Machine Aesthetics Studio C

MACHINING AESTHETICS v.4.0

H.A.R.P

DOUG BROCK| HAYOU LIU| NEISIVIKHO ZUTSO 645711

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Insert a full bleed image of your project This can spread over the double spread page

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ACKNOWLEDGEMENT

I like to thank my teammates Doug and Hayou for contributing, cooperating and propelling this project ahead. We also appreciate the expert guidance and knowledge imparted to us from our studio leaders Paul, David and Josh. Without this mix, the project would not have progressed.

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CONTENT 0.0 INTRODUCTION 9 1.0 PRECEDENT STUDY 15 2.0 FABRICATING MACHINE 27 2.1 PROTOTYPE DEVELOPMENT 29 2.2 PARAMETRIC COMPOSITION 43 2.3 RULES AND PROCEDURE 53 2.4 MACHINING 59 2.5 CONCLUSION 73 3.0 FABRICATING PAVILION 77 3.1 DESIGN BRIEF 77 3.2 DESIGN RESPONSE 81 3.3 SITE CONDITIONS 111 3.4 PROTOTYPICAL DETAIL 135 3.5 DESIGN PROPOSAL 159 4.0 DESIGN RESEARCH TOPIC 177 5.0 LAKA COMPETITION PANEL 183 6.0 REFLECTION 187 7. 0 APPENDIX 191 7.1 BIOGRAPHY 203 7.2 CREDIT 207 7.3 BIBLIOGRAPHY 211

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0.0

INTRODUCTION

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A responsive space that accommodates social activities,congregation and movement, celebrating to the cultural conditions, moment, occasion and needs.

Our design aims to bridge the banks and facilitate the activities.

From day to day mundane cultural conditions of walking; moving from point A to B, C, D or E. Interconnecting all these points and responding to the manner of movement to enhance fluidity of the flow.

To gathering for special occasions to witness the spectacles of an event or to purely inhabit the space within to experience the event.

And to have the space dynamically responding to the needs of the users rather than users responding to the predetermined conditions.

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1.0

PRECEDENT STUDY

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Weald and Downland Gridshell

Edward Cullinan| 2002 Singleton|England

A gridshell is a structure with the shape and strength of a double-curvature shell, but made of a grid instead of a solid surface.

The grid can be made of any kind of material — steel, aluminium, or even cardboard tubes — but the Downland Gridshell is made of slender oak laths bent into shape. The gridshell is a lightweight structure because of the oak laths.

The Downland Gridshell is one of a very small number of gridshell structures in Britain, and its design and method of construction are unique. A very high degree of carpentry skill went into its fabrication, emulating but not imitating the traditional framed buildings at the Museum.

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Ground and Envelope The site is excavated and reinforced concrete strip foundations are constructed. A basement is built on top of the foundations. The gridshell does not have any connection to the ground as it sits on top of the basement lifted away from it. The fixed edges of the gridshell is connected to the floor slab on sitting above the basement.

The floor is cut to shape, covered in waterproof felt and construction board to prevent damage and the ingress of water during construction of the gridshell.

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Finger joints .

Bending of timber laths.

Flat layout of timber laths.

Material articulation and Inhabitation To prepare the oak laths for use all defects were removed and the resulting pieces fingerjointed together into standard lengths of 20 feet (6m). Six of these pieces were then joined to form 120 foot (36m) laths.

The diagonal grid of laths was initially formed flat on top of a supporting scaffold. The edges of the grid were then lowered gradually, and the grid bent into shape, until the full shell was formed and secured to the edges of the timber platform above the basement.

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Connection of grid laths and floor slab.

Geometric Ruleset and Fabrication

The force of gravity over a period of time deforms the flat grid into this semi-circular form.

Scaffolds and jacks are then used to achieved the desired “peanut -like shape�.

The laths will then be pinned to the deck and further horizontal laths which will fix the triangulation of the building and provide support for the exterior cladding will be attached. For the upper part of the building vertical laths will fix the triangulation and provide framing for the glazing.

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Patented node.

The clamping assembly consists of a galvanised steel plate with steel pegs protruding on both sides which are inserted into holes drilled into the innermost laths in order to exactly locate the intersection. Plates on either side with four bolts clamp the whole assembly together. The two outer laths are not drilled as they will need to move slightly to accommodate the curvature of the structure.

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Formation of the Gridshell.

The grid is actually a double layer, with two laths in each direction. This is necessary in order to combine the required degree of flexibility with sufficient cross section for strength. A fifth layer triangulates the grid to increase its stiffness. The laths are connected at the nodes of the grid with a patented system of steel plates and bolts.

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Variation of joint behaviour.

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The Trobe

Variation of quadrangle behaviour.

What we uncovered from our precedent were the successful flexible nodes. These nodes allowed rotation and sliding movement along both directions of the lath. These properties of the nodes would allow formation of unconventional geometric from conventional set-ups, the orthodox Cartesian grid in our case. We were keen to take this and develop it in our prototyping stage.

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2.0

FABRICATING MACHINE

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2.1 PROTOTYPE DEVELOPMENT

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First prototype.

Prototyping The prototypes were to be based on the jointing system which would behave and perform in a similar manner to that of our precedent. Incorporating the ability of the joint to slide and rotate.

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First Prototype

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3D printed detachable sleeve joint.

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Rivet joint.

Rivet joint.

3D joint

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Sheet metal joint (rotation, and sliding).

Pin joint lattice.

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Rattan lattice.

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Rattan joint; two o-rings.

Rattan lattice with o-ring joints.

The first few prototypes were unsuccessful as they were unable to reproduce the qualities we were looking for in the nodal system. This produced a lineage of improved prototypes learning from each iterative process. The performance quality we were looking for were the smoothness in rotation and sliding whilst trying to minimize the size of the nodes. This would in turn help us with a greater degree of deformation, while still being controlled, by restricting interference of external and internal factors.

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. Sleeve joint lattice.

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Sleeve joint.

Sleeve joint lattice.

We came upon the sleeve joint system which enabled us to replicate the movement from our precedent. This joint was very generous with degree of freedom of flexibility it gave the lattice structure. So much so that we had to limit its movement and have it under control to produce the desired form.

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Flexible, structural form.

Deformation of geometry leads to deformation of form.

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2.2 PARAMETRIC COMPOSITION

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The parametric language developed to create a logical technique to allow the machine to behave in reflection of the haptic nature of the design.

Conditions are set and they can altered to the desired specifics to simulate the transformation of the lattice.

STEP 1-POINTS

STEP 2-MESH

STEP 3-KANGARO

STEP 3-KANGAROO

STEP 4-ANCHOR POINTS

STEP 5-FIREFLY

UTILITIES

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1.

COORDINATES OF 4 CORNERS OF THE TOP GRID THE MOVEMENT OF THE SERVOS IS SIMULATED BY CONTROL THE 2ND AND 3RD CORNER

4 CORNERS

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S U R FA C E B A S E D ON 4 CORNERS

DIVIDE SURFACE INTO 11*11 MESH

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TRANSFORM EVERY INDIVIDUAL CURVE OF THE MESH INTO SPRINGS APPLY GRAVITY ONTO THE MESH

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KANGAROO PHYSIC SIMULATE THE DEFORMATION OF THE TOP GRID

4.

MESH FROM STEP 2

PICK 2 OR 3 POINTS ON THE MESH AS ANCHOR POINTS USE SLIDERS TO CONTROL THE ANCHOR POINTS

COORDINATES OF CONTROL POINTS

CONVERT DISTANCE TO ANGLE

ANCHOR POINTS ON 1ST GRID ANCHOR POINTS ON 2ND GRID

THESE ANCHOR POINTS ARE CONNECTED TO THE KANGAROO IN STEP 3

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DRIVE SERVOS VIA FIREFLY

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Matrix: One layer.

1 moving anchor points 1

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1 direction

2 directions

2 directions (X and X)

2 directions (X and Y)

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1 moving anchor point (Increased movement)

1 additional fixed anchor point

2 additional fixed anchor points

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Matrix: Two layers.

Two anchor points

Changing anchor points

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2.3 RULES AND PROCEDURE

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RULES AND PROCEDURE 1. Any node can be an anchoring node and/or a pulling node.

2. The depth of space is related to the proximity of an anchoring node and a pulling node.

3. Moving a pulling node towards an anchoring node increases the depth of space, while moving them apart reduces the depth of space.

4. The location of internal space and volumes can be determined by prescribing the location of anchoring nodes and pulling nodes on the lattice structure.

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Reduced/increased proximity of anchoring and pulling nodes reduces/increases the depth of space.

Depth of space is directly related to the proximity of the anchoring and pulling nodes.

-Pulling point -Anchoring point

Location of internal volume and space is related to the location of the anchoring and pulling nodes.

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One layer of lattice.

Three layers of lattice.

Two layers of lattice.

-Pulling point -Anchoring point

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VARIATION OF DEPTH

DEPTH OF SPACE

X/Y MOVEMENT

PROXIMITY

VARIATION OF DEPTH

DEPTH OF SPACE X/Y MOVEMENT PROXIMITY Relationships between nodes and space.

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2.4 MACHINING

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Servo Spools

Frame legs

Servo

Arduino

Frame enclosure

MACHINE COMPONENTS Each of the individual elements that builds the machine as a whole. Most of which relying and depending on the other components working. Each part integral to allow the machine to function accurately. To produce desirable depth of space from any desirable point of the machine.

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Top frame

4 layered moveable lattice

Mid frame

3mm nuts, bolts and washers

Polypropylene Laths

Bottom base board

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Machine.

The machine in its entirety.

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Position of each Mechanical components within its context of the machine.

Frame.

Lattice.

Eyelets.

Pulley system.

Spools.

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Servos.

Servo frames.

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MACHINE OPERATIONS Operation of the machine in accordance to the configuration of its mechanical components.

The coloured illustrations shows the working mechanical parts . The photograph represents the lattice’s state of deformation in relation to its mechanical configuration.

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PLAN MOVEMENT

SECTION MOVEMENT

ANCHOR NODES AND PULLING NODES

X and Y axis -x

A

X and Y axis

-y

y

B

X and Y axis

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LEGEND

X & Y AXIS Top Bottom` Mid-Section

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x Mechanical Components Movement

Z-AXIS

Moving Node Top

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Anchor Node

Upper frame

Lower frame

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2.5 CONCLUSION

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HAPTIC MOVEMENT The machine which deforms the lattice is a reflection of dynamic design creating space when it transforms. The idea of the machine is to create a haptic environment where the design responds to human inhabitation. Variable of spaces created to variation of inhabitation conditions.

This is our aim to reproduce this in our proposal fro the pavilion.

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3.0

FABRICATING PAVILION

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3.1 DESIGN BRIEF The brief calls upon to design a pavilion which responds to the current environmental, natural and social conditions of the chosen site.

The pavilion should be demonstrate new ways and ideas of working an making through innovative prototyping.

Our proposal reflects the current social conditions through thorough study of the social behavior of the site and in turn enabling us to hopefully enhance the site with our temporary intervention.

The intervention developed through the following case studies on the intersection between Elizabeth street and Flinder Street.

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3.2 DESIGN RESPONSE Our interest for the social study lay in the circulation within a site. Our case study was help us understand the behavior and pattern of movement . This understanding would help us set up our cornerstone of our intervention of our intervention.

To create a pavilion which embodies novel experience of circulation deferring from static nature of the site.

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CASE STUDY Analysis of pattern and behavior of circulation at Flinder Street/Elizabeth street Intersection under ephemeral conditions.

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NORTH CORNER

ELIZABETH ST TRAM STOP WEST CORNER FLINDER ST TRAM STOP

The colour of the icons represents the destination of the person.

WEST CORNER SOUTH CORNER

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The foot traffic in the morning.

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Reconstructed sequence of event.

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The foot traffic at noon.

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Reconstructed sequence of event.

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The foot traffic in the evening.

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Reconstructed sequence of event.

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NATURE OF FOOT TRAFFIC The case study enabled us to produce a diagrammatic representation of the events adding depth to the case study. This allowed us to understand the density of the foot traffic and how it is influenced through different factors.

MORNING 8.15AM

The trajectory of paths shows how there are unused space within the site and how some of the parts are overused.

It is influenced by the trail of the leading person. People tend to subconsciously follow the path taken by his/her predecessor.

MIDDAY 12.15PM

There are few key moments when the traffic crossover. This intersection of the traffic produces segregation on one side of the flow whilst the other may be resilient and continue through its destination.

This retards the speed and direction of the flow of the traffic.

Odd circulatory path, the least taken paths, experiences the highest degree of consequences.

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EVENING 5.45PM

MORNING 8.15AM MORNING 8.15AM

MORNING 8.15AM MORNING 8.15AM

OVERALL TRAJECTORY OVERALL TRAJECTORY

MIDDAY 12.15PM MIDDAY 12.15PM

MIDDAY 12.15PM MIDDAY 12.15PM

OVERALL HOTSPOT OVERALL HOTSPOT

EVENING 5.45PM EVENING 5.45PM

EVENING 5.45PM EVENING 5.45PM

OVEALL

OVEALL

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VIRTUAL SIMULATIONS Development of technique of haptic response from movement of people.

The input of conditions are data collected from our case study. The refined logical language of simulation to be later implemented on the chosen site.

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Quelea simulation to map direction and density of foot traffic. The degree of locally affected zones can be visibly calculated.

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RECONSTRUCTED SIMULATIONS Reconstruction of the behavior and pattern of circulation simulation of individual agents .

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Pattern and behavior of agents applied to generic site.

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MULTI-LAYER HAPTIC SIMULATION Movement behavior data input on three interconnected layers. To study the response from a generic yet potential interconnected layers of multiple systems.

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Virtual simulation of generic layers responding to movement. Creation of spaces in respond to density of traffic. Primary and interstitial spaces are formed on the different level of layers.

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3.3 SITE CONDITIONS

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The Princes Bridge Precinct Melbourne is a culturally diverse city. It is a living city that is very accommodating of all its different cultures. A culture of love, dedicated sports, food enthusiast, art, film and so on. A city that celebrates all the occasions of the diversities.

The banks along the Yarra river cradles these cultures. Through study and analysis the hotspot of the activity occurs within the perimeter of the Northern and the Southern banks. Our design aims to bridge the banks and facilitate the activities.

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SITE ANALYSIS

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To Tram Stops

To South Bank Promenade

To Hamer Hall

To Flinders Station

The current circulatory paths taken from point A to point B. Visually expressed as straight and rigid.

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To NVG

To Federation Square

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FORM FINDING Generating form by applying the technique developed in the case study but with the data input from the current site conditions.

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Current projection of the trails created by the agents moving around the site.

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Each independent point of the trail showing the exact density en route to destination.

These points averaged to the densest paths used with specific conditions of point of entry and exit applied.

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Cold application of the virtual simulation developed in the case study to the developed form.

It informs us about the spatial space generated by the form responding to the site specific circulatory density.

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Mapping the density with respect to temporal scale .

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Points of interest based on the density map used for allocation points of congregation and inhabitation.

Those points informing the primary shell of the pavilion.

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Outline of primary shell used to formulate the primary structure.

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The form of the primary structure.

Lattice language applied to the primary structure.

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The pavilion in its context.

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Alteration of circulatory paths after intervention. The flow becomes more seamless and more organic.

To Federation Square

To Flinders Station

To NVG

To Princes Walk

To Hamer Hall

To South Bank Promenade

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3.4 PROTOTYPICAL DETAIL

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The Primary Structure Material: 3mm MDF Method of fabrication: Laser cut

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Structural Supports Material: 3mm Perspex Method of fabrication: Laser cut

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Princes Bridge Material: 12mm MDF Method of fabrication: CNC Profiling

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1. Spools Material: 3mm MDF Method of fabrication: Laser cut 2.Servo Frames Material: 12mm Structural Ply Method of Fabrication: CNC Profiling

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n1 n2 n3 n4 n5 n6 n7 n8 n9 n10

m1 m2 m3 m4 m5 m6 m7 m8 m9 m1 m2 m3 m4 m5 m6 m7 m8 m9

v1 v2 v3 v4 v5 v6 v7 v8 v9 v10 v11 v12 v13 v14 v15 v16 v17 v18 v19 v20 v21 v22 v23

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The Secondary Layer Material: 0.6 mm Polypropylene Method of fabrication: Laser cut

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u1 u2 u3 u4 u5 u6 u7 u8

u1 u2 u3 u4 u5 u6 u7 u8

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The Mechanical Base Material: 12 mm Structural Ply Method of fabrication: CNC Profiling

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CONSTRUCTION SEQUENCE

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Required length of timber laths are assembled off site.

Timber laths are laminated off site.

They are then bent to the required shape They are then load to be transported to the site.

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The pre-bent LVL are now dropped on the site.

Scaffoldings are erected to the mould of the form of the primary shell.

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Assembly of the lattice starts once the end of the primary structure is anchored into the existing structure on the Northern Bank of the river 156

The carbon fiber pieces are assembled once the primary structure has been fully assmbled.

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3.5 DESIGN PROPOSAL

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Floor Plan

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Plan 162

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Section A-A

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Section B-B

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Axometric View

RENDERS

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4.0

Design Research

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Production of space.

Discussing the conception and manifestation of space.

Threshold in architecture. The ephemeral relational experience between the person and the spatial environment. The transitional phenomena experienced by the person moving in or out of a space (Irigaray 1999). These spaces designed and produced by organised physical gestures. Of which the physical gestures connoting the boundary of the space.

Gestures may range from being obvious to very subtle. They may be large cantilevering part of the artefact or a building suggesting an inviting opening and entry into it. Or they may be subtle raise of the floor, ergonometric enough, suggesting to be sat upon depending on the discretion of the user.

Or a lowered section of ceiling within a high atrium suggesting a smaller functional space within a larger space.

So, where does threshold fit in within these spaces. What is the role of threshold? They are mostly the interstitial spaces created unconsciously the designer. They are significant. It is the intangible space we pass through when we enter the large inviting opening into the building from the outdoors and our brains immediately let us know we are entering a completely different space.

Can a space be produced without gestures and thresholds?

Yes, but would it not be those spaces engineers create? Imagine a person in a train compartment sat in a modest seat, designed only to suffice the minimum surface area required by buttocks, while trying to avoid eye contact with the other passenger across. Although the space functions how it’s supposed to, it lacks poetry or soul to it. It is cold and calculated. Its inability to be “architecturally” independent envies the lack of care.

Or can spaces be those deliberately designed by architects, the voids, devoid of every element that creates any sense of space. But would they not be antispaces the opposite of space, it’s inability to be inhabited to only function as an anti-space (Eisenman 2008).

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Gestures and threshold are perhaps needed for to create architecturally sound spaces. The challenge is to remove the tangible forms that defines the boundary of the space and replace it with an intangible substitute.

Would an infinite or border less space with deep rooted purpose be able to emulate the characteristics of a space without being tangible. Would that not just be consequent of an event? For example, can a professional run and tag in a large open field as far as the eyes can see be a meaningful space.

Is there a threshold that aware the players of the spatial playing field? And, would it not be devoid of architectural touch again? Thus, creation of meaningful space requires a certain degree of tangible elements and thresholds.

Spatial boundaries of space will always be created.

Although the new development in architectural discourse like the conception of the blur project by Diller Scofidio + Renfro challenges the requirement of tangible elements to create space (Diller & Scofidio 2005). The mist created creates the space to be experienced. The mist deprives the sense of vison and allow instincts to navigate the space. The mist defines the boundary and the threshold of the space. The person entering the mist immediately knows when he/she moves in or out of the mist, there is a complete change of spatial and sensory experience.

The Jussie Library the Brain child of Koolhaas challenges the conception of space too. Here continuation of space and the idea of threshold is tested.

They are an outcome of pragmatic process of layering the floor meticulously which challenges the clear notion system of wall and floors. The library, I do believe that it plays with our visual perception and cognition of space but also engages the user to its space by through novel arrangement of floor levels as a continuous element. The transparency between spaces creates vague boundary between them and this causes disruptions in having a threshold system. A person vaguely feels or knows when entering or exiting a space.

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Emerging technologies like virtual reality have come a long way. It is recent and have much be used in cinematic productions and in the gaming industry.

Garcia (2013 ) discusses the application of it in architecture to experiences it virtually. It caters to our visual sense; it is not tactile nor tangible. These virtually created spaces questions the effectiveness or even the existences of threshold. Do we get the same degree of conscious click in our that we have entered a different realm of space just as we would if it were in real life? The answer I guess can be answered from the similar lineage of use of the technology. We are indifferent to all things virtual although we might be amused while playing a third person computer game. There is that physical disconnection between us and the virtual world disabling us to experience these spaces and knowing the existence of thresholds.

The static and the fixed nature of architecture is the greatest impediment to space and in turn threshold. The fixed nature enforces a predetermined boundary of the space while if it was to be dynamic the concept would be challenged. The only way to challenge this fix nature would be the translation of space into air which would both be fluid and without boundary. Thus, If spaces were fluid and be what it wants to be without a restricted boundary and a sense of entering the space would suffice, or partly, answer the question of creation of space by understanding the threshold without having tangible gesture to manifest the boundary.

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References: Elizabeth Diller, Ricardo Scofidio, “Architecture as a Habitable Medium,” in Disappearing Architecture: From Real to Virtual to Quantum, Georg Flachbart, Peter Weibel, eds. Birkhauser, 2005, pp. 184 – 195.

Luce Irigaray. “The Forgetting of Air in Martin Heidegger”. Translated by Mary Beth Mader. Series ed. H. R. Swearer, Robert Mugerauer, Vivian Sobchack. (Constructs Series. Austin: University of Texas Press 1999)..

Mark Garcia, “Emerging Technologies and Drawings. The Future of Images in Architectural Design,” in Architectural Design, vol. 83, no. 5 , 2013, pp. 28-35.

Peter Eisenman, “Strategies of the Void. Rem Koolhaas, Jussieu Libraries, 1992-1993,” in Ten Canonical Buildings: 1950-2000 (New York: Rizzoli, 2008) pgs. 200-228.

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5.0

LAKA COMPETITION PANEL

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H.A.R.P. PAVILION This pavilion reacts to the urban patterns of movement, circulation, congregation and occupation, through the responsive formation of haptic space and connections.

By responding to how users actually inhabit the city, and not dictating how they should inhabit the city, this project recreates movement and circulation as an architectural event, both on an individual and larger social scale, through the connection of key city nodes, and the creation of new paths and spaces.

The project is sited alongside the cities major road bridge which connects the north and south sides of the city; in this case, it is the Princes Bridge in Melbourne, Australia. The pavilion acts as an connector between major urban nodes; creating pathways between the cultural centre of Federation Square, the cities major train station at Flinders Street, an entertainment district Southbank and the Alexandra Gardens, allowing users to move between these key sites and their varying level changes.

Through an analysis of movement patterns around the Princes Bridge site, and how these patterns would take form without the constraints of the existing city, a primary structural timber lattice was mapped out in response to the urban patterns. The design of a secondary systema flexible structural layer of carbon fibre and netting- allows the pavilion to both vary its depth and construct new connection with different part of the city. Mapping out this behaviour using a series of sensors, the carbon fibre layers are mechanised to change their pathways and depth of space as the urban behaviour changes; variations in urban patterns directly produce the variations in pavilion behaviour.

MIDDAY SOCIAL MAPPING

MORNING SOCIAL MAPPING

This pavilion reacts to the inhabitation of the city. It is an architectural response to the way in which we move through it, the way we occupy it’s spaces, and the social and personal activities that take place within it. It acts both as an infrastructure and as a stimulator for these social events to occur.

1.Simulation of local paths based on point of origin and destination; not existing circulations.

2. Tracking history of movement.

5. Combination of generated form and circulation pathways.

6. Generation of upper gridshell.

3. Generating an area of mostly used pathways.

7. Generation of singular form.

FLOOR PLAN

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URBAN SCALE AXONOMETRIC

SITE PLAN

4. Density of simulated be into depth of space.

8. A primary structural la mapping of site specific u

0068 EVENING SOCIAL MAPPING

ehaviour is translated

attice, generated from the urban movements.

PERSPECTIVE RENDER TOWARDS FEDERATION SQUARE

SECTION AA @ 1:20

SECTION BB @ 1:20

HAPTIC SPECULATION

RENDER TOWARDS HAMMER HALL

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6.0

REFLECTION

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Considering that it was first masters studio, I personally found it difficult adapting to the workload of the studio at the beginning, not that I was thriving at the end of the semester although I did learn to manage it.

It did instil a hard working ethic into me through the process of iterative prototyping and refining drawings. To design novel artefacts and limiting ourselves to available standards. To being innovative and be spoking solutions to issues that arose. Experiencing the role os a maker and not holding myself back to being an intangible designer.

Making decisions was a challenge for pur design considering the availability of time. Compromising ideas not only due to time but to put conceptual idea into the tangible world.

Team work was definitely the best part of the studio although challenging at times when making design decisions but we learnt to agree to disagree. Overall it was mostly positive with each of the member contributing to the design where the other may lacked in knowledge or skill.

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7.0

APPENDIX

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Segmented Beams

C

Upper set of beams a

Bending moment PRINCIPLES OF BENDING

Point Load: Beam

Deflection of the beam

Cantilever Beam Load (W)

a (pin)

Load (W)

x (roller)

a

Lenght (l)

Lenght (l)

Lower set of beams

a

Bending Moment

Bending moment M(max)

M(max)=Wl/4

M(max)=Wl

Deflection of the beam

Uniform Distributed Load Beam

Cantilever Beam

Load (W)

Load (W)

Combined beams a

a (pin)

b (roller)

Lenght (l)

a

Lenght (l)

Bending moment

Bending Moment

Deflection of the beam

M(max)

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M(max)=Wl^2/8

M(max)=Wl^2/2

Fixed ends

Cantilevers

Continous Beam

Cantilevers

Fixed ends

x

x

b

b

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y

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b

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b

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MACHINE DRAWINGS

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SITE PLAN @ 1:100

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7.1

BIOGRAPHY

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From a tiny hill station. Probably the cause of my love for the mountains.

Also an amateur triple jumper.

And most of all I enjoy drinking water.

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7.2

CREDIT

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7.3

BIBLIOGRAPHY

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Anon, 2016. Downland Gridshell | Cullinan Studio. [online] Cullinanstudio.com. Available at: <http://cullinanstudio. com/project/downland-gridshell> [Accessed 30 Oct. 2016].

Anon, 2016. Google Maps. [online] Google Maps. Available at: <https://www.google.com.au/maps?q=princes+ bridge&espv=2&biw=1600&bih=795&um=1&ie=UTF-8&sa=X&ved=0ahUKEwjCneTS0YPQAhUMv5QKHb2QCw UQ_AUICSgC> [Accessed 14 Oct. 2016].

Anon, 2016. LOOKING FOR LIMINALITY IN ARCHITECTURAL SPACE. [online] Limen.mi2.hr. Available at: <http:// limen.mi2.hr/limen1-2001/catherine_smith.html> [Accessed 18 Oct. 2016].

Anon, 2016. Melbourne bridge and skyline Melbourne Victoria. [online] Bcl.com.au. Available at: <http://www.bcl. com.au/melbourne/melbourne-views/mk026.htm> [Accessed 15 Oct. 2016].

Anon, 2016. The Green Oak Carpentry Company: Weald and Downland Gridshell. [online] Greenoakcarpentry. co.uk. Available at: <http://www.greenoakcarpentry.co.uk/public-projects/weald-and-downland-gridshell-building/> [Accessed 30 Sep. 2016].

Elizabeth Diller, Ricardo Scofidio, “Architecture as a Habitable Medium,” in Disappearing Architecture: From Real to Virtual to Quantum, Georg Flachbart, Peter Weibel, eds. Birkhauser, 2005, pp. 184 – 195.

Luce Irigaray. “The Forgetting of Air in Martin Heidegger”. Translated by Mary Beth Mader. Series ed. H. R. Swearer, Robert Mugerauer, Vivian Sobchack. (Constructs Series. Austin: University of Texas Press 1999)..

Mark Garcia, “Emerging Technologies and Drawings. The Future of Images in Architectural Design,” in Architectural Design, vol. 83, no. 5 , 2013, pp. 28-35.

Peter Eisenman, “Strategies of the Void. Rem Koolhaas, Jussieu Libraries, 1992-1993,” in Ten Canonical Buildings: 1950-2000 (New York: Rizzoli, 2008) pgs. 200-228.

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