JOURNAL PART B CRITERIA DESIGN NESIA CAHYONO 813807
TABLE OF CONTENT
B1. RESEARCH FIELD TESSELLATION B2. CASE STUDY 1.0 VOLTADOM - SKYLAR TIBBITS 2.1 SPECIES 1 / CONE 2.2 SPECIES 2 / SPHERE 2.3 SPECIES 3 / SHEAR 2.4 SPECIES 4 / SPHERE X BOX MORPH 2.5 SPECIES 5 / CONE - 3D PLANE 2.6 SPECIES 6 / WEAVERBIRD’S CONE X SPHERE 2.7 SPECIES 7 / WEAVERBIRD
4.3 SPECIES 3 / SOLID EXTRUSSION 4.4 SPECIES 4 / PATTERN 4.5 SPECIES 5 / STRIPS/FOLDING 4.6 SPECIES 6 / WEAVERBIRD
B5. PROTOTYPING 5.1 STRENGTH TEST 5.2 RIGIDITY TEST B6. PROPOSAL 6.1 SITE ANALYSIS 6.2 DESIGN PROPOSAL
B3. CASE STUDY 2.0 EXOTIQUE PROJECTIONAIRE 3.1 REVERSE ENGINEERING 3.2 LOGIC / PROCESS
B7. LEARNING OUTCOME 7.1 DESIGN INTEREST 7.2 PARAMETRIC DESIGN 7.3 DESIGN PROTOTYPING
B4. TECHNIQUE: DEVELOPMENT EXOTIQUE PROJECTIONAIRE 4.1 SPECIES 1 / GRID 4.2 SPECIES 2 / PANELS
B8. APPENDIX 8.1 ALGORITHMIC SKETCHBOOK 8.2 BIBLIOGRAPHY
B1. RESEARCH FIELD TESSELLATION
TESSELLATION As everyone would define, tessellation is a set of patterns forming a shape which fit perfectly together [1]. Based on this description, tessellation might be seen as a bottom up technique in generating design. It constructs the whole form from series of individual components--not necessarily to be identical [2]. The application can be seen through the project of Buckminister Fuller’s dome house, where basic triangular shapes are arranged to form a dome. Although each panel has different shape, the integration shows analogy and homogeneity. Plain simple triangles construct a dome which, I would say, much more complex. In this digital era, tessellation can be very useful to produce large curvilinear surfaces. It is a method which is used as an approach to fabricate complex designs. Estimated tessellation panels make fabrication of complex surfaces becomes possible without any distortions [3]. Both of digitalization and tessellation are maintained to complement each other. The combination of them allows digital design to be produced reasonably precise and economical. In the more advance stage, tessellation can be achieved through the more dynamic component. VoltaDom by Skylar Tibbits is one of the examples. This project perfectly shows how tessellation is utilized through the use of advanced components to generate remarkable form. It surprised me that the dynamic design of VoltaDom is basically a series of cones. Through computational process, the shapes are treated, trimmed and baked as developable surfaces. These panels are then evolved further to create an impressive shape of Volta Dom. I suppose, it is one of the factors which makes this artwork stands out among others. Exploration in shape apparently produces fascinating outcome. Instead of incorporating monotonous elements, heterogeneous components create a certain attraction which is much less tedious. Somehow it hinders people to see cone as its basic element. The success of producing non-standard elements depicts the use of digital tools to re-envision tessellation and ease the fabrication process. Observing these two examples, I am interested in how different geometries are selected initially and used to meet different purposes. A set of triangular panels without any perforations are used for Buckminsted Fuller’s dome to meet the aim of constructing shelters. In contrast, volumed geometries which are cut at the vertex are developed to create the final form of VoltaDom. Armed with this superficial knowledge, here my exploration begins! Hopefully, through this apprenticeship I will get deeper understanding about tessellation, find my interest, and be able to develop it .
1. “What is tessellation”, < http://www.tessellations.org/tess-what.shtml> 2. Jaspreet Khaira, “What are Tilings and Tessellations and how are they are used in Architecture,” Young Scientist Journal 7 (2009): 35. 3. Margenstern, Maurice, “Coordinates for a new triangular tiling of the hyperbolic plane”.
B2. CASE STUDY
VOLTADOM - SKYLAR TIBBITS 2.1 SPECIES 1 / CONE 2.2 SPECIES 2 / SPHERE 2.3 SPECIES 3 / SHEAR 2.4 SPECIES 4 / SPHERE X BOX MORPH 2.5 SPECIES 5 / CONE - 3D PLANE 2.6 SPECIES 6 / WEAVERBIRDâ&#x20AC;&#x2122;S CONE X SPHERE 2.7 SPECIES 7 / WEAVERBIRD
VOLTADOM - SKYLAR TIBBITS Skylar Tibbits VoltaDom was chosen to explore the possible effects of tessellation. The reason is because complexity and profound understanding of parametric design are shown vividly through the model. This project reconsiders a fundamental structural element, a vault, and somehow relates it to contemporary design through computation and fabrication techniques. In terms of tessellation, this project depicts heterogeneous tessellation cell on its paneling form. For the aim of exploration, trying to imitate the shape of VoltaDom is not the goal to be achieved, rather the model becomes the starting point of how this model can be developed further. A number of different techniques are explored by changing the parameter and adding other related components. Indeed, compulsory weekly videos have been used as the primary foundation; even though further researches are also taken and applied. These explorations are not all valuable, definitely. Therefore, some â&#x20AC;&#x153;successâ&#x20AC;? outcomes will be selected among others.
SPECIES AND ITERATIONS
CONE #points : 16 seed : 9 top trim : 0.9 bottom trim : 0.0 attractor factor : 3.09
#points : 26 seed : 1 top trim : 0.9 bottom trim : 0.2 attractor factor : 0.09
#points : 8 seed : 6 top trim : 0.7 bottom trim : 0.4 attractor factor : 2.86
#points : 7 seed : 5 top trim : 1 bottom trim : 0.2 attractor factor : 3.44
#points : 1 seed : 4 top trim : 0 bottom trim : attractor factor
SPHERE #points : 6 seed : 1 x distance : 6.23 y distance : 5.42 top trim : 0.8 bottom trim : 0.3
#points : 12 seed : 1 x distance : 14.52 y distance : 3.11 top trim : 0.7 bottom trim : 0.3
#points : 8 seed : 5 x distance : 7.44 y distance : 7.44 top trim : 0.5 bottom trim : 0.1
#points : seed : 7 x distance : y distance : top trim : 0 bottom trim
SHEAR seed : 4 shear pt 1 : (2.4,6.0,5.9) shear pt 2 : (6.8,3.0,6.2) shear pt 3 : (3.2,1.9,4.5)
seed : 3 shear pt 1 : (2.4,6.0,5.9) shear pt 2 : (0.8,1.0,9.3) shear pt 3 : (1.2,1.3,6.7)
seed : 1 shear pt 1 : (1.2,8.2,5.2) shear pt 2 : (0.4,7.3,5.3) shear pt 3 : (1.2,1.3,6.7)
seed : 3 shear pt 1 : (8.4,5.7,5.8) shear pt 2 : (6.8,3.0,6.2) shear pt 3 : (9,1.2,4.6.3)
seed shear pt 1 : shear pt 2 : shear pt 3 :
SPHERE X BOX MORPH #points : 11 seed : 1 x distance : 1.822754 y distance : 2.807154 top trim : 0.9 bottom trim : 0.3
#points : 9 seed : 1 x distance : 2.009800 y distance : 1.987040 top trim : 0.8 bottom trim : 0.3
#points : 11 seed : 5 x distance : 2.635452 y distance : 2.807154 top trim : 0.9 bottom trim : 0.2
#points : 12 seed : 1 x distance : 4.009800 y distance : 3.387040 top trim : 0.5 bottom trim : 0.1
#points : 6 seed : 5 x distance : 5.435452 y distance : 4.1177554 top trim : 0.9 bottom trim : 0.1
#points : 12 seed : 10 x distance : 3.009800 y distance : 3.387040 top trim : 0.8 bottom trim : 0.2
#points : 6 seed : 4 x distance : 5.43545 y distance : 4.117755 top trim : 0.9 bottom trim : 0.4
#points : 14 seed : 1 x distance : 4.837162 y distance : 1.098428 top trim : 0.8 bottom trim : 0.4
ORIGINAL FORM
12
0.9 : 0.2 r : 5.63
#points : 10 seed : 3 top trim : 0.8 bottom trim : 0.0
:8 7 7.44 7.44 0.9 : 0.5
TOP VIEW
DEVELOPABLE SURFACE
d:4 (0.4,0.2,2.9) (0.8,2.5,4.2) (3.2,1.9,3.1)
52 54
#points : 6 seed : 4 x distance : 3.435452 y distance : 2.1177554 top trim : 0.6 bottom trim : 0.1
#points : 21 seed : 7 x distance : 5.282277 y distance : 4.907146 top trim : 0.9 bottom trim : 0.3
#points : 13 seed : 6 x distance : 3.00000 y distance : 4.1177554 top trim : 0.8 bottom trim : 0.2
#points : 11 seed : 1 x distance : 1.822754 y distance : 2.807154 top trim : 0.5 bottom trim : 0.2
#points : 13 seed : 6 x distance : 2.009800 y distance : 3.987040 top trim : 0.9 bottom trim : 0.3
#points : 11 seed : 1 x distance : 1.822754 y distance : 2.807154 top trim : 0.6 bottom trim : 0.1
#points : 9 seed : 5 x distance : 4.009800 y distance : 2.987040 top trim : 0.6 bottom trim : 0.1
#points : 11 seed : 1 x distance : 1.822754 y distance : 2.807154 top trim : 0.3 bottom trim : 0.9
CONE 3D PLANE #points : 7 seed : 9 top trim : 0.5 bottom trim : 0.3 attractor factor : 3.32984
#points : 19 seed : 3 top trim : 0.7 bottom trim : 0.4 attractor factor : 0.92981
WEAVERBIRDS CONE X SPHERE
#points : 8 seed : 7 top trim : 0.9 bottom trim : 0.3 attractor factor : 2.05518
#points : 12 seed : 3 top trim : 0.8 bottom trim : 0.3 attractor factor : 3.81386
#points : 7 seed : 3 top trim : 0.8 bottom trim : 0.3 attractor factor : 2.32984
#points : 13 seed : 3 top trim : 0.6 bottom trim : 0.4 attractor factor : 2.16498
height : 0.3 seed : 4 reduction : 7697 smallest rad sphere : 0.1251 largest rad sphere : 0.432
height : 0.3 seed : 4 reduction : 7697 smallest rad sphere : 0.1468 largest rad sphere : 0.432
height : 0.4 seed : 4 reduction : 1000 smallest rad sphere : 0.0208 largest rad sphere : 0.103
height : 0.7 seed : 4 reduction : 7697 smallest rad sphere : 0.0032 largest rad sphere : 0.137
#points : 6 seed : 1 top trim : 0.9 bottom trim : 0.0 attractor factor : 0.667494
#points : 11 seed : 3 top trim : 0.9 bottom trim : 0.1 attractor factor : 4.00315
height : 0.3 seed : 4 reduction : 7697 smallest rad sphere : 0.0045 largest rad sphere : 0.126
height : 0.3 seed : 4 reduction : 7697 smallest rad sphere : 0.3812 largest rad sphere : 0.432
WEAVERBIRDS Weaverbirds mesh window : 12
Weaverbirds mesh thicken : 0.6276
Weaverbirds bavel edges : 5
#poin seed top trim bottom t attractor fact
#points : seed : 4 top trim : 0 bottom trim attractor factor :
s
nts : 13 d:9 m : 0.8 trim : 0.2 tor : 2.82457
#points : 10 seed : 3 top trim : 0.1 bottom trim : 0.4 attractor factor : 1.32985
#points : 13 seed : 7 top trim : 0.1 bottom trim : 0.4 attractor factor : 2.05518
#points : 7 seed : 3 top trim : 0.5 bottom trim : 0.8 attractor factor : 1.32985
#points : 11 seed : 1 top trim : 0.0 bottom trim : 1 attractor factor : 2.81333
#points : 19 seed : 7 top trim : 0.2 bottom trim : 0.4 attractor factor : 2.02455
14 4 0.9 : 0.2 : 4.02452
height : 0.4 seed : 4 reduction : 2743 smallest rad sphere : 0.0136 largest rad sphere : 0.135
height : 0.3 seed : 4 reduction : 7697 smallest rad sphere : 0.1297 largest rad sphere : 0.427
height : 0.6 seed : 5 reduction : 1000 smallest rad sphere : 0.0208 largest rad sphere : 0.162
height : 1.3 seed : 8 reduction : 10000 smallest rad sphere : 0.0035 largest rad sphere : 0.196
height : 0.2 seed : 6 reduction : 2000 smallest rad sphere : 0.0208 largest rad sphere : 0.370
height : 0.4 seed : 4 reduction : 2743 smallest rad sphere : 0.3787 largest rad sphere : 0.436
height : 0.2 seed : 5 reduction : 10000 smallest rad sphere : 0.0039 largest rad sphere : 0.509
SUCCESSFUL
This form is considered to be one of the â&#x20AC;&#x153;successâ&#x20AC;? shapes mainly because of the aspect of tessellation it shows, and the possibility to be built. Each of the elements is actually unique (heterogeneous), but the combination somehow shows certain unity and uniformity (homogeneous). Sphere, which is basic and simple, allows the definition to run smoothly without any major errors. The match size between 2 surfaces apparently generates fascinating texture on the dome surface. In the real life application, these textures might be functioned as the sun shades system, reducing the amount of direct sunlight to the building, and at the same time potentially generates interesting shadow effect.
INTERACTIVE SHADOWS SPATIALITY AESTHETIC FABRICATION COMPLEXITY
||||| ||||| ||||| ||||| ||||| |||||
To me, this form is visually interesting as somehow it reminds me to the â&#x20AC;&#x153;Full of Love. Full of Wonderâ&#x20AC;? by Nike Savvas. Although there is no specialty in each ball, the way they scattered creates an interesting space between them. Experiencing this space will definitely creates a total uniqueness as the spatial quality is constructed by the dispersed balls. A sense of being trapped, pre-collide, distortion and regularity might be felt when someone was inside the installation.
INTERACTIVE SHADOWS SPATIALITY AESTHETIC FABRICATION COMPLEXITY
||||| ||||| ||||| ||||| ||||| |||||
The iteration was derived by applying mesh thicken through Weaverbird plugin. It is clasified as successful because it added another level of complexity and potential onto the geometry. The overall form of this iteration looks sturdy, while at the same time it also offers smoothness provided by the dynamic curvilinear louvers. Morever, the ambience of this iteration is quite different from the other iterations in Weaverbirds species. When the other offers openness, this iteration seems like concealing something inside. Different angle of the louvers aggressively attract people to peek what is behind it. This iteration certainly produces a unique atmosphere.
INTERACTIVE SHADOWS SPATIALITY AESTHETIC FABRICATION COMPLEXITY
||||| ||||| ||||| ||||| ||||| |||||
The mesh window command in Weaverbird allows me to divide the surface and create a simple but attractive pattern. In real life, the iteration can be a spot to see scenery at a high point because the large opening it has is only the horizontal strip, which makes it reasonably safe. Talking about creating a space, this iteration is interesting because without adding anything, the shape has been very exclusive by excluding certain categories of people. Lets say the space is design for kids, adult or even senior wont be able to use the space comfortably. It is because they have different eye levels.
INTERACTIVE SHADOWS SPATIALITY AESTHETIC FABRICATION COMPLEXITY
||||| ||||| ||||| ||||| ||||| |||||
B3. CASE STUDY EXOTIQUE PROJECTIONAIRE 3.1 LOGIC / PROCESS 3.2 REVERSE ENGINEERING
EXOTIQUE - PROJECTIONE The purpose of this project is to produce a simple honeycomb drop ceiling system which incorporates variation on the surface. It might be argued that, in technical terms, the use of digital tools for fabrication to condense the entire design process is what this project aims for. Apparently, it has been successful in what it set out to achieve. In the entire making process, Rhino and Grasshopper are two predominant software utilized. The process of modeling the design in Rhino and Grasshopper consumes only one day of the total 5 days of the whole time frame. In the design process, generation is utilized. All surfaces which are further developed and manipulated in Grasshopper are generated in Rhino initially. Joinery, tolerance adjustment, patterning, labeling, or other fabrication methods are involved to facilitate the fabrication process. In terms of material, this project is made of white acrylic and polystyrene. Joinery in grasshopper allows the system to have connection only for hangers for the lamp strings, and not for the rest of the hardwares. This fact asserts that digitalization facilitates construction process and simultaneously reduces material and cost. The evidents are not shown only through the advanced shape, but also how digitalization relates the artwork with the environment, and how material selection contributes in the outcome. Dissimilar to the two previous projects, Exotique applied hexagonal shapes. They are used oftenly because they offer larger area per panel and less distortion of distances compared to square grids. Moreover, they create â&#x20AC;&#x153;honeycombâ&#x20AC;? texture which increase its attractiveness. For the third time, different geometries are applied for different functions.
3.1 LOGIC / PROCESS
Grid creation Line creation Grasshopper /Hexagonal grid
Grid projection to the main surface Surface creation Grasshopper /Loft
Grasshopper /Project : project the grid in z direction
Rhino /Curve
Attractor creation
Points population Grasshopper /Populate geometry : create a set of random point points on the surface
Grasshopper /Curve : create a curve attractor
Holes (attraction) creation
Extrusion
Grasshopper /Sphere : create a sphere /Trim solid
Grasshopper /Extrude
Trimming 2 solids Grasshopper /Trim solid /Bake
3.2 REVERSE ENGINEERING
Hexagonal grid is created on Grasshopper
Populate 2D at the surface of POLYGON 2
Create cylinders with radius of the distance between points and POLYGON 1
Trim loft surface with cylinders, then extrude
3 curves are drawn in Rhin transferred to Grasshoppe
Create surface
Project the grid to the l pipe them
no and then er
es over POLYGON 2
loft surface, and m
The curves are lofted in Grasshopper to enable later alterations
Offset POLYGON 1 inwards (POLYGON 2)
The surface is then trimmed with the hexagonal grid creating similar texture to EXOtique
Use the same slider for radius to create polygon on the grid centre points (POLYGON 1)
B4. TECHNIQUE DEVELOPMENT EXOTIQUE PROJECTIONAIRE 4.1 SPECIES 1 / GRID 4.2 SPECIES 2 / PANELS 4.3 SPECIES 3 / SOLID EXTRUSSION 4.4 SPECIES 4 / PATTERN 4.5 SPECIES 5 / STRIPS/FOLDING 4.6 SPECIES 6 / WEAVERBIRD
SPECIES AND ITERATIONS GRID
Square Grid size : 5.6027
Rectangular Grid size x : 11.2054 size y : 11.2054
Trianglar Grid size : 5.6027
Circular Grid size : 5.6027
PANELS Diamond Panels size : 2.80 pipe : 0.74
Triangle Panels C size : 7.37 pipe : 0.91
Diamond Panels size : 5.80 pipe : 1.02
Skewed Quads Panels B size : 7.37 pipe : 3.09
Random Quad Panels size : 3.11 pipe : 1.69
Skewed Quads Panels A attractor size : 7.37 pipe : 3.09
Triangle Panels C size : 5.60 pipe : 1.69
Skewed Quads Panels B size : 3.00 pipe : 1.21
Quad Panel size : 5.60 pipe : 0.60
Triangle size : pipe :
SOLID EXTRUSSION Box cull size : 1.30
Sphere size : attractor
Cone size : attractor height : attractor
Box size : 1.11 height : attractor
Tor size : at
ls 0 0
ORIGINAL FORM
Hexagonal Grid size : 5.6027 Pipe size : 1.34 The surface on iterations is not the whole model. It has been cut in order to run the software faster.
e Panel B : 3.00 : 1.21
rus ttractor
Sphere size : attractor Cylinder cap size : attractor height : 3.25
Cylinder size : attractor height : 0.88
Cylinder size : attractor height : 5.88
Cone size : 2.79 height : 4.02
PATTERN
#sections : 21 #strips : 34 offset factor : 1.32
#sections : 16 #strips : 67 offset factor : 0.32
#sections : 7 #strips : 67 offset factor : 0.02
#sections : 7 #strips : 14 offset factor : 0.32
STRIPS / FOLDING height : 3.5 #samples : 12 # segments : 35
height : 5.6 #samples : 15 # segments : 56
height : 6.3 #samples : 23 # segments : 52
height : 5.1 #samples : 21 # segments : 37
height : 3.2 #samples : 10 # segments : 49
WEAVERBIRD Weaverbird’s Picture Frame Weaverbird’s Offset Mesh
Weaverbird’s Stellate / Cumulation Weaverbird’s Mesh Thicken
Weaverbird’s Mesh Thicken Weaverbird’s Loop Subdvision
Weaverbird’s Stellate/Cumulation Weaverbird’s Mesh Window Weaverbird’s Mesh Thicken
#sections : 13 #strips : 29 offset factor : 0.32
#sections : 22 #strips : 29 offset factor : 0.86
height : 2.4 #samples : 9 # segments : 22
Weaverbird’s Stellate/Cumulation Weaverbird’s Offset Mesh Weaverbird’s Sierpinski Carpet
height : 7.1 #samples : 9 # segments : 37
#sections : 3 #strips : 23 offset factor : 1.35
#sections : 3 #strips : 9 offset factor : 0.75
height : 2.5 #samples : 9 # segments : 32
#sections : 19 #strips : 56 offset factor : 0.13
height : 3.0 #samples : 5 # segments : 36
#sections : 18 #strips : 52 offset factor : 0.13
SUCCESSFUL
Philosophical. The attractor system runs for 2 variables. The intention was to create pipes with different radius, however, it also works for the pipe length. In this case, combination of attracted pipes and lofted curves is somehow similar to human heart. Speaking philosophically, as a source of life, the heart gives life to the pipes. Instead of seeing the pipes as objects, they are actually growing because of the heart.
INTERACTIVE SHADOWS SPATIALITY AESTHETIC FABRICATION COMPLEXITY
||||| ||||| ||||| ||||| ||||| |||||
I am not sufferring thalassophobia, I just avoid being in the ocean or other deep water. It might be the reason why I value this iteration as a success. Attractor point has been used prevalently in Grasshopper, yet it is the first time I saw it differently. Rather than a point, I would say it is a vacuum hole. To me, it looks like the cylinders are sinking. Sinking deeply into the water underneath. The iteration seems like an ongoing activity rather than static. In my imagination, the cylinders can only wait before they are drown
INTERACTIVE SHADOWS SPATIALITY AESTHETIC FABRICATION COMPLEXITY
||||| ||||| ||||| ||||| ||||| |||||
B5. PROTOTYPING 5.1 INDIVIDUAL 5.2 GROUP
5.1 INDIVIDUAL Although small size door hinges can be bought from the market, I decided to create manual tabs for the model. These tabs are quite successful visually as it serves not only as a joint, but also an ornament to the prototype. This fact actually contrasts to the famous quote of Loos, ornament is crime (Moussavi, 2006). Indeed, the tabs appear to be the focus on this model, however, what will be tested are the shape of the surfaces. After doing Case Study 1.0, I found that my interest is in exploring what shape of panels is suitable for certain function. Therefore, the aim of this prototyping section is to come up with a specific pattern of panels which can be applied to the final design. In order to run the experiments accurately, the other variables should be maintained the same, including the tabs.
4 types of geometry are tested during the fabrication. Triangle, square, rectangle and hexagon are tested to get the strongest one. The hypothesis is that hexagonal pattern will be the strongest form due to its large size of panels. The larger the panel, the lesser the tabs. Tabs are expected to be the weak points because they connect two different elements. Moreover, mechanical tabs are used here without any glue.
Triangle
Square
Rectangle
Hexagon
TAB EXPERIMENTS ISSUES EXPERIMENT Tabs size might be Fabricate some small too big or too small triangular panels with tabs in 200 gsm Ivory board
OUTCOME The tabs work as they are expected, but the design of the tab actually creates unexpected spacing between panels. This spacing increases the aesthetic, but it just too large
gap is too big
ISSUES Assigning which side of the panel needs head tab and which part is tail.
EXPERIMENT In Rhino, Paneling Tools annotate the shared side with the same number. Therefore, shared sides will have same number written twice in the whole file. I worked with the head first. I placed them at the mid point of each side, except for the side whose label has been came up previously (ie. the first #23 on one side would be head, but the next #23 will be the tail). Box prototype is ready to be fabricated, certainly with some changes based on the previous experiment (the size of spacing). The head is 10 mm and another 10 mm is added as a tolerance to the tail. Additional 10 mm is selected considering the material I want to use is 10 mm Box Board.
OUTCOME All of the tabs match. Head meets tail as expected.
10 mm 20 mm
head
tail
ISSUES The tabs are not flexible and creating certain angle which is different to the desired angle in Grasshopper.
EXPERIMENT I adjust the angle by bending the box board, particularly at the connection of tab and panel.
OUTCOME Desired shape is achieved
TESTING STRENGTH TEST Each of the structure will be loaded to determine which shape is the strongest one. Triangle
Square
Rectangle
Hexagon
Several steps are conducted in the experiments, however, the first and the last experiments are selected to be shown as they are critical. It can be concluded that triangle is the most strong shape. Square and rectangle collapse entirely on the first experiment, while hexagon collapse partially on the last experiment. The first experiment used iPhone 5s as the load, while the last experiment used iPad Air 2.
5.2 GROUP WORK - Andre, Linsey, Nesia Triangle with developed pattern but still the same tabs is tested. TESTING 1. STRENGTH TEST Strength test was conducted by assigning different loads to the box prototype and lift it to certain height. LOAD 1 iPhone 5s ~ 112 grams 1 iPhone 5s + 1 iPhone 7 ~ 250 grams 1 iPhone 5s + 2 iPhone 7 ~ 388 grams 1 iPhone 5s + 2 iPhone 7 + 1 Pylox ~ 700 grams
BOX PROTOTYPE The shape is changed, still strong enough visually and practically The shape is changed, still strong enough visually and practically The shape is changed, still strong enough practically Capable to bear the load in the first 12 second before one of the tabs finally loose
Collapse at the tabs 2. RIGIDITY TEST It is tested by applying forces to the box in different directions and point loads FORCES BOX PROTOTYPE 2 vertical forces at both sides No shape changes 2 lateral forces at both sides (x direction) Distorted inwards 2 lateral forces at both sides (y direction) Distorted inwards 1 vertical force at the center Distorted a little bit, but can still stand by itself
REFLECTION As shown in the testing results, the prototype collapsed on the tab. This weakest point is expected because the tab is attached manually without any glue which increase the tendency to loose. Another speculation is because the shape of the prototype is adjusted to certain angle to meet the desired shape (refer back to TAB EXPERIMENTS section 3) while actually box board does not have tolerance to that. When the angle is adjusted, some of the tabs cracked. This condition is worsen as the test is conducted 2 days after the fabrication. Within 2 days, certainly the strength decreased due to the fact that any movements impact on larger cracks on the tabs.
Through the strength test, it is observed that this tessellation technique produces prototype which is successful in having a dual function tabs (ie. as a joint and as an ornament). Moreover, it is quite flexible which allows the prototype to have a lot of ways to be connected to other things. For example, it can wrap or simply be a layer of something. Thus, it has a lot of potential to be developed further. However, there is also a failure which might be improved. This prototype cannot totally rely on mechanical tabs, or at least not on this model of tabs. It is because the tabs are too weak to hold the structure. The failure always happened on the tabs.
B6. PROPOSAL 6.1 SITE ANALYSIS 6.2 DESIGN PROPOSAL
6.1 SITE ANALYSIS [MERRI CREEK]
“The Merri Creek is an environmental, heritage and recreation corridor that draws its significance from its role as a continuous corridor as it does from the qualities of individual reaches.” -- Merri Creeek Management Committee However, the physiscal condition of Merri Creek is contrast to this quotation. Among “environmental, heritage and recreational” aspects, only “heritage” reflects the actual condition. Spanning along 60 km long, Merri Creek has been unsustainable and deserted.
Albion Street, East Brunswick 1982 and 1999 after path construction and screen planting.
Hall Reserve, Clifton Hill in September 1982 and after path construction and revegetation works in 1996.
Moomba Park Reserve 1988 plantings and the 1996 result
RECREATIONAL Walking tracks & trails Plenty of space Walking tracks
Trees Bike tracks Park
While the facilities to attract people have been built, there are very limited facilities to maintain the visitors. Some people come to experience a new atmosphere (ie. jogging along the creek), yet they are reluctant to go there for the second time. I suspect it is due to the lack of management in terms of cleanliness and comfort.
6.2 DESIGN PROPOSAL Based on these facts, my aim would be increasing the number of visitors by enhancing peopleâ&#x20AC;&#x2122;s experiences. The idea of attracting people to come back has been the main focus. My design will provide places for those people to take a rest while they are doing activities.
CLIENT PROFILE Dope Developments The client has assigned Le Corbusierâ&#x20AC;&#x2122;s cabanon to be a starting point of the design. By having the extension of the cabanon, what Dope Development expected was to achieve instagram followers that can compete with the popular account of @cabinporn.
DESIGN DEVELOPMENT In order to attract visitors, I am expecting a design which can fit in to the current culture and style. Talking about style and trend, celebrities come first to my mind. Their life style has been influencing and become role model to most of the young communities. It can also be seen in the shift in function of certain brands from “products” to “styles”
Rick Ross is wearing Versace products top to bottom
Jeezy: Versace high top sneakers Boosie: Air Jordan Taxi
Versace High-Top Sneakers 2014 is selected as a reference product. Why? Versace is a trendsetter brand which courageously incorporates “old-ish” elements and successfully accentuates the luxurious aspects. Versace’s products, especially these shoes reflect opulence more than the “old”style. Although it is unnecessary, some people are willing to spend their money on this product. In this instance, Versace seems like holding the control over societies. Versace has secured a position within the current style.
KEY PERFORMANCE INDICATORS glossy
glamour
LUXURY black opulent bling gold
ICONIC ACCESSORIES original chain belt unique distinctiv zipper e mimicing versace bag
hedonism nsumption life style CONSUMERISM co materialistm indulging elitism limited access expensive SOCIAL STATUS private privileged noble metal exclusive
palmette vintage on ornamentati nostalgic neo classicism noble metal NEO BAROQUE picturesque acanthus pa ttern elegant medusa logo
The brand of Versace somehow creates its own class society which exclude middle to low social classes. Not only because of its unaffordable price, I suppose. Rather, there is a boundary where a leap of confidence is needed to be fitted in.
CONSTRUCTIVE PRESENTATION FEEDBACK In the interim presentation, as a group we are proposing a bench. However, here are some constructive feedback for us: - Bench is not appropriate as we focus on the luxury -- Bench was selected initially because of our too rational thought. The feedback makes us realise that it has been restrained us to think broadly to come up with the more interesting function - We can push our prototype further as it has many opportunities to adapt any shapes - KPI has not been evaluate deeply - The design is too simple to show luxury Indeed, we do some changes in our proposal, however, due to the time limit, most of the changes will be applied in Part C
JACOZY DIP IN COMFORTABLY... Gold always promotes luxury by itself. Here, it is strengthened by the contradicting quality of cabanon and jacozy. The humbleness of cabanon, in terms of materiality and shape, simply accentuates the luxury of jacozy.
jacozy dip in like a sir
Jacozy does not have specific site on Merri Creek because it will be scattered along the tracks. The idea is not to build so many jacozy to maintain the exclusivity.
The unique and contrast form of jacozy has a huge opportunity to attract people. Moreover, the fact that it will be located next to the track, makes it quite visible and cathcy. Similar to Versace shoes where people might buy it, although they do not need it; it is expected that jacozy might attract people to use it, even though they are not necessarily need it.
IMPROVEMENT OPPORTUNITIES DESIGN COMPLEXITY One of the feedback is to improve the design complexity in order to represent the luxury better. Hence, we create some design options which will be tested or reviewed deeply for the final design in Part C
PHENOMENA by MICHAEL HANSMEYER We found a precedent by Michael Hansmeyer which we reckon is relatable to our case. Beside the fact that it is visually pleasing, this computational project displays our KPI strongly. However, further researches and brainstrorms are needed to integrate this project with our research field of tessellation. For sure, we will refer back to this Phenomena Project for our refinement in Part C.
B7. LEARNING OUTCOME 7.1 DESIGN INTEREST 7.2 PARAMETRIC DESIGN 7.3 DESIGN PROTOTYPING
7.1 DESIGN INTEREST In developing the design, lecture contents and reading have been really good starting points, I suppose. I was introduced to tessellation, which I would say, matches my interest very much. The research studies in B1, specifically, helped me to develop a better understanding of what tessellation and surfaces really are. My knowledge is then developed in the case study 1.0 as I tried to push the potential of the grasshopper definition of “VoltaDom” by Skylar Tibbits. I realised that I am interested in why different panel shapes are chosen and how they might influence the design outcomes. It also influenced me to choose “Exotique” for my Case Study 2.0, which has different geometry as its panel.
7.2 PARAMETRIC DESIGN Having some experiments in parametric design is really helpful for me. Although sometimes it might be quite hard to express our intention, trial and error possibly results in way much better outcome. What becomes more essential is that sometimes a new idea pops up when we see a new unexpected design. It is the most interesting part, when our imagination goes beyond our knowledge. To me, it worked in the Weaverbird species.
7.3 DESIGN THROUGH MAKING Indeed, renderring process is effective in illustrating atmosphere and effects, however, model making optimised the design, more importantly the structure, in terms of workability and â&#x20AC;&#x153;realisticityâ&#x20AC;?. Prototype sometimes shows us some limitations which are not expected and addressed before. On the other hand, it possibly shows opportunities which are not noticed through digital model. For example, through prototype, I can see the opportunity of having a tab as an ornament to the design. Beforehand, tab is merely functioned as a connection between panels.
B8. APPENDIX
8.1 ALGORITHMIC SKETCHBOOK 8.2 BIBLIOGRAPHY
8.1 ALGORITHMIC SKETCHBOOK TRIANGULATION AND TAGS
GRID AND CU
3 initial curves
Triangular grid projection Pipe
SPIRAL AND POINT CONTROL ALONG CURVE
ULL PATTERN
Rectangular grid projection Extrude X-Y
Hexagonal grid projection Extrude X-Y
SLEEPING COCOON X CABANON
IMAGE SAMPLING
Cylinder Length factor: 22.371 Radius factor: 0.78 Radius max: 0.5
Cylinder Length factor: 12.07 Radius factor: 0.53 Radius max: 0.5
74
Sphere Radius factor: 0.78 Radius max: 0.5
Sphere Radius factor: 0.53 Radius max: 0.5
EXPLANATION OF
PART 1
PART 2
Contour curves are generated and moved up in z direction by series of distances
The curves are divided into 8 segments. Roof pattern is generated by delunoy mesh, then mesh is converted to polylines
F GRASSHOPPER DEFINITION
PART 3
PART 4
Points from curves division are projected to x-y plane. Delunay edges are created on both groups of points. Polysurface is created between those two mesh A curve is created. Distance between this line and poly lines are measured. Lines with distance less than 10.5 are being offset
Surfaces are created between offset curves and the actual poly lines. Both surfaces are trimmed. Custom preview with assigned color is displayed.
ITERAT
TIONS
ORIGINAL FORM
CABANON EX
XTENTION
GRASSHOPPER IN REAL
SPACE TRUSS
L WORLD APPLICATIONS
HIGH RISE BUILDING CLADDING SYSTEM
BUILDING FACADE
BUILDING PLAN
8.2 BIBLIOGRAPHY Jaspreet Khaira, “What are Tilings and Tessellations and how are they are used in Architecture,” Young Scientist Journal 7 (2009): 35. Margenstern, Maurice, “Coordinates for a new triangular tiling of the hyperbolic plane” Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 “What is tessellation”, < http://www.tessellations.org/tess-what.shtml>