIAL LUNG
w up in our lab. It is directly connect-
body; it only works for filter dirty air
LUNG
RIB
Connect to the artificial lung and
Blood in bone marrow maintain the
absorb the clean air.
system and artificial lung health.
air in to real lung. Usually, it renew
on the amount of lungs installed.
IMAGES BY MENGYAN
BLOOD TRANSFER
By connec ting the ex ternal skeleton to the bone, the blood in the bone marrow will trans fer to the s ys tem, provide nutrient to the ar tif icial lungs then f low back to the body without having contac t with the polluted air, forming a health blood c ycle.
AIR TRANSFER
The ar tif icial lungs simulate bronchiolesâ&#x20AC;&#x2122; abilit y of trans ferring air. It f ilters the polluted air and trans fers the clean air to the real lungs while relying on the ex ternal skeleton to protec t and fend it . People who ins tall this s ys tem no longer need to breathe, greatly minimize the damage to the body due to air pollution.
IMAGES BY MENGYAN
C3 FINAL DETAIL MODEL INSTALLATION
. 1. External installed on to the body
... 3. Strips fold back
.. 2. Strips unfolded to install artificial lungs
.... 4. System starts to opearte
C3 FINAL DETAIL MODEL DIGITAL PRESENTATION
FRONT
SID
DE
BACK
SCENARIO ONE CUSTOMIZATION Scientists scan the client’s body and customize the external skeleton base on the client’s body shape and position of bones and organs.
SCENARIO TWO REPLACING This scenario presents an upper-class female replacing the polluted artificial lungs with a new pair.
AETHER SYSTEM NAME Our design name after Aether, a god in Greek mythology. He represents pure and fresh air, which is a perfect metaphor of how our product can benefit the customers.
To attract customer, our poster demonstrates a scenario of people wearing the aether system living a healthy lifestyle, forming an intense contrast with the people in the background who are wearing gas masks due to serious air pollution.
C3 FINAL DETAIL MODEL PHYSICAL MODEL
C3 FINAL DETAIL MODEL MATERIALS
PLASTIC - GREY
POLYPROPYLENE - CLEAR
minimum thickness: 0.20mm
thickness: 0.38mm
POLYPROPYL
thickness
LENE - BLACK
MOUNT BOARD
METAL BOLT
s: 0.38mm
thickness: 1.00mm
diameter: 5.00mm
C3 FINAL DETAIL MODEL FABRICATION PROCESS
2
CHEST Our product is designed to penetrate the skin and connect to the skeleton. To present this concept in the physical model, we decide to create a curvilinear structure with the technique of folding in representing a real human chest.
1
LUNGS The lungs possess a complicated and delicate shape, which is hard to fabricate by hand. The technique of 3D-printing might be applied in their production.
3
EXTERNAL SKELETON Utilizing the same fabrication method we develop in prototype three, strips will be organized by two circular frames and their starts and end points will connect to the chest piece.
1
LUNGS
165MM
185MM
The size of secondary frame in prototype three
60MM
D ue to the relatively long time- consuming on 3D printing, we put the fabrication of ar tif icial lungs to the primar y of the whole physical model producing process. The lungs were scaled down to met the size of the 3D -printer while maintaining the size of the tubby s tr uc ture in the middle the same. Grey plas tic was chosen to b e the main material as the plas tics in other colors were in high demand in Fablab.
1
2
3
4
1 . M e sh a n d s c a l e d o w n t h e d i g i t a l m o d e l 2. Pla ce t h e m o d e l i n t h e p o si t i o n t ha t m i n i m i ze s t h e n u m b e r of s t r u c t u r a l b r a ce s 3 . Co l l e c t t h e f i n ish e d m o d e l f ro m Fa b la b 4 . Cl ea n u p t h e s t r u c t u r a l b r a ce s a n d p o l ish t h e f la w s
The diameter of the metal bolt is 5mm
Divide surface base on the curve generated via SonicFlow
2
Unroll surfaces with grasshopper
CHEST The human body can b e considered as the site of the ex ternal skeleton, hence, it needs to b e fabricated f irs t . O ur aim is only to represent the shap e of the ches t , therefore, a cer tain degree of def lec tion and f law is acceptable.
The fabrication method experimented in Part B prototype 2
Create series of holes at the positions where the strips of external skeleton intersect with the human body.
Holes with diameter approximately 5mm
Generate notches along the edges of each patch via the definition of finding perpendicular lines along curves.
Due to the deflection of the laser cutter, notches canâ&#x20AC;&#x2122;t perfectly match
3
EXTERNAL SKELETON
We develop four dif ferent variations of protot yp e-three to f ully represent s the dynamic shap e of the design. The s trips in each variation s tretch in dif ferent direc tions , which is achieved by inser ting them into dif ferent grooves on the secondar y f rame.
C3 FINAL DETAIL MODEL CONNECTION
5MM
5MM
10M
MM 1.5MM
The holes at the end of the s trips is hand-punched in order to prevent the over-intense laser melt down the polypropylene
The dis tance b et ween the top cap and bot tom cap enables multiple polypropylene s trips to b e placed at one position
The color of the bolt s are the same as the ches t piece and the mount board braces , which makes it less obvious as the bolt is not par t of the design
C3 FINAL DETAIL MODEL FINAL PHYSICAL MODEL
C4 LEARNING OBJECTIVES AN OBJECTIVE ONE New understanding of design Studio Air discussed the theoretical and methodological transition in architecture design. It explored the innovating design tool that utilizes parameter in integrating multiple disciplines into the process of design. This algorithmic thinking massively increases the efficiency and possibility of idea generation, which also suggested design is no longer limited in the form of actualizing envision, but rather a journey of seeking unexpected results.
OBJECTIVE TWO Parametric modeling skill Throughout the semester, my modeling skill was massively improved. I am able to create more complicated and logical forms. During my form exploration of the final model, I abstracted representative information from the human body, put it into the process of computerization with the definition of electric charge, and successfully generated a series of organic shapes that correspond the brief content. This ability to efficiently create high potential results is extremely helpful, and the idea of site responding in architectural design is able to be achieved in a much inspiring way.
OBJECTIVE THREE Fabrication skill Having a highly dynamic design, our biggest challenge is to transfer this concept into a physical form. From 3D printing to molding, we experimented and assessed multiple fabrication methods within several prototypes. The result was not always satisfying, but we were able to continue on refining our ideas efficiently with the help of parametric tool and gradually improved understanding of materiality.
OBJECTIVE FOUR Presentation skill We also acknowledged the process of making a design proposal. Our concept for the design was continued refining during the semester. To fully address this transition as well as emphasizing the final design, we kept on developing our presentation skill in the aspects of both language and visual presentation.
ND OUTCOMES
BIBLIOGRAPHY Figure1. “Sonic 4 GH | Studio Smuts”, Studionu.Net, 2017 <http://www.studionu.net/ceed3/?p=2342> [accessed 3 October 2017] Figure2. Timmons, Heather, “Beijing Just Handed Out The City’S Largest-Ever Fine For Air Pollution—To A US Joint Venture”, Quartz, 2017 <https:// qz.com/208810/beijing-just-handed-out-the-citys-largest-ever-fine-for-air-pollution-to-a-us-joint-venture/> [accessed 25 October 2017] Figure3. “NCI Dictionary Of Cancer Terms”, National Cancer Institute, 2017 <https://www.cancer.gov/ publications/dictionaries/cancer-terms?cdrid=45622> [accessed 25 October 2017] Figure4. Jones, Eve, “How To Heal The Lungs By Promoting Breathing And Rib Cage Flexibility.”, Detox Your Body, 2017 <http://detoxthebodymcs.com/how-to-heal-the-lungs/> [accessed 25 October 2017] Figure5. “What Do The Lungs Do? - Emma Bryce”, Youtube, 2017 <https://www.youtube.com/watch?v=8NUxvJS-_0k> [accessed 25 October 2017]