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This pavilion has an hard outer surface and a soft, organic inner layer. This pavilion is done through the use of both bioarchitecture and digital architecture. This project had challenged the conventional way of thinking about design by getting its design inspiration from the motion of body by using devices to capture biometric data from runners. The materiality of the solar active and reflective photo luminescent thread used for knitting the inner layer of the pavilion causes the environment inside the pavilion to change colour by responding to the presence of people and sunlight, achieving a complex, dynamic and1 flexible environment which resembles the human form . The design process which involved people from multi discipline and the use of technology allowed more possibilities on the design outcome. Without resetting our mindset on what design is, by making design exclusive to designers�and disregard what the so-called outsiders’s opinions2 , this design would would not be feasible.
read [online]. [cited 7 March 2017]. Available from <http://www.jennysabin.com/mythread-pavilion/> Tony, Design Futuring Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1-16.
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Plug in city, although not buil t, had provoked debates at the time it was proposed. It challenged the definition of architecture by suggesting a megastructure in which the frameworks encapsulates standardized apartment units, transportation and all the essential services required which are all interchangeable by the means of a crane1.
Its form of design which se should architecture be reco our living in the changing e provided alternatives to so current times such as land increase in population grow imagination as one questions the design and become crit to the propositions of other
Sadler, Simon, Archigram: architecture without architecture (Cambridge, Mass. : MIT Press, c2005) < http quest.com.ezp.lib.unimelb.edu.au/lib/unimelb/reader.action?docID=3338538&ppg=21> [accessed 7 March 2 2 Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming (MIT Press, 1
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eems to speculate how onsidered to sustain environment, had olve problems even of d use and rapid wth. It triggered our s the workability of tically engaged, leadi2ng r possible solutions .
p://ebookcentral.pro2017] , 2013), pp. 1-9, 33-45.
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The London City Hall comprises the Mayor of London, the London Assembly and the Greater London Authority. The method of constraint satisfaction was used in deriving a design solution as Foster and Partners had included their own environmental goals besides the client's brief of having a building which promotes transparency and 1 democracy . In setting goals of reducing the energy usage of the building, spherical shapes are chosen as the overall geometry instead of polygonal shapes as spheres has the least surface area (mathematical knowledge). With the help of computer, the curved facade is able to2 be fabricated using flat polygonal panels , which made the construction easier, faster and more economical. The design solution for the facade was also aided by using thermal mapping results as a reference (computation). The studies of 3D models were made possible through the use of computer modelling techniques during the design process. Without the use of computation, it would be difficult to realized this design in the real world. Yehuda E. Kalay, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25. 2 Freiberger, Marianne, â&#x20AC;&#x2DC;Perfect buildings: the maths of modern architectureâ&#x20AC;&#x2122;, plus magazine, March 2007 < https:// plus.maths.org/content/perfect-buildings-maths-modern-architecture> [accessed 13 March 2017] 1
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The Guangzhou Opera House's de portray an image of erosion wher structure has characteristic of be directions and from several levels. of parametric tools which provide technologies played a huge role1 in Maya for the complex interiors . D by sending the factory the digital that with even more advanced co
Joseph Giovannini, â&#x20AC;&#x2DC;Guangzhou Opera House Buildings < http://www.architectmagazine.co 1
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esign was influenced by its context, the river and the nature where the design was to re the exterior of a lump of coal is removed and revealed the shining stone. The building eing very fluid and dynamic which can be seen as the building can be accessed though several . The triangular patterned grids which made up of the facade is made possible through the use various outer skins options just by changing the parameters. In fact, computational n the design process as several programs were used such as RHINO for the outer form and Due to the complexity in the form of the building, the fabrication of the materials is only possible files to the factory to allow them to cut the materials accordingly. Through this, it is certain omputational technologies in the future, even more complex designs options can be realized.
eâ&#x20AC;&#x2122;, The Journal of the American Institute of Architects, April 28 2011, in om/design/buildings/guangzhou-opera-house_o> [accessed 13 March 2017]
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The Research Pavilion is buil t based on the elastic bending behaviour of birch plywood strips (main paramater) which then generates the design process through data collection and algorithmic analysis. With the materiality being the generative driver for the design process, it contrasts with the conventional design methods where the meaning of materials is dictated by its aesthetic properties such as its texture and colour. By means of computational design and simulation methods, it enables the real life simulation of the material response under gravitational and frictional forces. The connection of the timber strips is very precise to enhance the structure capacity of the system where the connection poin ts between the strips must varies along the strcuture. The resultant pavilion is very efficient in terms of material use where the entire structure1 with diameter over 12 metres was constructed with only 6.5mm thick of birch plywood sheets .
ICD/ITKE Research Pavilion 2010 [online], Institute for Computational Designand Construction [cited 16 March 2017]. Available from < http://icd.uni-stuttgart.de/?p=4458> 1
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The auditorium of the Elbphilharmonie, was designed parametrically using algorithms. The highlight of the concert hall is the 10,000 uniquely designed gypsum fiber panels which lines the walls. Herzog & De Meuron collaborated with acoustician Tasuhisa Toyota to create an optimal sound map for the hall where he also specified some of the1 acoustical requirements for different areas in the hall . The architects also place imporatnce in the overall aesthetic propertiesof the hall where1 the walls should appear to be smooth across the hall . The architects then relayed these requirents to Koren of ONE TO ONE to generate approximately one mil ion uniquely shaped cells for the wall panels. The fabrication process and the generation of the mass number of cells are only made possible using the custom algorithmic parametric definitions for the cells. The precision that was able to achieved using computational techniques is obvious as there was only a 0.2% error rate in the fabrication of 2 the 10,000 uniquely different panels .
Stinson, Liz, What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmonie [online], Wired, 2017 [cited 16 March 2017]. Available from < https://www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/> 2 Architectural Details: Herzog & de Meuronâ&#x20AC;&#x2122;s Spectacular Elbphilharmonie [online], Architizer, 2016 [cited 16 March 2017]. Available from < http://architizer.com/blog/architectural-details-herzog-de-meuron-elbphilharmonie/> 1
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The way design is being conceived and understood should be redefined as we are no longer living in used faster than they were being produced, and the only way for us to have a future is to design designers should open up to different opinions of people from different background and not stick to a s changing and designers should recognized the fact that design field is stil rather immature compared important as it triggered one's imagination which wil lead to alternatives and explore further possibilit computational design technologies, we are able to design using parametric design by means of algorith causes a shif t from computerisation to computation where most of the forms of the building is driven brief with also the use of performance simulation programs. The way of designing using computational or massive projects and allow it to be done in a much shorter time frame compared to conventional
Through Part A, I have a better insight o working with physical models and sketching in g so much easier as previously there have bee complex geometries in mind to paper. But with p futher design options by simply changing the pa
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a world where our time is infinite. Resources are being against the defuturing condition. In order to do this, set of rules to design as the world is constanly to other fields like science. Crtitical design is relatively ties of design solutions. Following the advanced in hms,which enables more complex forms of architecture. It by the parameters or constraints underlying the design technologies eases the design processes of complicated way of design which have much limitations.
on what and why computational design is important in my field of work, With past experiences most generating design ideas, I realized that through the use of Grasshopper, it made the design process en always times where a design idea is changed or altered because it seems hard to translate the parametric design, it does not only allow me to express my design ideas, it also allow me to explore arameters. However, I am stil learning to understand the components more as to how I can utilise them to convey my own design ideas rather than emulating what the tutorial videos did.
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Anthony Dunne 33-45.
Architectural D Available from <
CD/ITKE Resea from < http://icd
Freiberger, Mar maths.org/conte
Fry, Tony, Desi
Joseph Giovann ings < http://ww
myThread [onlin mythread-pavili
Sadler, Simon, A proquest.com.ez
Stinson, Liz, Wh ed 16 March 20 philharmonie/>
Yehuda E. Kalay MIT Press, 20
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e and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9,
Details: Herzog & de Meuron’s Spectacular Elbphilharmonie [online], Architizer, 2016 [cited 16 March 2017]. http://architizer.com/blog/architectural-details-herzog-de-meuron-elbphilharmonie/>
arch Pavilion 2010 [online], Institute for Computational Designand Construction [cited 16 March 2017]. Available d.uni-stuttgart.de/?p=4458>
rianne, ‘Perfect buildings: the maths of modern architecture’, plus magazine, March 2007 < https://plus. ent/perfect-buildings-maths-modern-architecture> [accessed 13 March 2017]
ign Futuring Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1-16.
nini, ‘Guangzhou Opera House’, The Journal of the American Institute of Architects, April 28 2011, in Buildww.architectmagazine.com/design/buildings/guangzhou-opera-house_o> [accessed 13 March 2017]
ne]. [cited 7 March 2017]. Available from <http://www.jennysabin.com/ ion/>
Archigram: architecture without architecture (Cambridge, Mass. : MIT Press, c2005) < http://ebookcentral. zp.lib.unimelb.edu.au/lib/unimelb/reader.action?docID=3338538&ppg=21> [accessed 7 March 2017]
hat Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmonie [online], Wired, 2017 [cit017]. Available from < https://www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elb-
y, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: 004), pp. 5-25.
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Traditionally, ornament is use mosaics and engravings found regarding the building. Hence, that ornamentation is unnece which are similar in which th Nature is a major source of skins such as zebra and gira expression is embedded with roughness or texture of the the reflection on the glass fac the natural patterns of marbl With the use of computationa 2 mance . For instance, in the serves as the patterning for
Moussavi, Farshid, and Daniel Lo Menges, Achim (2012). â&#x20AC;&#x153;Material
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ed in architecture mainly to represent cultural values or as a form of symbolism. For instances, the d in churches and the walls of Egyptian buidings often are used to convey a story or information ornamentation is not an integral part of the architectural intent. Follwing this, Adolf Loos argued essary in modern times as most of the1. components are mass produced, thus producing buildings he ornamentation has no purpose at all . patterning. This can be seen through the patternig formed by the waves, the sand, on animals affe or even1 the cells of the plants. Ornament emerges from material substrate, and the material ornament . Hence, ornament is inseparable from the materiality of the construction material. The construction itself serves as a patterning to the building. In the Glass House by Philip Johnson, cade serves as a patterning to the house. Even in Adolf Loos Vienna Bridge Club, les conveys the inner rhythm of the material. altechnologies, patterning in contemporary architecture can now integrate material, form and perforICD/ITKE Research pavilion 2012, the thread(material) which forms the structure of the pavilion also r the structure.
opez (2009). The Function of Form (Barcelona: Actar; New York) Computation: Higher Integration in Morphophonemic Designâ&#x20AC;?, Architectural Design
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The facade patterns were facade of the museum allow copper as copper wil slow The perforation patterns w interesting shadow effects besides acting as a shade
Archdaily, â&#x20AC;&#x153;M.H. de Young Mu ron> 1
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designed using image samplers, allowing the patterning to be more organic. The use of copper as the w the facade to blend well with the landscape. Copper was also chosen due to the materiality of 1 wly turn green over time through oxidation, causing the facade to slowly fada in to the environment . with the dimpled surface on the facade gives dynamicity to the facade. The perforation also creates during different times of the day inside the building,creating different atmosphere in the building from the sun.
useum/ Herzog & de Meuronâ&#x20AC;?, 2010 < http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meu-
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SURFACE PERFORATIONS
UV POINTS
U-value: 50 V-value: 40
U-value: 100 V-value: 80
IMAGE SAMPLER CHANNEL
Colour Saturation
RECTANGLE PERFORATION SHAPES
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Red Channel
U-value: 100 V-value: 150
Colour Hue
U-value: 170 V-value: 150
RGBA Channel
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DIMPLED SURFACES
EXTRUSION HEIGHT
Height: 2.0
Range Domain: 0.5-3.0, N: 80
Random: Range:3, Number:70, Seed:2
CIRCLE RADIUS
Random Top Radius Domain: 0.1-0.3
Random Bottom Radius Domain: 0.4-0.7
Top: 0.5, Bottom: 0.2
EXTRUSION SHAPE
Pentagon
Triangle
Hexagon
EXTRUSION PATTERNING
Wb Sierpinski 34
Cytoskeleton
Wb Catmull
l Clark
1 Attractor Point
Random Top Radius Domain: 0.4-0.8
Triangle
Wb Midedge
2 Attractor Points
Random Bottom Radius Domain: 0.1-0.4
2 Attractor Points Domain: 0.2-2
Random Top and Bottom Radius
Pentagon
Square
Wb Loop 35
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The vaulted wil ow is a ligh methods. The form is gener springs. The colour of the can blend well with the lan The playfulness of the stru users of the site is childre children interactive as child seemed to be quite covere users across the place.
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htweight, self-supported pavilion which is designed using computational rated through the analysis of the catenary curve with computationally derived attributes of structure is taken from the surrouding environments, creating an effect where the structure ndscape. ucture is very relatable to our site study where we found out that the main en. Vaulted Wil ow is dren can fit the rounded edges of the 'branches' of the structure. Although the form may ed where it provides ample shading to the users, it also does not limit the free movement of
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Mesh
Divide Edges intoLines
Refine the Mesh
Deconstruct Mesh into components Vector Force acting in Z direction
Line used to form Spring, the lines input are used as rest length Kangaroo Physics: Force objects Geometry Anchor Points
The end points of the branches
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B.4. TECHNIQUE DEVELOPMENT POSITION OF ANCHOR POINTS
DIFFERENT ANCHOR POINTS
UNARY FORCE
Z force:20
Z force:70
Y force:100
Y force:50
STIFFNESS OF SPRING
Stiffness: 5
Stiffness: 25
Stiffness:40
Stiffness:50
Stif
SURFACE PANELLING
Wb Catmull Clark
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Wb Inner Polygons
Wb Catmull Clark, WbFrame
Wb Inner Polygons, Wb Stellate
Wb Triangles
Cytoskeleton
Wb Split Polygon, Wb
Delaunay Edge
X force: 20
ffness:70
b Frame
es
X force: 100
Stiffness:100
Wb Sierspinski
Pipe
X&Z
Stiffness:500
Wb Loop
Wb Window
Y&Z
X&Y
Stiffness:700
Stiffness:1000
Wb Sierspinski, Wb Stellate
Wb Catmull Clark. Wb Window
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Mental thought blurred by future-becomin of this project 66
INTERIM PRESENTATION The panel of critiques for the interim presentation highlighted several issues with our design that was really helpful in improving it to another level. The key points were: = Form and panelling tools did not inform a response to the site. = Cost of production too expensive due to the amount of perforations in addition to the large number of triangulated panels = Hinge connections too clunky and not refined, find alternative joinery methods = Continue with umbrella-form, preferred by client and tutor = Design direction is compelling but not refined yet
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To respond to the given comments on the groupâ&#x20AC;&#x2122;s previous design, the perforations had to be removed due to cost-effectiveness. However, the function of the perforations is too allow light into the pavilion to prevent gloominess. As such, we tried using thinner materials like polypropylene or translucent acetate sheets that allows a small amount of light through the material. The choice of materials instantly covers up for the design intent of the pavilion. With thinner materials, the edges are less noticeable and it creates a smoother â&#x20AC;&#x153;curveâ&#x20AC;?. Thinner materials also has an issue with its structural integrity where it can potentially buckle and give way to the whole self-supporting structure. A double-layer triangulation is then tried out, but this would mean double the amount of triangles needed to complete the structure which would cost a lot too. As the triangulation sizes has a high range, it is hard to optimize wastage of material during laser cutting. This factors lead Neuman and I to change our shape of polygon to square for higher efficiency. We also found out that by creating gaps between panels, the surface appears even smoother as our eyes perceive a self-connected curve onto the form. The cubic structure is then deviced and we tried including gaps inbetween cubes with even spacing. To join the cubes we had one cube on top and the bottom of the gap to connect.
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SOCIAL CONTEXT - CERES AS A NORM This pavilion focuses on the social allegory that is taking place around the CERES Community Park where it is surrounded by elements that contribute to the current climate change ordeal; residential areas, industrial parks, and main roadways that is contrasted with the natural context of Merriâ&#x20AC;&#x2122;s Creek. We believe that CERES is building a sustainable culture that would eventually spread out their influence firstly in their suburb, then throughout to the whole state. As such, we wanted to take this opportunity to design a shading pavilion that not only complements CERESâ&#x20AC;&#x2122;s site but their fundamental goals as an organization in representing their community. The HEXcube module represents a citizen of the community that is socially bonded to many other octacubes. This highlights the fact that repercussions and consequences do occur when an individual behave in an unsustainable manner, causing a ripple effect in the society.
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During Week 10, we were informed by the client that we could actually use either two sites on CERES, the play space or the grocery store area. Neuman and I decided to continue working on the similar design, but pushing it further by incorporating elements that allow the form to change when needed in response to the site conditions. The chosen shape of the form from plan-view is derived from using List Items and Cull pattern in Grasshopper to obtain this dicotyledon leaf shape in cross-section. The organic shape complements both sites really well. In the play space, it gives continuity to the row of tables that surrounds the â&#x20AC;&#x2DC;focus areaâ&#x20AC;&#x2122; in which most activities in the area takes place. In the grocery store area, the shading pavilion fits in well due to its alignment with adjacent structures. Its organic shape also defines character to the space that is mainly full of orthogonal existing structures. This gives additional liveliness to the grocery area that is usually busy in the afternoon. The pavilion could open opportunities to a
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COMPLEMENTING A SPACE equals ADDING TO A SPACE not SUBTRACTING ACTIONS but ENCOURAGING NEW ACTIONS being IN SYNONYM
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FORMFINDING
The array of HEXcubes are morph onto a flat lofted surface to study its response in a light study. A flat surface does not really do well in shading as 70% of the space below the pavilion is unshaded due to the angle of Sunlight. To solve this, the surface has to be tilted towards the Sunlight direction to ensure the shading is sufficient and meets the purpose of the design brief. When tilted downwards, it blocks almost 80% of the sunlight coming through and effectively shading the area it is covering. This is achieved by extending the poles to increase the height of one end of the pavilion and contracted on the other end to create a pitch. This solves the shading element facing the northern side of the site. The longitudinal shading element is to respond to the grocery store area in which the northern part of the long end needs to shade of the high-noon Sun.
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In the play space, the northern Sun hits on the shorter end of the pavilion. The pitch is tilted towards to North Sun as shown in the diagram. This requires one whole length of poles to be extended on one side to achieve this form. However, during winter the Sun is something that people enjoy. This is another factor incorporated into our design to ensure that the form is fully configurable to users preferences in both given sites. In the grocery store, the longer ends require tilting whilst the shorter ends require tilting in the play space. This calls for multiple angles in which the pavilion needs to shade. Thus, one of the desired forms should look like the ones below. Which is able to be configured via the extension and contraction of respective poles to a certain height.
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MECHANISM To achieve the form as shown, a telescopic pole have to be used in order to produce a simple machine that generates different forms. Using 6 telescopic poles, the form is able to be generated and it is highly configurable as well. However, due to the size of the whole pavilion, six of these poles would not be efficient spatially and visually. Next, slanted poles were tried out. This slanted poles produced even more interesting forms on the shading element as the force of support is going in multiple directions. It is also easier to connect the poles to the HEXcubes when it is slanted as it can be punctured through one of the cube sides. The straight poles would either disrupt interconnecting cubes or go through the hollow cubes. With no contact, the poles cannot hold the shading elements up. To ensure the spatial area is not too cluttered, we decided to use one single pole but branch it out into several hands that mimics a tree-like structure. This is more efficient as it allows even more configuration with a total of 16 hands that can change the form. The hands are also shorter, which mean that the length of pipes are more readily available and require less welding.
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Workflo
HEXCube Definition Polygon Sides: 4 Length: 1.412 Rotate: 45o
Extruded to 1.412; Solid Capped
Move command x6 to generate 6 cubes in configuration with hollow gap.
DeBrep again to collect vertices and points to draw lines. Lines use to produce Boundary Sur-
Surfa Mimic Kang with the p gravi shap
Perpendicular frames curve to obtain contr
Sliders connected to c height of points that w
Lofted surface has fu of 30 points across t
Box Morph the geomet ed surface and use Li cubes to obtain the fi
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ow Definition
ace Definition c of tested garooPhysics mesh anchor points being poles to generate itational responsive pe
s + List items and points on rol of points.
Branch Definition ONE trunk FOUR branches SIXTEEN sub-branches
Find AREA of lofted surface from Pink definition to evaluate centre point of surface.
Create points to draw lines that resemble desired branch shape using vector commands.
control points to control would generate interpo-
ull control of shape with total the surface that can alter the
Use lines and pipe them with caps to create the branch modules.
etry; HEXcubes onto the loftist Items to cull out unwanted inal shape. Bake this and the
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Quotation from material suppliers
CONSTRUCT
Obtain materials: Recycled HDPE, Springs, Recycled steel pipes, Eyelets, WhiteKnight glow
Transport materials and equipm site with a delivery van (size o ed parts is small enough). Requ welding mask, painting mask, g Before transportation to site, individual HEXcubes are being assembled in the workshop.
Install metal base plat bore pier with bolts a
Each of the thin layers of HDPE are spray-painted with the
Colour rigid panels are installed onto the thin layers of HDPE.
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Bolt the trunk pipe metal base plate
Assemble the and screwed place
TION PROCESS
28 Days prior to installation, clear site of organic plants and grass. Excavate to 300MM deep
Pour concrete mixture into hole to form a shallow bore-pier without reinforcement.
ments to of fabricatuire welder, gloves, drill,
te onto and
e to the
e other pipes them into
Install springs into telescopic pipes with
Place completed shading elements on top of the pipes and insert notch to lock them into place by puncturing a hole through one of the cube sides. Spray glow paint onto pipes.
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This is the first experimentation and attempt at creating the HEXcube. Using paper, Morph into different when a side is being flattened or when multiple sides are flatte potentially be useful in shading or allowing light entry.
This prototype is a great start as it encourages us to discover whether other materi demonstrates the social ripple effect analogy well due to its flexibility and ability to
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the prototype actually fulfils what it was expected to do. ened. As seen in the images, it can produce multiple forms that can
ials can react similarly or better than this. But the paper really o retain its original shape.
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Prototype 2.0 was an experiment to enforce the shape of the cube that does not re It was successful in creating perfectly beautiful cubes but it was not flexible to allo folding. Prototype 3.0 was a slot cut into one side of the cube to allow the notch to be inser cube eventually unfolds if you flatten it several times. Prototype 4.0 is an improvement to 3.0 as the notch has an additional thick cover-ov cubes did not cause the notch to come out of the slot and cube maintained its rathe
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eally maintain its sharp edges due to the thin material that tends to bend. ow shape morphing. The balsa wood sticks would snap at a small force of
rted and folded. This method did not require glue and was very sturdy. The
ver to ensure that folding would not stretch the notch. Flattening of the er curvy cubic shape.
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Prototype 5.0 was an extensive fabrication vers not only the folding of individual cubes, but to c and notches being cut out on cube sides.
From the images, we can see how the slots ha notches had to overlap to insert into a thin slit w
The cube was strong and sturdy, but the results for a connection that ticks more checkbox.
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sion of 4.0 with the use of precise laser cutting. The challenge now was to connect connect adjacent cubes to form a cluster of HEXcubes. This results in additional slots
ave bumps and are expanded. It was really difficult to install the slots as a few which usually only allow one notch.
s were not pleasing due to its messy outlook. As such, we continued prototyping
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Pro All pol bon typ get just exp
Tur and the pla
The in t glow
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ototype 6.0 was an attempt with UHU Plastics Glue. As expected, lypropylene does not hold a strong nd with any glue. Only a specific pe of special glue can bond them tother. However, in this case we were t using the glue to form the shape to plore our glow material capabilities.
rns out, the glue did set overnight d the model became sturdy. I believe e vinyl sticker did hold things into ace as well.
e vinyl stick tape glows very brightly the dark in comparison to the regular ow tape or glow paint.
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Prototype 7.0 is made out of acetate sheet at 0.05mm. This material easily bonded out clear leaving almost no glue marks. This is pleasing as it leaves the potential of and of exhibition quality.
Notches are added on to the laser cutting drawings so that glueing of the cube folds notches, the edge would expose undesirable glue clumps that causes the model to lo
As acetate is very thin, the stain from the laser cutting machine caused black burnt unwanted visual effect, making the cubes lose its transparent purity.
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with any plastic glue and it dried our final model being neat, clean
s would be easier. Without the ook aesthetically untidy.
t marks on edges. This created an
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Prototype 8.0 uses acetate as well but this time with a different style of configuration. Two hollow crosses are joint together in perpendicular directions to form a HEXcube with more void spaces. These HEXcubes then interlock with adjacent HEXcubes to form an interactive bond. As how Prototype 1.0 works, Prototype 8.0 changes its form when stretched or compressed.
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Prototype 9.0 is a stronger and prettier version of Prototype 8.0, and most importantly, it is easier to connect than 8.0. This prototype does not use glue at all, the eyelets provide an easy snap and lock connection that allows minor rotations and is very sturdy. This increases the flexibility of the HEXcube without the worry of it snapping due to glue failure.
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Prototype 10.0 is our intended way of fabric and the hollow HEXcubes original form. This ble and morphs according to cube flattening retain its original state elastically. The HDPE
The rigid sheet in addition to the foldable la more defined.
The eyelets also act as an aesthetic feature intent.
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cating the final model. Deriving from the positives of eyelets, notches prototype meets all the intended design criteria of being sturdy,flexig. This actions does not cause any damage to the prototype, and it can sheet is also very durable and strong under any conditions.
ayer, strengthens the cube into retaining its sharp edges. It makes it
e, where multiple colours could be to use to complement the design
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Prototype 11.0 was used to produce the 1:5 Scale model. Glue instead of eyelets were used as there werenâ&#x20AC;&#x2122;t any eyelets in the market that is small enough to fit the size of the notches. Prototype 10.0 was the 1:1 scale size of a HEXcube. The results were still decent with the use of Selley All Plastic Glue. We tried over 7 types of plastic glue but only Selleyâ&#x20AC;&#x2122;s and Loctite could bond polypropylene together.
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We used White Knight glow spray paint to activate the prototypeâ&#x20AC;&#x2122;s glowing capabilities, and the results were that white surfaces glow the brightest. Transparent surfaces produce a cloudy and sandy glow with low brightness. Other colored panels did not really glow in the dark.
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Prototype 12.0 was an alternative attempt to produce TRIcubes without the use of physical joints or complicated joineries. Trying to figure out the fundamentals of origami folding to generate our form. Results were pleasing as these slits and folds produced an interesting organic form with a touch of abstracted geometry. An Aztec touch to our design intent could be on its way.
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Looking like a flower p its mechanism from a important prototype of in order for our form t
The spring can be lock the hole of the pole.
The model was 3D pri from Bunnings. Grassh Bunningsâ&#x20AC;&#x2122; spring meas that fit the spring size
Unfortunately, the 3D cylinders due to its fib choose power printing
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pen, but prototype 13.0 derives a telescopic pole. It was the most of our project as this has to work to be highly configurable.
ked with a small rod hooking into
inted and the spring was bought hopper enabled us to use surements to generate pipe holes es.
printer did a bad job at printing brous form. We would definitely g over this in the future tries.
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C.3. FINAL DETAIL MODEL
Our site is rich with different elements that forms the community. When we discuss about our site, we don’t only look at CERES community park itself, but the surrounding suburb or township as a whole. From the drawing, we marked out nearby factories, residential neighbourhoods, highways, farms, parks and also Merri’s Creek. The only thing radiating to us was CERES itself. Being a self-sufficient hub growing its own food sustainably. It is no wonder we did not bother colouring everything else around it. It was not worth it. Surrounding elements around CERES are the main contributors to the current climate change ordeal. We believe that the only saviours that could actually be protectors of Merri’s Creek are the people that do life sustainably as CERES does. We then decided to design something to criticize the existing social issue. OUTSIDE of CERES - Weird, peculiar, unsustainable INSIDE of CERES - Rightful norm, bright, sustainable
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For the HEXCubes, we selected recycled HDPE as the main material, and the connecting material is the eyelets. Recycled HDPE is strong and durable even under UV rays which is ideal as the pavilion would be out in the sun all year round. It is also cheap and lightweight, which makes it easy to work with.
The pavilion supports are fabricated using 3D printed plastic for the final model, but the use of recycled copper pipes are intended. There are a lot of wastages in the construction industry, these pipes are hardly recycled due to its low and negligent value. 106
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Main trunk pipe has a diameter of 150MM while other pipes have a smaller profile.
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4500MM long to ensure shading perimeter is large
2250M wide to ensure spaciousness in shading area.
2200MM tall to ensure the pavilion caters to a wide range of people with different heights.
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shape of laser cutting template of a HEXcube is very efficient. It can be laid out on a sheet and the wastage percentage would be very low.
rigid colored panels fixed onto thin layer to maintain cubic shape and sharp folded edges.
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Sub-branch telescopic mechanism: The pipes are drilled with holes so that the springs can be locked into place when it is contracted.
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C.4 LEARNING OBJECTIVES & OUTCOME To start with, Part C has been a hectic journey as we were suddenly separated from groups of 4 into groups of 2. This took an entire new turn in our design direction as Neuman and I had decided to breakaway from the previous groupâ&#x20AC;&#x2122;s design direction. I believe based on our groupâ&#x20AC;&#x2122;s performance we did really well in designing a pavilion that stirs emotions and ignite debates on existing social issues. We critically explored the stand of sustainability in our society and produced a design based on a social allegory that challenges our thinking of environmentally-sustainable individual habits. My groupmate, Neuman, enlightened me in the area of design where he showed me how philosophical texts could be translated into visualized design. It broaden my horizon in the knowledge of architecture as I always perceived that visual precedents were the only main driver to inspirations. It is amazing how I realized that my imaginations from reading novels could actually be utilized to create an architectural language through my panels of work. With the use of computation, an artistic color palette can be generated within minutes to create a beautiful architectural panel with deeper meaning through colourful play. These would have took me ages with the use of manual paintings (although the effects are much better and dramatic).
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ES CAD tools like Grasshopper also allowed me to explore generative parametric forms that took a lot less time than using SketchUp (impossible to have beautiful curvatures I assume) and Rhino. From truncated pyramids to multiple level of truncations to result in a sophisticated tectonic module. The workflow of fabrication also is sped up with the use of unrolling scripts that automates laser cutting templates. Computation in the design process is bringing architects to another dimension, where it allows the architect to perceive, CAD it, Fabricate it and actually build it. Computation bridges the gap that previous architects could not possibly do, I am confident in my knowledge of Grasshopper to a level that I can actually produce my own logic in manipulating an existing model or create and sketch a new one altogether. It is surprising that from day one of Studio Air, I seen this as an impossible task, but now Grasshopper isnâ&#x20AC;&#x2122;t that bad after all provided you took the 12 weeks intensive course seriously. I can confidently sketch geometries like how I would on a sketch book, but even better and more sophisticated as well as faster. Bake them, render them and photoshop them. Artpiece within hours. I regretted not being more ambitious in Part B and looking into more Grasshopper forums. I believe it would have boosted my Part C designing capabilities with a wider range of command list on the top of my head.
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bib l i o g r a p hy Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45. Archdaily, “M.H. de Young Museum/ Herzog & de Meuron”, 2010. Available from <http://www.archdaily.com/66619/m-h-deyoung-museum-herzog-de-meuron>
Architectural Details: Herzog & de Meuron’s Spectacular Elbphilharmonie [online], Architizer, 2016 [cited 16 March 2017]. Available from < http://architizer.com/blog/architectural-details-herzog-de-meuron-elbphilharmonie/> CD/ITKE Research Pavilion 2010 [online], Institute for Computational Designand Construction [cited 16 March 2017]. Available from < http://icd.uni-stuttgart.de/?p=4458> Freiberger, Marianne, ‘Perfect buildings: the maths of modern architecture’, plus magazine, March 2007 <https://plus.maths. org/content/perfect-buildings-maths-modern-architecture> [accessed 13 March 2017] Fry, Tony, Design Futuring Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1-16. Joseph Giovannini, ‘Guangzhou Opera House’, The Journal of the American Institute of Architects, April 28 2011, in Buildings < http://www.architectmagazine.com/design/buildings/guangzhou-opera-house_o> [accessed 13 March 2017] Menges, Achim (2012). “Material Computation: Higher Integration in Morphophonemic Design”, Architectural Design Moussavi, Farshid, and Daniel Lopez (2009). The Function of Form (Barcelona: Actar; New York)
myThread [online]. [cited 7 March 2017]. Available from <http://www.jennysabin.com/ mythread-pavilion/> Sadler, Simon, Archigram: architecture without architecture (Cambridge, Mass. : MIT Press, c2005) < http://ebookcentral. proquest.com.ezp.lib.unimelb.edu.au/lib/unimelb/reader.action?docID=3338538&ppg=21> [accessed 7 March 2017] Stinson, Liz, What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmonie [online], Wired, 2017 [cited 16 March 2017]. Available from < https://www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/> Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25.
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